ENGL275/ARHU275: Writing to be Seen: Scriptwriting for Theatre, Film and Television
(Spring, 2017)
Instructor: Douglas Kern
Office: 2230 Tawes
Telephone: 301-405-3695 E-mail:
Office Hours: Thursday 3:30pm-4:30pm, or by appt
This syllabus is subject to change. Any changes will be announced in class or through e-mail, and students are responsible for keeping up with such changes. In addition to the readings/viewings listed here, other readings/viewings may be assigned from handouts distributed in class and from online sources.
Course Overview
Writing to be Seen offers students an introduction to the theory and practice of scriptwriting with the opportunity to read, view, evaluate, write, and revise texts meant to be performed for spectators. Students will practice writing for the stage, film and television, with an emphasis on the critical reading of textual/visual literary models. Additionally, students will read theory and scholarship designed to teach the opportunities and advantages of each format. In particular, students will apply this scholarship to analyze and critique a live play, as well as examine texts that have been successful across two different formats. We will also examine selected scripts, performances, and several film and television clips as models for students’ own creative work. Throughout the course, students will prepare frequent writing exercises and will share and provide feedback for each other’s scripts in a workshop format.
Learning Outcomes
At the end of this course you will be able to select, evaluate, and apply terms and concepts associated with methods of successful scriptwriting for theatre, film and television; you will be equipped to plan, model, prepare, critique, revise, and perfect your own dramatic scripts as participants in the creative process; you will demonstrate critical thinking in the evaluation, critique, and analysis of existing models from theatre, film and television, with an awareness of what succeeds and what fails; you will be able to recognize how language used in writing theatre, film and television represents new/different ways of thinking; you will be able to formulate thesis statements for critical evaluations; you will hone your ability to collaborate in both writing workshops and peer-review; you will be able to recognize, discuss, and write about drama as social/cultural commentary; you will complete a short script, and will have a portfolio including many more ideas and extracts for future projects.
Required materials
Elms/Canvas Access
Readings from Egri, Lajos. The Art of Dramatic Writing. Merricat Publications, 2009. ISBN 1434403874 and Scripts/other readings will be posted on ELMS
Tools of the trade
A journal –someplace where you can make notes on your writing and record ideas
Computer and/or Paper and Writing Utensils
Course policies and requirements
1. Regular participation is required. We are covering a lot over the course of the semester. The only way to keep up is through consistent participation. Come to class prepared to participate fully. Lack of attendance will adversely affect your ability to participate in class discussions and activities and thus your participation grade. You are also expected to arrive on time; if you are late, you will disrupt class, and your participation grade will again suffer the consequences. YOU are responsible for catching up on all notes, announcements, or work missed, regardless of whether the absence is excused or unexcused. If you are absent, seek out your classmates for an explanation of what was covered that day. If, after talking to your classmates, you have questions, please feel free to come see me for further explanation. My policy is to give no make-ups for unexcused absences.
2. You are required to write often and keep up with the assigned readings.
3. Major writing will be accepted only on the due dates indicated on the course schedule. On all work, please include a signed copy of the University’s Honor Pledge: “I pledge on my honor that I have not given or received any unauthorized assistance on this assignment/examination.”
4. The final grade will be based on the following:
Writing Workshop Participation/Peer Revision 20%
Final Writing Portfolio 20%
Mid-term Writing Portfolio 15%
Final Script Presentation 15%
Writing Journal 10%
Critical Assessments of Literary Models 10%
Play Attendance and Written Review 10%
5. ENGL275: Plus/Minus Grade Breakdown:
These strict breakdowns determine the grades for this course:
97-100%= A+ 94-96% = A 90-93% = A-
87-89% = B+ 84-86% = B 80-83% = B-
77-79% = C+ 74-76% = C 70-73% = C-
***Lower grades will be subject to the same intervals
University Policies
6. Special Needs: If you have a registered disability and wish to discuss accommodation with me, please let me know. Disabilities can be registered through Disability Support Services (4-7682 or 5-7683 TTY/TDD).
7. The University has approved a Code of Academic Integrity (http://www.shc.umd.edu/code.html) which prohibits students from cheating on exams, plagiarizing papers, submitting the same paper for credit in two courses without authorization, buying papers, facilitating academic dishonesty, submitting fraudulent documents, and forging signatures. Plagiarism policy: all material taken from other authors, including from the Internet, must be indicated and referenced. Paraphrasing must be referenced as well. As stated above, the University of Maryland Honor Pledge, approved by the University Senate, should be handwritten and signed on all papers, projects or other academic assignments submitted for evaluation in this course
8. Religious observance: Please inform me of any intended absences for religious observance well in advance (the first two weeks of the semester). http://www.umd.edu/catalog/index.cfm/show/content.section/c/27/ss/1584/s/1540
9. Regular attendance and participation in this class is the best way to grasp the concepts and principles being discussed. However, in the event that a class must be missed due to an illness, the policy in this class is as follows: For every medically necessary absence from class, a reasonable effort should be made to notify the instructor in advance of the class. When returning to class, students must bring a note identifying the date of and reason for the absence, and acknowledging that the information in the note is accurate. If a student is absent more than one day consecutively, I require documentation signed by a health care professional.
If a student is absent on days when a major writing assignment is due [or other such major grading events] he or she is required to notify the instructor in advance, and upon returning to class, bring documentation of the illness, signed by a health care professional.
10. Inclement Weather and Extended Campus Closure: In the case of a University closing due to inclement weather, students should check their e-mail for notification of how class will proceed. In the case of an extended campus closure, we will continue to follow the course outline as much as possible. Students are responsible for all assignments and course work disseminated in these ways.
ABBREVIATIONS: (M) = Monday (W) = Wednesday (F) = Friday (HW) = Homework
(ELMS) = Canvas site
(ADW) = The Art of Dramatic Writing (posted through ELMS)
Schedule
WEEK 1 (Course Introduction and Monologue)
Jan. 23 (M): CAMPUS CLOSED—NO CLASS!
Jan. 25 (W): Introduction to the Course, Assignment Sequence, Purpose, Planning, and Premise
Syllabus and Course Policies Discussed
Discuss Assignment Sequence and Final Project
Writers Write: Keeping a Writing Journal
Student Introductions
Jan. 27 (F): What is Drama?
In-class discussion
Reviewing the Monologue Assignment (ELMS)
What are you writing about?
HW: Read ADW pgs. 1-31 (Premise) posted through ELMS
WEEK 2 (Writing for Theatre)
Jan. 30 (M): Writing Monologues for the Stage
In-class screening of Simon Stephens’ Sea Wall
Formatting play scripts (Handout)
HW: Read ADW pgs. 32-43 (The Bone Structure), and
Simon Stephens’ Sea Wall posted through ELMS
Feb. 1 (W): Character and Monologue Cont’d
In class discussion on Sea Wall
Journal Entry 1: In-class journal writing exercise (Developing character and voice)
HW: Read How to Be Your Own Script Doctor (Operation Premise and Theme), and ADW pgs. 59-77 (Character Growth), continue to draft Monologues, and begin Critical Assessment
Feb. 3 (F): Writing Workshop: Continuing to Build Character through Monologue
All good writing is re-writing: Continuing to polish through in-class writing
Sign-up for next week’s peer review discussions (in-class hoops)
HW: Read ADW pgs. 43-59 (Environment and The Dialectical Approach)
Post Critical Assessment 1 through ELMS
Finish/Post Monologues for Peer-Review Workshop
The Monologue Submissions need to have been read by all for Monday’s Peer-Review
WEEK 3 (Writing for Theatre Cont’d.)
Feb. 6 (M): Peer-Review Workshop
Follow sign-up sheet to discuss student writing
DUE: The Monologue Submissions need to have been read by all for this week’s Peer-Review
HW: Journal Entry 2
Feb. 8 (W): Peer-Review Workshop Cont’d
HW: Journal Entry 3
Feb. 10 (F): Peer-Review Workshop Cont’d ***
HW: Read ADW pgs. 106-124 (Pivotal Character, The Antagonist, Orchestration, and Unity of Opposites) posted through ELMS
WEEK 4 (Writing for Theatre Cont’d.)
Feb. 13 (M): Peer-Review Workshop Cont’d and Assign Play Review
Play Attendance and Written Review Assignment
HW: Journal Entry 4
Feb. 15 (W): Peer-Review Workshop Cont’d
HW: Journal Entry 5
Feb. 17 (F): Peer-Review Workshop Cont’d
Introducing and Reviewing the Dialogue Assignment (ELMS)
Formatting screenplays (Handout)
HW: Read ADW pgs. 125-136 (Conflict, Origin of Action and Cause and Effect) posted through ELMS
Read Dutchman (posted through ELMS)
WEEK 5 (Screenwriting Dialogue for Film)
Feb. 20 (M): Drama as Social/Cultural Commentary and Presenting Conflict in Storytelling
In-class screening of Dutchman
HW: Read ADW pgs. 238-245 (Dialogue), and begin reading Her posted through ELMS (pay close attention to the way dialogue is used in this script)
Journal Entry 6
Feb. 22 (W): Exposition and Writing Conflict through Dialogue
Finish screening Dutchman (if needed)
Building a Scene (Man-date)
Example: Woody Allen’s Play it Again, Sam (Handout and Clip)
HW: Continue reading Her, drafting Dialogues, and begin writing your next Critical Assessment and Journal Entry 7
Feb. 24 (F): The Major Dramatic Question and Three-Act Structure
In-class screening and example: Star Wars
Sign-up for next week’s peer review discussions (in-class)
HW: Post Critical Assessment 2 of Dutchman through ELMS
Read How to Be Your Own Script Doctor (Operation Dialogue)
Finish/Post Dialogue Scenes for Peer-Review Workshop
The Dialogue Submissions need to have been read by all for Monday’s Peer-Review
WEEK 6 (Screenwriting for Film Cont’d.)
February 27 (M): Peer-Review Workshop
Follow sign-up sheet to discuss student writing
DUE: The Dialogue Scene Submissions need to have been read by all for this week’s Peer-Review
HW: Journal Entry 8
March 1 (W): Peer-Review Workshop Cont’d
HW: Journal Entry 9
March 3 (F): Peer-Review Workshop Cont’d
WEEK 7 (Screenwriting for Film Cont’d.)
March 6 (M): Peer-Review Workshop Cont’d
HW: Journal Entry 10
March 8 (W): Peer-Review Workshop Cont’d
HW: Journal Entry 11
March 10 (F): Peer-Review Workshop Cont’d
WEEK 8 (The Visual Medium and Screenwriting for Television)
March 13 (M): Considering Visual Importance in Screenplays
DUE: Writing Journal (bring in for in-class review)
Writing Action as a Picture Storyline
In-class screening of Enduring Love and group writing exercise
HW: Read Gravity
March 15 (W): Writing for Television
Writing for Television (PowerPoint)
Introduce and Review the Television Episode Assignment (ELMS)
Sign-up for TV peer review discussions, beginning after break (in-class)
SUBSTANTIALLY REVISE SEMESTER WORK FOR MIDTERM PORTFOLIO, work on TV script, and ENJOY THE BREAK!
HW: Read Seinfeld and The Sopranos through ELMS (over break)
March 17 (F): NO CLASS!
HW: Read Seinfeld and The Sopranos, continue working on Portfolios and Television Episodes
WEEK 9 (SPRING BREAK)
March 19-26 (Sun-Sun): SPRING BREAK!
HW: Read Seinfeld and The Sopranos, continue working on Portfolios and Television Episodes
WEEK 10 (Screenwriting for Television)
March 27 (M): Writing for Television Cont’d
DUE: MIDTERM PORTFOLIO INCLUDING MONOLOGUE and DIALOGUE SCENES
Final Script Assignment/Presentation Sign-up!!!
Disney’s in-class screening and examples: Television Clips!
HW: Post Critical Assessment 3 through ELMS
March 29 (W): Guest Speaker!
Guest speaker presentation and Q & A
HW: Television Submissions need to have been read by all for Friday’s Peer-Review
March 31 (F): Peer-Review Workshop
Follow sign-up sheet to discuss student writing
DUE: Television Submissions need to have been read by all for next week’s Peer-Review as well
Post Critical Assessment 4
WEEK 11 (Screenwriting for Television Cont’d.)
April 3 (M): Peer-Review Workshop
April 5 (W): NO CLASS!
April 7 (F): NO CLASS!
HW: Television Submissions need to have been read by all for next week’s Peer-Review as well
WEEK 12 (Screenwriting for Television Cont’d.)
April 10 (M): Peer-Review Workshop Cont’d
HW: Final script preparations
April 12 (W): Peer-Review Workshop Cont’d
HW: Final script preparations
April 14 (F): Peer-Review Workshop Cont’d
HW: Final script preparations
WEEK 13 (Peer-Review Workshop Cont’d and Final Script Presentations)
April 17 (M): Peer-Review Workshop Cont’d
HW: Final script preparations
April 19 (W): Final Script Presentations
Presentations and Feedback
April 21 (F): Final Script Presentations
Presentations and Feedback
WEEK 14 (Final Script Presentations)
April 24 (M): Final Script Presentations
Presentations and Feedback
DUE: Play Attendance and Written Review
April 26 (W): Final Script Presentations
Presentations and Feedback
April 28 (F): Final Script Presentations
Presentations and Feedback
WEEK 15 (Final Script Presentations)
May 1 (M): Final Script Presentations
Presentations and Feedback
May 3 (W): Final Script Presentations
Presentations and Feedback
May 5 (F): Final Script Presentations
Presentations and Feedback
WEEK 16 (Script Presentations Cont’d.)
May 8 (M): Final Script Presentations and Course Wrap-up
Presentations and Feedback
May 10 (W): Final Script Presentations and Course Wrap-up
DUE: FINAL PORTFOLIO INCLUDING TV EPISODE SCENES and FINAL SCRIPT
Presentations and Feedback
Course Wrap-up
Names and Phone Numbers/Email Addresses of Classmates
You are responsible for keeping up with the syllabus and course content even if you are absent. Therefore, you should exchange contact information with at least two classmates so that you can reach them in the event that you miss a class and need to catch up.