UCLA Extension

UCLA Extension Writers Program
Public Syllabus

Note to students: this public syllabus is designed to give you a glimpse into this course and
instructor. If you have further questions about our courses or curriculum, please contact the Writers
Program at (310) 825-9415 or via email at [email protected]. We are happy to answer any
questions and to help you find the best class to achieve your writing goals.

Instructor name: Patricia Verducci

Course Title: Introduction to Screenwriting I

COURSE DESCRIPTION

To learn to tell a feature length story for the screen by exploring the basic elements of screenwriting
premise, character, structure, dialogue, visuals, etc. To complete a polished step outline and write the
first pages of your screenplay.

REQUIRED READING

CHINATOWN. Screenplay by Robert Towne. Grove Press. 1997. Available from UCLA, Amazon,
Borders, and most major bookstores.

RECOMMENDED READING

THE ART OF DRAMATIC WRITING, Lajos Egri. Simon & Shuster, 1960. This book
systematically breaks down the essentials for creating realistic drama and effectively demystifies the
process of creative writing. The chapters on premise and character are especially valuable.

MAKING A GOOD SCRIPT GREAT, 2
nd
Edition, Linda Seger. Samuel French Trade, 1994.
Although this book is geared toward rewriting an existing script, it very clearly sets forth the key
elements of screenplay structure, using solid examples.

THE WRITERS J OURNEY. 2
ND
EDITION. MYTHIC STRUCTURE FOR WRITERS, Christopher
Vogler. Michael Wiese Productions, 1998. This book explores character and story elements
popularized by mythologist J oseph Campbell, and applies them to screenwriting.

LEW HUNTERS SCREENWRITING 434. Lew Hunter. Penguin Putnam, 1993. A good nuts and
bolts how to book.

ON WRITING, A MEMOIR OF THE CRAFT, Stephen King. Simon & Schuster, 2000. A wonderful
book about the process of writing, and what its like to actually live a writers life. This book also
reveals valuable tips on creating a compelling narrative.

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SCREENPLAYS. Read as many as you can! You can go online and find many classic and not so
classic scripts. Look for ones that are in their original format. Check out these sites.

www.simplyscripts.com
www.script-o-rama.com (Drews Script-O-Rama)

You can find extensive hard copy screenplay collections in L.A. at the Academy of Motion Picture
Arts and Sciences, the Writers Guild, UCLA and USC. You can also go online and look for book
collections (www.samuelfrench.com and www.amazon.com are good places to start.)

GRADING CRITERIA

All of your assignments and class participation will be assigned a certain point value, for a total of
1000 points possible.

2 ideas & premises 25 points
Two Minute Movie 100 points
ACT I Step Outline 100 points
ACT II Step Outline 100 points
ACT III Step Outline 100 points
Final Step Outline 100 points
Story Notes 100 points
Pages (5-30) 75 points
Participation (approximately
30 points per week) 300 points
1,000 points

A=900-1000 points F=Below 600 points
B=800-899 points Pass=700-1000 points
C=700-799 points Fail=Below 700 points
D=600-699 points

CLASS POLICIES AND WORKSHOPPING GUIDELINES

This is a writing course-- and well be doing lots of writing. There will also be lectures, discussion,
readings (of your work and produced screenplays), exercises, and film viewings.

Participation is key, and worth 30% of your grade! Class participation is defined as:

1) Making consistent, meaningful contributions to class discussion and discussion of student work.
2) Attending class.

You are not required to have your work read aloud in class, but you are required to join in the class
discourse. Your ideas are important not just to your own work, but to the work of your fellow
students. You can help your classmates immensely just as they can help you. The more you put into
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the course, the more youll get out of it. Also, there are NO dumb questions. If something Ive said is
confusing or unclear, throw up your hand!

The reason this course is structured as a workshop is because this is how professional screenwriters
work. They go off, come up with stuff and bring it back to a group (usually development executives
and producers) for comments. This class will function as your development group. Youll present
your work and get feedback. This way, youll have the benefit of many perspectives. Itll be up to you
which comments to embrace and which to leave alone, but you must demonstrate an openness and
willingness to listen.

I have one rule that is sacrosanct That everyone in the class respect each other.

Giving Notes: Many of you may have already taken workshops and know how to give and take
constructive feedback (i.e. story notes). If not, here are a few tips. Always point out what is working
first, then jump in with questions or things you find confusing. Try to remember what the writers
vision of his/her script is. Its not our job to fix the work, just to give an honest, constructive
response. It is then the critical thinking part of the process for the writer to take the notes that are
helpful, and make them his or her own in the pages.

As I stated earlier, respect is the magic word.

SAMPLE COURSE CURRICULUM FOR TWO CLASS MEETINGS

WEEK 2-- CHARACTER

Lecture Topic: Why cant we forget characters like Michael Corleone, Hamlet, Hannibal Lecter?
More than any other dramatic element, your characters will dictate whether the audience cares about
your movie. What makes interesting, strong, active characters? Whats a protagonist? Antagonist?
How do I motivate my characters? Why must my characters grow? What are character
biographies?
Discuss our film ideas/brainstorm characters
Handouts: Sample Character biographies for Chinatown, Questions to ask about your Characters
Assignment: Pick your idea. Write character biographies for the main characters in your movie.
Watch HOUSE OF SAND AND FOG.

WEEK 3CONFLICT/ACTION

Lecture topic: Conflict and action are the fuel that make movies run. Whats the difference between
internal and external conflict? How do I create conflict for my characters? How can my characters
create conflict for me? Whats foreshadowing? How does action function in drama? Briefly
discuss turning points. Whats a Two-Minute Movie?
Discuss: Questions about characters/Writing exercise: conflict
Handouts: Sample Two-Minute-Movie for Chinatown.
Assignment: Brainstorm in a notebook and identify what the conflict is for your protagonist. What
does your character want? How is he/she thwarted? How far will he/she go to achieve his/her goals?
Get specific. What will be your characters obstacles and how will he/she overcome them? Read
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sample Two-Minute-Movie for Chinatown. Think about what your turning points will be. Write
your Two Minute Movie.

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