STANDARD COMPETENCIES:

 

 1. Demonstrate expertise in alternative and character-driven narratives.

 2. Compare structural paradigms of character-driven and concept-driven narratives.

 3. Demonstrate how budgetary restrictions influence and shape character, story and structural designs, with particular emphasis on how to turn limited locations, limited cast size and limited story length into narrative strengths.

 4. Show how to relate story material (subject matter, concept, theme, character and context) to narrative approach.

 5. Demonstrate clear understanding of multiple plot lines to create a unified narrative whole.

 6. Demonstrate how to break the writing process into the following steps:  conceptualization, outline, treatment, script.

 7. Demonstrate a working knowledge of screenwriting conventions, including but not limited to: dialogue, dialogue trees, formatting, setting, theme, character, dramatic structure and conflict.

 8. Show how to use dramatic beats to build scenes; use scenes to build scene sequences; use sequences to build acts, and use acts to build an entire film.

 9. Develop and apply critical thinking, aesthetic perception and written communication skills to identify strengths and weaknesses in the works of others and to synthesize these analytical techniques into self-reflection and evaluation of their own works.

 10. Create a personal writing plan, writing schedule and deadlines for submission to class for peer review and instructor feedback.

 11. Write complete first draft of script.

 TOPICAL OUTLINE:

 

 Development of Story Concept and Character Design

  A.  Concept Model Approach:  Creating concepts and designing characters specifically to explore these concepts.

  B.  Character Model Approach:  Creating characters and designing concepts to explore character.

 II.    Exploring the Effects of Limited Production Budgets on:

  A.  Story length

  B.  Story structure

  C.  Subject matter/Genre

  D.  Character design and development

  E.  Scene development

  F.  Setting

  III.     Approaches to Structure

  A.  Character-based structural designs.

  B.  Going beyond the three-act structure.

  C.  Traditional versus non-traditional narrative.

  IV.    Alternative Narratives

  A.  Non-traditional narrative

  B.  Experimental story forms

  C.  Approaches to non-linear narrative

  D.  Personal storytelling.

 V.      Story Research

  A.  Investigating the world of the story.

  B.  Accounting for background and historical context.

  C.  Influences of research on character and narrative.

 VI.     Prewriting

  A.  Developing a personal writing plan.

  B.  Writing the outline and treatment.

  C.  Writing creative loglines.

  D.  Creating a writing schedule.

  VII.    Writing the Script

  Script is written based on:

  A. Milestones set in a student’s personal writing plan.

  B. Course schedule.

  VIII.   Workshopping

  A.  Table reads.

  B.  Feedback from instructor and peers.

 IX.      Completion of First Draft