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Introduction to Playwriting and Screenwriting

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Oakland Community College, Winter 2007

(Advisory: Extensive use of music in every class…)

Instructor: Dr. David L. James

Office Hours: Tues./Wed.: 11:00-12:00; Wed.: 3:40-5:40 p.m.; Thurs.: 8:15-9:15 a.m. or by appt.  Email is an excellent way to contact Dr. James.

Office: G-205, Orchard Ridge Campus

Class:  Thursdays: 9:30-12:25 p.m.

Phone/e-mail: (248) 522-3685       dljames@oaklandcc.edu

Web page: www.oaklandcc.edu/or-eng/dljames/djhome.htm

Required Texts: Take Ten II, Lane and Shengold; and Making a Good Script Great, Linda Seger.

Course Description: Prerequisite: English Composition I.  This course will explore the essential elements of playwriting and screenwriting: plot strategy, authentic dialogue, character development, format, publication and production.  After reading numerous plays and filmscripts, students will compose original creations, receive and provide constructive feedback, and revise their work.                                                                        (3 credits)

Course Objectives:

Students will

·        Write original one-act plays and screenplays and present their work to class

·        Respond constructively to other people’s writing and listen to others respond to theirs

·        Learn the basic elements of drama and film writing

·        Research one screenplay in depth and be part of a 10-minute presentation

·        Read a variety of plays and filmscripts, critically analyzing their structure

·        Revise and re-envision their creative work based upon feedback

·        State their philosophy of writing in their final portfolio

·        Develop an aesthetic appreciation for literature

·        To think critically and creatively

A:   200-190                  A-:   189-180

B+: 179-171                B:      170-165                  B-:  164-158

C+: 157-147                C:      146-140                  C-: 139-121

D:   120-110                 WP:  109 or lower

Portfolio Grading:

Two stapled portfolios are required from each writer.  A play portfolio and a screenplay portfolio are due at key times during the semester.  All entries should be typed, in the most finished form possible with the assignment number listed in the upper right corner.  A minimum one-page reflection paper (double-spaced) is required at the beginning of each portfolio addressing this question: What have I learned about my writing so far this semester?  Portfolios lacking an in-depth reflection are marked down by 2 points. Students not fulfilling all of the portfolios will receive a ‘WP’ mark.  Late portfolios will be marked down by 6 points automatically (12 points if more than one week late).

Quizzes:

Two 20 point quizzes will be given during the semester, one on drama and playwriting, the other on film and screenwriting.  Missed quizzes may be made up before the end of one week.  Your final score, however, will be marked down by 2 points automatically.

ADA:

Students requiring special assistance (including those affected by the American with Disabilities Act) should contact the PASS Office, (248) 522-3480, Room K-111, who will inform the instructor of any special conditions pertaining to the students’ learning.

Attendance Policy (1 day/week class):

Your participation in class discussions, activities, and in-class writings is an expectation of attendance.  You may miss two classes without penalty (except if you’re absent during a quiz, which lowers your quiz grade).  Life happens, among other things.  Beyond that, your lack of presence is harmful to both you and your fellow writers.  Each absence after two will lower your final grade by 8 points.  Arriving 20 minutes late or leaving early constitutes a ½ absence.  To inspire those diligent creative writers who attend class, 10 points will be ADDED to your grade if you have less than two absences for the entire semester.

Instructor Comments:

My job is threefold: 1) to create an environment that stimulates your creative juices and gets you writing; 2) to provide constructive feedback on your writing; and 3) to enhance your knowledge of the literary characteristics of playwriting and screenwriting.  Regardless, as an instructor, I am at your mercy: you must put forth the energy, hard work, reflection, and desire to do the reading and the writing week after week. 

1.      I do not grade individual pieces.  I write comments and suggestions for your use in revision and rewriting.  I expect you to rewrite and revise your work before including it in the portfolio.

2.      I am looking for clarity, mechanical skill, originality, creativity, vividness.

3.      I will constantly probe and question and may never appear to be satisfied.

4.      I don’t expect greatness.  I expect effort and dedication.  You learn from your mistakes.  You re-create, re-see.  A work of art is never finished. As Paul Valery once said, “An artist never finishes his work; he merely abandons it.”

5.      Quantity can get you a B or a C grade on the portfolios, but only quantity and quality can earn an A grade on the portfolios.  Like in real life, this is a subjective decision by the instructor.

6.      I expect lively, rowdy, loud discussion in class.  We may not always find the answers, but the questions we raise are more important.  I expect you to be honest, civil, and kind to each other, working with a spirit of helpfulness.

7.      I expect you to do well in this class.  I strongly believe that everyone has the potential to be creative; it simply takes determination and motivation to discover that creativity.

Presentation (12-20 points):

With an assigned partner, select and read an entire screenplay and give us your analysis in a 10 minute presentation.  Provide some biographical information about the screenwriter(s). Describe what surprised you about the screenplay.  What do you think worked well, and what didn’t work well, and why?  Perhaps explore how the movie differed from the screenplay.  What techniques were used in the screenplay that you thought worked especially well?  Can you point out Plot Point I (page) and Plot Point II (and page)?  Explain your overall impression of the quality of the screenplay, providing specific reasons. A handout is required for the entire class.

Extra Credit: Play Attendance and Paper (up to 10 points)

Students may attend a play and write a 1-2 page typed response to the performance.  Briefly retell the story (plot).  Detail which characters were most interesting to you and why.  Evaluate the entire experience—props, scenery, acting, costumes.  Rate the play performance on an A, B, C, D scale and explain why you gave it a particular grade.  Include your theatre playbill with the paper. Must be submitted by the 13^th class.

Last Day for 100% Refund: Close of 6^th business day from start of class

Last Day for Withdrawing: Friday of the 12^th week of class

Spring Break: Feb. 26-March 3

Last Day of Semester: April 30

ENG 2780: Schedule of Events

Class                    Assignments

1                           Introduction; aspects of drama/playwriting; read “Marred Bliss” in class

2                                  Form and Convention; Take Ten: Playwriting 101: 269

3                                  Character; Take Ten: It’s Not You: 153; The Levee: 185; Assn. #1

4                                  Structure/Plot/Tragedy; Take Ten: Arabian Nights: 17; Men’s Intuition: 207; Assn. #2; helping circle

5                                  Dialogue/Theatre of Absurd; Take Ten: Emotional Baggage: 99; Daniel on a Thursday: 47; helping circle; read “Act Without Words II” by Samuel Beckett

6                                  Take Ten: Twenty Dollar Drinks: 355; Assn. #3; view “Act Without Words II”

7                                  Take Ten: A Whole House Full of Babies: 393; Fight Dreams: 121; helping circle; Drama Quiz

8                                  Play Portfolio DUE; Making a Good Script Great: chap. 1 and 2 (gathering ideas, 3-part structure); Screenplay Presentation Guidelines

9                                  Making: chap. 5 (scene development); Seger video I; presentation prep time

10                                Making: chap. 9, 11 (character); Assn. #1; Seger video III

11                                Making: chap. 10 (conflict); Assn. #2; helping circle; Seger video II

12                                Making: chap. 7 (commercial); helping circle; presentations

13                                Helping circle; Assn. #3; movie examples; presentations

14                                Helping circle; movie examples; presentations

15                                                                Screenplay Quiz; Screenplay Portfolio DUE; presentations

subject to minor revisions

ENG 2780: PLAYWRITING ASSIGNMENTS

Double-space all plays, use 12-point typeface,

and submit them in proper play production form.

ASSIGNMENT #1

One-Page Play: Write a one-page play.  Focus on some intense conversation, argument, or conflict and try to resolve it in one page.  If you have to go to a second page, it’s okay, but make sure it’s less than two pages.

ASSIGNMENT #2

The Love Problem (1-3 pages): Write a play involving a “relationship” in turmoil of some type:

·        woman/man confronted about flirting with others

·        one wants a permanent relationship, the other does not

·        one wants a baby, the other does not

·        one wants to go out on a date and the other does not

·        any other crucial relationship problem

ASSIGNMENT #3

Pick one or more of the following and write a 2-5 page play.

·        create a play in the ‘theatre of the absurd’ genre, one in which theatre conventions are broken on purpose (anti-theatre)

·        create a play that has a non-realistic component to it (either the characters or the setting or the situation)

·        write a play that places a famous dead person in a new situation with conflict

·        write a play in which the characters consistently misunderstand or misinterpret what each other is saying

James

ENG 2780: SCREENWRITING ASSIGNMENTS

Submit screenplays using proper filmscript form as described in the text.

ASSIGNMENT #1

Visual Exercise (1-2 pages): Create a visual scene (no dialogue) that would be the beginning of a film that would convey one of the following ideas:

·        a woman, fearing the return of her husband

·        a man, depressed, after his woman has left him

·        a boy, a loner, who believes no one understands him

·        a young woman, nervous, anxious, waiting for a job interview

·        a person after finding out his/her father has just died

ASSIGNMENT #2

Conflict Dialogue Scene (2-3 pages): Create a film scene between two people arguing over (pick one):

·        who gets the kids after the divorce

·        breaking up

·        lying to each other

·        who should get the promotion

·        some other juicy made-up confrontation

ASSIGNMENT #3

Pick one of the following:

A Short Film (5-7 pages): Write a 5-7 minute film with a beginning, middle, and end.  Remember, it should have a hook, a confrontation, and a resolution in abbreviated form.  This should be a script you could make into a short film! (Email this final assignment as a Word attachment so film students at OCC can consider making it into a short film, with your permission, of course.)

Act I Film Exercise: (5-10 pages): Try to write the beginning of your own full-length screenplay.  Remember, the first 10 pages (first 10 minutes) is one of the most crucial parts of any filmscript (and film).

James

James