SYLLABUS: CREATING SCRIPTS/ ADVANCED – SPRING, 2006

HUAS 7354.501 Classroom: GR 4.208

Instructor: Ken Harrison Thursdays, 7-9:45 pm
Office: Jonsson 5.712 email: khfilms@sbcglobal.net

Office Hours:

Thursdays, 4:30-6:30 p.m. and by appointment. You are required to have one office conference with
me during the story development stage of the course. This must take place before the fifth class.

Course Description:

This course is a workshop in feature film screenwriting. During the first part of the semester, students
will read and analyze produced screenplays, watch films from the perspective of the writer, complete
a variety of writing exercises and develop an original film idea to the outline stage. During the
remainder of the semester, students will write the screenplay for a full-length feature, read and
critique fellow students' work and participate in group workshops. At the end of the semester, a
revised version of the student's screenplay will be submitted in lieu of a final examination.

Required Texts:

Story Sense by Paul Lucey

Complete Guide to Standard Script Format--Part I: The Screenplay by Hillis Cole and Judy Haag

Requirements:

All work must be computer printed or typed. Multiple copies of original work will be required in
numbers sufficient for complete classroom distribution. Photocopying is to be done at the student’s
expense. For purposes of class distribution only, students may offer drafts using two sides of each
page. All assignments must be properly identified as per student name and subject matter and
contain page numbers. Some type of script formatting software is essential to success in this course.

Grades:

In this class you will not be graded on "creativity" or "talent" per se. If you have these two elusive
qualities and use them, you will do well. If you have them and blow off the work, you won't. The main
thing I will look for is the progress you make in understanding the nature of the screenplay.

As for the objective criteria for grading, they are:

1. Class Attendance: There will be no excused absences. Since one of our weekly sessions is equal
to three classes, more than one absence can drastically reduce your semester grade. Habitual
tardiness can also lower your grade. Students are required to attend ALL meetings, and to be on
time and prepared to begin when the class commences. All cell phones must be turned off during
class.

2. Assignments: All assignments count toward your final grade and it is very important that they be
turned in on time and in good order. No e-mailed or late work will be accepted. Failure to provide
Assignments must comply with rules of proper format, spelling and grammar. Students will be
expected to provide written critiques of peer work in addition to written script analyses, scenes and
other developmental assignments. In addition, students will be required to read assigned work from
the text and to be able to discuss it. Positive class participation, especially in the workshop
discussions, is also critical.

In lieu of a final examination, you will be expected to turn in a copy of your revised screenplay. The
work must meet professional standards of script formatting, grammar, spelling, etc., and will be
graded on clarity of expression and understanding of technique.

3. Grade percentages--Your final grade will be computed this way:

20%--Initial exercises and script development assignments
20%--Class participation.
20%--Workshop critiques, both written and oral
20%--Screenplay first drafts
20%--Revised final screenplay

Work Load:

Students are advised that screenwriting is not a leisure activity. The work load in this course will be
extraordinarily heavy, intense and fast-paced. Students are also advised that the production of an
original script is a considerable undertaking all by itself; when the burden of analyzing scripts and
films as well as reading others’ work and producing written critiques is added, the load increases
proportionately. When the prospect of doing so for graded evaluation is concerned, crises can
develop. Students should anticipate such crises and strive to avoid them.

Other matters:

Students who are physically challenged or otherwise in need of special assistance are advised to
contact the office of student services.

Cheating, counterfeit work, dishonesty of any kind will not be tolerated in this course. Unless prior
permission is obtained, students should not turn in work for this course that was created, all or in part,
in conjunction with another course.
 SPRING, 2006 SCREENPLAY WORKSHOP ASSIGNMENTS

Note: Unless otherwise noted, assignments listed below are due the following class.

1/12: 1. Read Story Sense, chapters 1-3 + "Pitch" pg. 326-330. (NOTE: Read the entire format text
by the 1/26 class.)
2. Read a feature screenplay script and analyze using handout as a guide with page
numbers as reference.
3. Watch the assigned feature movie and analyze using handout as a guide with hour/minutes
as reference.
4. Revise your log-line and write a "3-6-3" synopsis of your script as per instructions.
5. Schedule a story conference with me during office hours. All conferences must be
completed before the 2/02 class.

1/19: 1. Read Story Sense, chapters 4-6.

2. Write outline – due next week.

1/26: * Outline due tonight – review. Start writing Act I (due in two weeks).
1. Read Story Sense, chapters 7-8
2. Write a two-page dialogue scene in master form (no camera directions) as per instructions.

2/02: Continue writing Act I (due next week).

2/09: * Act I due tonight

1. Read your group's Act I copies and write critiques as per instructions.
2. Start writing Act IIA, due in two weeks.

Note: the following is the Workshop Schedule and the dates refer to classes to be held that night.

2/16: Group #1/Act I Workshop.

2/23: Group #2/Act I Workshop (both groups turn in Act IIA).

3/02: Group #2/Act IIA Workshop. (We switch groups here so that G2 can get the benefit of
critiques before turning in Act IIB, due next class period.)

3/09: Spring Break

3/16: Group #1/Act IIA Workshop (both groups turn in Act IIB).

3/23: Group #2/Act IIB Workshop.

3/30: Group #1/Act IIB Workshop (both groups turn in Act III, read Story Sense, chapter 11, and
begin revising script).

4/06: Group #2/Act III Workshop (both groups read SS chapter 12).

4/13: Group #1/Act III Workshop

4/29: "Final": Revised screenplay turned in.