WEEKS 10-11 Thursday 19 April, 10-12 - Complex narrative (2), Mulholland Drive - Screening, Friends...

WEEKS 10-11

Thursday 19 April, 10-12

- Complex narrative (2), Mulholland Drive

- Screening, Friends (1 ep.)

- Shorter (TV) formats

Thursday 26 April, 11 am – 1 pm

- Guest talk: Roland Moore

U64006 INTRODUCTION TO SCREENWRITING

WEEK 9

Development

Guidelines for written assignment

DEVELOPMENT PROCESS

• Idea (theme) • Subject Premise (?)• Outline• Treatment• Step outline (breakdown)• Screenplay

U64006 Introduction to Screenwriting

DEVELOPMENT PROCESS

PRODUCERS ASK FOR:

• One-sheet• Presentation outline (package)• Treatment(s)• Script(s)

Proposal READER (Producers? Co-writers? Actors? Agents?)


ONE-SHEET (or POP)

1-page synopsis:

• Name and contact details (top left)• Title• Logline (or hook, or premise)• Story summary


ONE-SHEET (or POP)

FORMAT

• Conservative font (Times New Roman, Helvetica, Arial, Calibri), size 11-12, left margin

• Single spacing, double between paragraphs

• No graphics, no fancy


ONE-SHEET (or POP)

1-page synopsis:



LOGLINE (or hook, or premise statement)

Short, one to three sentences statement (25-30 words), which captures the essential elements of the story/screenplay

“King slays father, beds mother, learns truth and tears out his eyes”

Sophocle’s Oedipus Rex


PREMISE



Start from a synopsis/outline, then slash it down to the very essence of the story.

LOG LINES (from Bicat & MacNabb, Creative Screenwriting)• Captivating title (creates expectations)• Overriding themes• Introduce characters (names, job, function)• Set the scene (where and when)• Evoke colour, taste and smell



Example – The Silence of the Lambs

“Buffalo Bill skins girls to make his clothes. FBI trainee Clarice needs help of cannibal psychiatrist to stop him. What price must she pay?”



TITLE – Lambs=innocence + silence=sinister

1st sentence – “Buffalo Bill skins girls to make his clothes.”

Western name nickname serial killer character #1 (sinister) genre (crime, thriller)



2nd sentence – “FBI trainee Clarice needs help of cannibal psychiatrist to stop him.”

Character #2 name (soft) female (potential victim) FBI (but not expert) when and where (nowadays, USA) + type of story (detective, investigation)

Character #3 psychiatrist (mind, psyche) cannibal (contradiction, insane)

3rd sentence – “What price must she pay?”

Price = something to lose, risk danger thrill


LOGLINE

A LOGLINE should contain the following information:

1. The genre of the screenplay (e.g. thriller, romantic comedy, etc.). a. To this may be added a reference to similar

screenplays.b. You can also fit in a reference to the Type of

Story or Plot Type (e.g. redemption plot, maturation plot).

2. Hint at a narrative form/structure (episodic, multi-stranded, circular, etc.)

3. A rough description of characters (their names, central role in the action of the

story, essential problem which results in their conflict with the antagonistic force)


LOGLINE

A LOGLINE should contain the following information:

4. A description of the dominant antagonistic force (enemy, natural disaster, self doubt, corruption, etc.)

5. A reference to location and time.

6. An active question which arises from the conflict outlined between the central dramatic forces and which provides enough of a hook for the reader to make them want to hear, or read (NOTE: Do not give away the end of your story!)


LOGLINE

How to assess whether a LOGLINE works?

When writing or reading a logline/hook ask yourself the following questions:

1. Who or what is the narrative about? What is the dramatic problem? And why can't it be solved?

2. What type of story is it?

3. Where is the dramatic conflict coming from? What/who is the antagonistic force?

4. What form and genre of screenplay does this idea belong to?

5. What is original about it? What is familiar?

6. What will an audience be interested in it?


ONE-SHEET (or POP)

1-page synopsis:



STORY SUMMARY

4-500 words, condensed recount of ALL main story elements (NOT A LIST). Includes:

Setting Type of story Main character(s) Main and underlying themes Antagonistic force / main conflict Goal(s) to achieve Hint at a narrative pattern (plots and

structure), connections between the story events


STORY SUMMARY

Questions arisen Where/when is the story set? How will s/he manage to...? What are the relationships between the

characters? What conflicts are created between the

characters? Are disputes, problems solved in the end?

How? What happens to...? What are the outcomes when relating the

character to society? Does the outline have a particular

structure?


FROM LOGLINE TO SUMMARY

HOOK/LOGLINE OF THE FULL MONTY“Six men. With nothing to lose. Who dare to go....”

Characters

and setting

Relationships

Themes

Problems

Conflicts

Goal & Plot


SUMMARY OF THE FULL MONTY


Protagonist, setting, main conflict/antagonist/goal

Other characters (allies, enemies), relationships, themes, subplots



Plot(s) developed

Outcomes, disputes vs antagonists (both ext. and int.) solved

3-ACT STRUCTURE – General pattern

1.Conflict: the hero takes on a problem

2.Crisis: the hero can’t solve the problem

3.Resolution: the hero solves the problem




What the story is all about

Act 1 (hero takes on challenge)

Act 2 - Highs



Act 2 – Lows (crisis, all lost)

Act 3 – Big climax, resolution

TIPS FOR SYNOPSIS/STORY SUMMARY

• Bulk of the story told in blocks – few paragraphs (usually 4-8)

• Simple present• Simple style: crisp and concise• Simple sentence structure: who does what• No dialogue• Keep descriptions to a minimum• Mostly about plot, characters, motivation, themes• Includes WHOLE structure/story, and ending• BUT focus on main plot points and their

consequences (setup, disturbance, build-ups, climaxes, turning points, setbacks)

• DO NOT “explain” plot points and story elements

OUTLINE

Misleading term, used to refer to:

• Synopsis/one-sheet• Any treatment• Presentation package

PRESENTATION PACKAGE

• One-sheet• Sketches of main characters, i.e.

protagonist(s), antagonist(s), main secondary characters

• Key players’ (director, writer, producer) bios and track records

• Concise production plan, market strategy, value, scope, etc.

• Contact details• 3-8 pages

DEVELOPMENT PROCESS

PRODUCERS ASK FOR:

• One-sheet• Presentation outline (package)• Treatment(s)• Script(s)

Proposal READER (Producers? Co-writers? Actors? Agents?)


TREATMENTS

Stories must be “TREATED”

• Step outline (or beat sheet, NOT scene breakdown)• Spec treatment (or short treatment, or beat

treatment, or full outline) = 3-6 (up to 12) pages• Draft treatment = 30-50 pages

The term “treatment” is sometimes used to refer to any story summary.

NB – Different from synopsis written by story editors/script readers

COURSEWORK #4Written Assignment: 2-page story outline (25%)

• Develop own story idea for a narrative feature film.

The outline of the story must include:

• Page 1: a one-sheet, i.e. name + title + logline + synopsis of the narrative with clear indication of act breaks

• Page 2: brief sketches of the main characters (including traits, back stories, dynamics)

• Wordcount – 1,000 words (+/- 10%). Penalty applies for incorrect wordcount.

DEADLINE for submission – Thursday 3 May (wk12), start of class.

You MUST submit:

• a printed copy.

• a DOC or PDF file of the outline via email.

SCREENWRITING ADVANCED

Note – Students undertaking Screenwriting: Advanced Level in Year 2 will use this story outline to develop their own scripts.

•Outline (one-sheet + character sketches)•Beat sheet•Short treatment (3 pp., full story)•Script (Act 1, 30 pp.)

WEEKS 10-11 Thursday 19 April, 10-12 - Complex narrative (2), Mulholland Drive - Screening, Friends...

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