English 275: Writing to be Seen: Scriptwriting for Theatre, Film and Television Summer, 2017

Instructor: Douglas Kern E-mail: dkern1980@gmail.com Contact: by email or phone This syllabus is subject to change. Any changes will be announced through ELMs announcements or through e-mail, and students are responsible for keeping up with such changes. In addition to the readings/viewings listed here, other readings/viewings may be assigned from future online sources. Course Overview What sets this course apart from other creative writing workshops is that we are all here to write for performance (or write to be seen, as the course’s title indicates). Basically, the words we write are eventually meant to fly off the page into the mouth of an actor and take on a life of their own. In fact, in essence, we are writing for a spectator and/or listener, not a reader. Therefore, your sense of your audience is crucial and you are never really writing in isolation. Being a writer means that you write and take yourself and your writing seriously, and that is what we will be doing during the three weeks we spend together. In this course, students will be given an introduction to writing for the stage, film, and television! To understand the opportunities and advantages of each different format, you will analyze and critique recorded performances and texts that have been successful in these mediums. You’ll study selected scripts and watch film and television clips as models for your own creative work. Whether you are interested in writing for the stage or screen (big or small), it is of the utmost importance that you READ and WRITE and do both OFTEN (And I mean ‘read’ in the academic sense… in other words, the way we read films or a piece of theatre). You’ll also be asked to share your favorite influential texts and/or film/TV clips as creative catalysts for group writing and discussion. Fundamentally, though, all class participants will engage in frequent writing exercises, and will be able to share and provide feedback for each other’s scripts in a workshop format. By the end, you will have completed several short scripts, and will have a portfolio including many more ideas and extracts for future projects. We all have unique individual voices, and we all have something to say/write. That is why we are here. The key is to practice. Course policies and requirements

1. Regular online participation is required. We are covering a lot over these three weeks. The only way to keep up is through consistent participation online. Lack of participation will adversely affect your ability to participate in online discussions and activities and thus your participation grade. YOU are responsible for catching up on all announcements, or work missed, regardless of whether the lack of participation is excused or unexcused. If you miss assignments, seek out your classmates through ELMS inbox for an explanation of how to catch up. If you have questions, please get in touch with me for further explanation. My policy is to give no make-ups for unexcused missed participation.

2. You are required to write often and keep up with the assigned readings. Failure to submit mandatory assignments or scripts on time will also result in failure for that assignment. Tentat

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3. Major writing will be accepted only on the due dates indicated on the course schedule. On all work, please include a signed copy of the University’s Honor Pledge: “I pledge on my honor that I have not given or received any unauthorized assistance on this assignment/examination.”

4. The final grade will be based on the following: Discussion and Workshop Participation 10% Monologue Script 10% Dialogue Script 10% Television Script 10% Writing Journal 10% Discussions/Critical Assessments of Literary Models 10% Mid-term Portfolio 15% Final Portfolio 25%

University Policies

5. Special Needs: If you have a registered disability and wish to discuss accommodation with me, please be in touch. Disabilities can be registered through Disability Support Services (4-7682 or 5-7683 TTY/TDD).

6. The University has approved a Code of Academic Integrity (http://www.shc.umd.edu/code.html) which prohibits students from cheating on exams, plagiarizing papers, submitting the same paper for credit in two courses without authorization, buying papers, facilitating academic dishonesty, submitting fraudulent documents, and forging signatures. Plagiarism policy: all material taken from other authors, including from the Internet, must be indicated and referenced. Paraphrasing must be referenced as well. As stated above, the University of Maryland Honor Pledge, approved by the University Senate, should be typed on all papers, projects or other academic assignments submitted for evaluation in this course

7. Religious observance: Please inform me of any intended absences for religious observance well in advance (the first two days of this online course). http://www.umd.edu/catalog/index.cfm/show/content.section/c/27/ss/1584/s/1540

8. Regular participation in this class is the best way to grasp the concepts and principles being discussed. However, in the event that an online class must be “missed” due to an illness or emergency, the policy in this class is as follows: For every medically necessary absence from class, a reasonable effort should be made to notify the instructor in advance of the class. When returning to the online space, students must email a note identifying the date of and reason for the absence, and acknowledge that the information in the note is accurate. If a student misses several days consecutively, I require documentation signed by a health care professional. If a student misses a major writing assignment [or other such major grading events] he or she is required to notify the instructor in advance, and upon returning to class, email documentation of the illness, signed by a health care professional.

9. Inclement Weather and Extended Campus Closure: Since we are an online course, a University closure due to inclement weather should not get in our way; students should check their e-mail and ELMS announcements, though we will most likely proceed as normal. We will continue to follow the course outline, and students are responsible for all assignments and course work despite inclement weather.

10. Course Related Policies: http://www.ugst.umd.edu/courserelatedpolicies.html

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Schedule WEEK 1 (Writing for Theatre)

May 30 (T): Introductions (to each other and the Course) & What is Drama? READ Syllabus and Course Policies in full posted under Syllabus through ELMS READ Writing Journal assignment sheet posted under Assignments through ELMS; Note: Journals due Jan. 20th

READ the Art of Dramatic Writing (ADW pgs.) 1-31 (Premise) posted under READINGS/VIEWINGS through ELMS

DUE by 10pm: Brief Individual Bios/Intros posted through Discussions on ELMS NOTE ON JOURNALS: You will be required to engage with at least 4 journal

entries during each week of this course. I'll guide you along with several prompts, themes, and suggestions to write about through ELM’s announcements, but be sure to keep up with journal entries as you move forward… from now on, they won’t be listed on the syllabus as you are meant to use these journals often to KEEP WRITING.

May 31 (W): Writing Monologues for the Stage

WATCH Lecture on What is Drama? WATCH Simon Stephen’s Sea Wall READ the Writing Workshop Participation (Monologues) assignment posted

under assignments through ELMS READ “Operation Premise and Theme” from How to Be Your Own Script Doctor

posted under READINGS/VIEWINGS through ELMS June 1 (Th): Premise

READ Simon Stephen’s Sea Wall (Posted under READINGS/VIEWINGS through ELMS)

WATCH Lecture on Premise (Posted under READINGS/VIEWINGS through ELMS) DUE: Critical Assessment 1 posted through Discussion on ELMS, Respond to

at least two bios/intros by 10pm & BEGIN WRITING YOUR MONOLGUES FOR SUBMISSION

June 2 (F): Character and Monologue READ ADW pgs. 32-43 (The Bone Structure) posted under READINGS/VIEWINGS through ELMS Continue Writing Monologue Drafts (see the Writing Workshop Participation (Monologues) Discussion in ELMS) WEEK 2 (Monologue Workshop, Drama as Social/Cultural Commentary, Writing for Film)) June 5 (M): Monologues for Peer-Review Workshop READ ADW pgs. 59-77 (Character Growth) posted under READINGS/VIEWINGS through ELMS DUE: Individual Monologue Submissions (for peer review of these submissions, see the assignment and schedule, read, provide written feedback, and repost your two peer reviewed scripts to the Writing Tentat

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Workshop Participation (Monologues) Discussion in ELMS with written feedback June 6 (Tu): Drama as Social/Cultural Commentary

READ Dutchman posted under READINGS/VIEWINGS through ELMS June 7 (W): Presenting Conflict in Storytelling, and Exposition and Writing Conflict through

Dialogue READ ADW pgs. 43-59 (Environment and The Dialectical Approach) posted

under READINGS/VIEWINGS through ELMS June 8 (Th): Drama as Social/Cultural Commentary, Presenting Conflict in Storytelling Cont’d.

READ ADW pgs. 106-124 (Pivotal Character, The Antagonist, Orchestration, and Unity of Opposites) posted under READINGS/VIEWINGS through ELMS

June 9 (F): Drama as Social/Cultural Commentary, Presenting Conflict in Storytelling Cont’d.

READ ADW pgs. 106-124 (Pivotal Character, The Antagonist, Orchestration, and Unity of Opposites) posted under READINGS/VIEWINGS through ELMS

WATCH Dutchman posted under READINGS/VIEWINGS through ELMS DUE by 10pm: Critical Assessment 2 posted through Discussion on ELMS

WEEK 3 (Writing for Film) June 12 (M): Considering Conflict in Screenplays and Dialogue

READ the Writing Workshop Participation (Dialogues) assignment posted under assignments through ELMS

READ How to format a Screenplay posted under READINGS/VIEWING through ELMS and download Celtx: https://www.celtx.com/index.html

June 13 (Tu): Considering Conflict in Screenplays and Dialogue

READ ADW pgs. 125-136 (Conflict, Origin of Action and Cause and Effect) posted under READINGS/VIEWINGS through ELMS

June 14 (W): Considering Conflict in Screenplays and Dialogue WATCH Star Wars: Episode IV, A New Hope posted under Modules/Online Media Reserve through ELMs

DUE: BEGIN WRITING YOUR DIALOGUES FOR SUBMISSION June 15 (Th): The MDQ and Three-Act Structure READ ADW pgs. 238-245 (Dialogue) posted under READINGS/VIEWINGS through ELMS WATCH the Major Dramatic Question and Three Act Structure Lecture posted under READINGS/VIEWINGS through ELMS

DUE: Discussion: Major Dramatic Question posted through Discussions on ELMS & CONTINUE WRITING YOUR DIALOGUES FOR SUBMISSION

June 16 (F): Writing Dialogue Tentat

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READ “Operation Dialogue” from How to Be Your Own Script Doctor posted under READINGS/VIEWINGS through ELMS BEGIN READING Gravity posted under READINGS/VIEWINGS through ELMS CONTINUE WRITING YOUR DIALOGUES FOR SUBMISSION WEEK 4 (Dialogue and Writing for Television) June 19 (M): Dialogue Submissions FINISH READING Gravity posted under READINGS/VIEWINGS through ELMS DUE by 10pm: Individual Dialogue Submissions (for peer review of these submissions, see the assignment and schedule, read, provide written feedback, and repost your two peer reviewed scripts to the Writing Workshop Participation (Dialogues) Discussion in ELMS with written feedback June 20 (Tu): Writing Visually and Writing for Television WATCH Screenwriting for Television (PowerPoint) posted under READINGS/VIEWINGS through ELMS

READ the Writing Workshop Participation (Television) assignment posted under assignments through ELMS

READ Seinfeld Script posted under READINGS/VIEWINGS through ELMS DUE by 10pm: Critical Assessment 3 (upload through Discussion on ELMS)

June 21 (W): Writing for Television

DUE: Submit Dialogue Peer Reviews & BEGIN WRITING YOUR TELEVISION SCRIPTS FOR SUBMISSION & Continue to polish/revise monologues and dialogues for mid-term portfolio

June 22 (Th): Writing for Television

BEGIN READING Sopranos Script posted under READINGS/VIEWINGS through ELMS DUE by 10pm: Critical Assessment 4 posted through Discussion on ELMS &

CONTINUE WRITING YOUR TELEVISION SCRIPTS FOR SUBMISSION & Continue to polish/revise monologues and dialogues for mid-term portfolio

June 23 (F): Writing for Television Cont’d. CONTINUE WRITING YOUR TELEVISION SCRIPTS FOR SUBMISSION WEEK 5 (Writing for Television Cont’d.) June 26 (M): Writing for Television Cont’d.

Finish Reading Sopranos Script posted under READINGS/VIEWINGS through ELMS

June 27 (T): Writing for Television WATCH Writing for Television Lecture Tentat

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June 28 (W): Television Scripts and Mid-term Portfolios DUE by 10pm: Submit revised Monologue and Dialogue Scripts through the Mid-Term Portfolio assignment posted through ELMS & Continue Writing Television Scripts for Submission June 29 (Th): Television Scripts Continue Writing Television Scripts for Submission June 30 (F): Television Submissions

DUE by 10pm: Individual Television Submissions (for peer review of these submissions, see the assignment and schedule, read, provide written feedback, and repost your two peer reviewed scripts to the Writing Workshop Participation (Television) Discussion in ELMS with written feedback

WEEK 5 (Television Workshop and Final Portfolio Preparation) June 26 (M): Final Portfolio Continue to expand/polish/revise Monologues or Dialogues for Final Portfolio June 27 (Tu): Final Portfolio Continue to expand/polish/revise Monologues or Dialogues for Final Portfolio June 28 (W): Television Peer Review and Final Portfolio Cont’d.

Television Peer Reviews & Continue to expand/polish/revise Monologues or Dialogues for Final Portfolio

June 29 (Th): Television Peer Review

DUE by 10pm: Submit Television Peer Reviews & Continue to expand/polish/revise Monologues or Dialogues for Final Portfolio

June 30 (F): Television Revisions and Final Portfolio Cont’d.

Review Television Peer Reviews & Continue to expand/polish/revise work for Final Portfolio

FINAL WEEK (Course Wrap-up) July 3 (M): Final Portfolio Continue to expand/polish/revise TV Scripts and Monologues or Dialogues for Final Portfolio July 4 (Tu): Final Portfolio Continue to expand/polish/revise TV Scripts and Monologues or Dialogues for Final Portfolio Tentat

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July 5 (W): Final Portfolio Continue to expand/polish/revise TV Scripts and Monologues or Dialogues for Final Portfolio July 6 (Th): Final Portfolio Continue to expand/polish/revise TV Scripts and Monologues or Dialogues for Final Portfolio July 7 (F): Course Wrap-up DUE: Final Portfolios (Including Your Revised TV Script and Final Monologue or Dialogue Script) Course Wrap-up (e-mail) Names and Phone Numbers/Email Addresses of Classmates You are responsible for keeping up with the syllabus and course content if you intend to remain in the course. Therefore, you should exchange contact information with at least two classmates so that you can reach them in the event that you “miss” anything and need to catch up. You can engage with initial contact with peers from the course through ELM’s inbox. Simply choose our course and a student to message them for further contact details.

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