Rewriting the Feature Length Screenplay
16 Week Syllabus
Writing is creating something out of nothing. Rewriting is creating something out of what is there.
Robert Towne, Writer/Director
Robert Towne, Writer/Director
Course Description:
The objective of the course is to learn how to rewrite a feature length screenplay. The class environment will be a workshop and all students are expected to be involved in discussions of each project. Rewriting one’s own material is probably the most difficult discipline in the field of screenwriting. To succeed, the writer must reconnect their original intent, discover what needs to be improved, and then plan how they will revise the screenplay.
It is very difficult for writers to have perspective and insight toward their screenplays. Often, they are attached to material that, for one reason or another, is not working and may be the wrong approach. Writers must learn to let go and embrace new ideas. This can be a difficult and sometimes painful experience, but is also necessary process to go through to take their work to another level. Students must come to class with an open mind, a willingness grow and a desire to move their story in new directions.
Each aspect of the screenplay will be analyzed and reconsidered. The review of screenwriting are especially important in this course since many times it is necessary to step back to make sure the script is on the course originally intended by the writer. Where first drafts are about discovery, second drafts, and third drafts are about adding depth and dimension.
Objectives:
Required Reading:
Screenwriting is Rewriting by Jack Epps, Jr. Bloomsbury Academic, New York, London, 2016, ISBN: 9781628927405
The objective of the course is to learn how to rewrite a feature length screenplay. The class environment will be a workshop and all students are expected to be involved in discussions of each project. Rewriting one’s own material is probably the most difficult discipline in the field of screenwriting. To succeed, the writer must reconnect their original intent, discover what needs to be improved, and then plan how they will revise the screenplay.
It is very difficult for writers to have perspective and insight toward their screenplays. Often, they are attached to material that, for one reason or another, is not working and may be the wrong approach. Writers must learn to let go and embrace new ideas. This can be a difficult and sometimes painful experience, but is also necessary process to go through to take their work to another level. Students must come to class with an open mind, a willingness grow and a desire to move their story in new directions.
Each aspect of the screenplay will be analyzed and reconsidered. The review of screenwriting are especially important in this course since many times it is necessary to step back to make sure the script is on the course originally intended by the writer. Where first drafts are about discovery, second drafts, and third drafts are about adding depth and dimension.
Objectives:
- Learn the process of rewriting
- Receive and organize notes
- Create a strategic game plan
- Execute the game plan through a series of focused passes
- Strengthen the main character’s story and arc
- Strengthen elements of conflict through relationships
- Add layers of complication and conflict
- Receive a last set of notes to revise after the class is completed
Required Reading:
Screenwriting is Rewriting by Jack Epps, Jr. Bloomsbury Academic, New York, London, 2016, ISBN: 9781628927405
16 WEEK COURSE SCHEDULE AND SYLLABUS
Week 1
Week 2
Week 3
Week 4
Week 5
Week 6
Week 7
Week 8
Week 9
Week 10
Week 11
Week 12
Week 13
Week 14
Week 15
Exam Week
*Index card vs. outline presentations: Making a verbal presentation in front of the class is a great way for students to talk about their stories. They also learn a great deal about their story by talking it through. As described on pages 102-104 in Screenwriting is Rewriting, index cards laid out across a table or taped to a wall gives students a great visual overview of their stories. It is easier to move scenes around with Index cards then with an outline. In addition, using color coded cards also helps students see how their relationships and subplots are dispersed across the entire screenplay. Often students are surprised to see all the green cards or blue cards bunched together in the middle of the second act. They quickly realize they need to do a better job balancing their characters, relationships, and subplots throughout their entire screenplay
Many writers find outlines to be too linear and do not present the quick overview as well as index cards. But, use the method that works best for you and your students. In the end, index cards or outlines reach the same goal.
Week 1
- Discuss overview of the class and approach to rewriting. Critique four student screenplays, or half of the student’s screenplays.
- Assignment: Student’s whose work was critiqued create a Master Note List. As explained in Screenwriting is Rewriting, students should organize their notes into categories such as: theme, character development, story points, scene work, relationships. Have them bring their Master Note List to the next class.
- In Screenwriting is Rewriting read chapters: How To Use This Book, Let’s Talk about Rewriting, The Pass Method, and Notes.
Week 2
- Critique the remaining screenplays.
- Assignment: Students critiqued this week will do last week’s assignment. Student’s who work was critiqued the first week will read and annotate their screenplay, and then add their notes to the Master Note List.
- Alternating assignments for each group will continue until after the Index Card or Outline presentations. At that point, all the students will be working on the same weekly assignments.
- In Screenwriting is Rewriting read chapters: Interpreting Notes, Annotated Draft. Examples of Student Notes can be found in Part 4 Examples, Student Notes and Game Plans
Week 3
- Review and discuss premise, story, and character fundamentals. Review the Master Note List in class. Discuss prioritizing notes.
- Index Card Presentation: Notify the students to begin to prepare for an index card presentations or outlines of their revised screenplay in two weeks for group A and three weeks for group B. Instructions on how to use index cards to outline can be found in Screenwriting is Rewriting on pages 102-104. Along with their presentation, students must provide a beat sheet outline to help the class follow along. The beat sheet outline should track the main character’s emotional ups and downs as well as the main character’s arc. On the beat sheet, each scene should be no more than one or two sentences. (*Index card presentation vs. outline – see below.)
- Assignment: In Screenwriting is Rewriting, “Part 4 Examples,” in The Essential Three Act Questions, have the students answer only the First Act Essential Questions.
- In Screenwriting is Rewriting read the chapter: The Set-Up
Week 4
- Review Essential First Act Questions. Review each student’s set-up and discuss how the main character will arc and transform throughout the screenplay.
- Assignment: Using their Master Note List, students create a Game Plan for their rewrite. In addition, they should begin working on their card presentations. They do not need to know everything that will happen in their screenplay, but they should know what they want to happen.
- In Screenwriting is Rewriting read chapters: Game Plan, and Character.
Week 5
- Review Game Plans and Master Note Lists. Focus on Premise, Character, Story and Theme.
- Using each student’s Master Note List and Game Plan, review which pass or combination of passes from Screenwriting is Rewriting each student should use for their rewrite. Passes to consider using or combining are: Foundation Pass, Character Pass, Story and Theme Pass, Structure Pass, and Plot Pass.
- Assignment: Once the instructor and the students have determined which pass or combination of passes, assign the student to read a chapter or chapters in Screenwriting is Rewriting on the pass or passes they will use in their rewrite.
Week 6
- Begin Index Card presentations. Have the students verbally present their story, highlighting character and story arcs, and their new revisions and changes. Do not let them read off their beat sheets. Have them tell the story.
- Assignment: Using the notes they got in class, students should send their revised outlines electronically to the instructor with their changes bolded. Once approved, students can commence writing.
- For those students have not presented, they should continue to work on their index card or outline presentation.
- In Screenwriting is Rewriting read chapters: Structure, and Relationships
Week 7
- Finish card presentations
- Assignment: Write first 15 pages. Emphasize establishing the main character and the key relationships.
- In Screenwriting is Rewriting read chapters: Plot
Week 8
- Read and critique pages. Give notes going forward.
- Assignment: Write to end of 1st Act. Pay close attention to establishing and setting up the main character’s story as well as the main plot problem. The end of the first act should create a strong point of no return.
- In Screenwriting is Rewriting read chapters: Opposition Characters
Week 9
- Read and critique pages. Discuss each student’s set-up in the first act.
- Assignment: Write 15 pages. Explore supporting characters, relationships, and second act complications and obstacles. Establish stakes. The Set-Up continues for the first 40 pages.
- In Screenwriting is Rewriting read chapters: Relationships
Week 10
- Read and critique pages.
- Assignment: Write 15 pages. Reach the mid-point. Discuss the Mid-point plot turn. Explore character development throughout the second act.
- In Screenwriting is Rewriting read chapters: Complications, Obstacles, Reveals and Reversals.
Week 11
- Read and critique pages. Talk about second act obstacles and complications.
- Assignment: Write 15 pages. What are the obstacles the main character must overcome?
- In Screenwriting is Rewriting read the Robert Towne Interview.
Week 12
- Read and critique pages. Discuss the importance of reaching a high-point at the end of the second act. The main character must be in the highest point of jeopardy both emotionally and physically. The stakes must be at the highest level.
- Assignment: Write 15 pages. Reach the end of the Second Act.
- In Screenwriting is Rewriting read the Frank Pierson Interview.
Week 13
- Read and critique pages. Continue to discuss stakes. There must be something important to the main character that he or she will lose should the main character fail to resolve the conflict.
- Assignment: Write 15 pages.
- In Screenwriting is Rewriting read the Susannah Grant Interview.
Week 14
- Read and critique pages. How does the resolution of the screenplay fulfill the main character’s arc, as well as his or her growth and transformation?
- Assignment: Reach the end of the screenplay. Encourage students to hand in a “work draft” with bolded notes to themselves about changes they want to make in their next pass. The draft can be rough, but it must be complete. Students should also hand in a bullet point revised game plan for a quick Consistency and/or Polish Pass.
- Assignment: In Screenwriting is Rewriting read chapters: Feedback on Your Interim Draft, and Scene Pass.
Week 15
- Read and critique pages. Discuss each student’s short game plan for a quick overall pass.
- Assignment: For the final Exam Class, each student completes a Consistency and/or Polish Pass.
- In Screenwriting is Rewriting read the chapter: Consistency Pass and Polish Pass.
Exam Week
- Read and critique all screenplays. Discuss the progress the students have made since the first class and discuss the major areas each student should concentrate on in their next passes. Encourage students to create a revised game plan for future passes.
- In Screenwriting is Rewriting read chapters: Sending Out Your Screenplay, and Working with Directors, Producers, & Executives.
*Index card vs. outline presentations: Making a verbal presentation in front of the class is a great way for students to talk about their stories. They also learn a great deal about their story by talking it through. As described on pages 102-104 in Screenwriting is Rewriting, index cards laid out across a table or taped to a wall gives students a great visual overview of their stories. It is easier to move scenes around with Index cards then with an outline. In addition, using color coded cards also helps students see how their relationships and subplots are dispersed across the entire screenplay. Often students are surprised to see all the green cards or blue cards bunched together in the middle of the second act. They quickly realize they need to do a better job balancing their characters, relationships, and subplots throughout their entire screenplay
Many writers find outlines to be too linear and do not present the quick overview as well as index cards. But, use the method that works best for you and your students. In the end, index cards or outlines reach the same goal.