TFM 625 - CLASS SYLLABUS SAN DIEGO STATE UNIVERSITY FALL 2013

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SAN DIEGO STATE UNIVERSITY
TFM 625 - CLASS SYLLABUS
Writing Short Narrative &
Documentary Films
FALL 2013
Instructor: Lee Marshall
Classroom: COM 108
Class Times: TU 7 – 9
Office: COM 103
Phone: 310-308-2905
Office Hours: MON – 3:30–5PM /TU 2-3PM (by appointment)
Email: lmarshall@mail.sdsu.edu
COURSE OBJECTIVE TFM 615 – Graduate Seminar… will function as an interactive Graduate Level
workshop designed to teach incoming graduate students how to collect and
harness ideas, mold them into a single concept, flesh out that concept into full-a
fledged story, then turn their stories into a short film or documentary script to be
produced during coursework taken the following semester. Class works in
concert with the TFM 605 class in helping to prepare the students for their
MIDWAY PROJECTS.
HOW WE GET THERE 1) Through interactive lectures and textual reading that review the
storytelling process.
2) Through film screenings that help illuminate lectures.
3) Through instructor hand-outs.
4) Through development of story synopses.
5) Through pitching your stories and catching feedback.
6) Through fleshing out synopses and turning them into treatments.
7) Through completing Short & Doc Film Scripts.
8) Through preparation of production breakdown sheets created from your
script for mid-term production.
9) Through Q&A with guest speakers & former students.
CLASS REQUIREMENTS 1) Active Participation –
a. First and foremost, your attendance and willingness to write.
b. Your willingness to pitch ideas to your peers.
c. Willingness to give and take constructive criticism. And …
d. Willingness to exchange input during lectures and film screenings.
2) Dedication to Completing Morning Pages. Put simply, the morning
pages consist of one to two pages of writing per day—7-14 pages per
week. Strictly stream-of-consciousness stuff. Nothing is too petty, silly or
weird. So write. Best part is, I won’t read a word. No one has to know
what words you wrote, only that you wrote them. That you primed the
pump, as it were, for the day’s writing to follow. This portion of the class
rewards the effort, not the content.
3) Keeping Up & Completing Assignments
GRADING WEIGHTS 1)
2)
3)
4)
5)
6)
7)
8)
9)
Morning Pages / Participation
3-Act Screen Story Treatment
Short Film Synopsis & Treatment
Short Film Script
Documentary Treatment
Documentary Presentation
Short Film Script Breakdown Sheets
Documentary Treatment Chapters
Narrative Story Boards/Shot Sheet
10%
5%
10%
20%
10%
15%
10%
10%
10%
COURSE COMPLETION – WHAT’S ACCOMPLISHED?
 Collecting Ideas
1) Collect Cocktail Napkins – Start War Chest
 Storytelling
1) Develop a Story Matrix
2) Research, Write and Revise 3-Page 3-Act Story Synopses
 Short Film & Documentary Writing
1) Research Documentary Idea
2) Research, Write and Revise Documentary / Short Film Treatment
3) Expand Treatment into a Short Film / Documentary Script
4) Breakdown Shooting Script for Production
5) Prepare Story Boards / Doc Chapters
2
CRITERIA FOR WRITING ASSIGNMENTS 1) All work must be hard-copy submitted to instructor. No floppy discs.
Student/Teacher correspondence should be e-mailed when possible.
2) All work submitted must be a copy. Save your original for your files.
3) All work must be word-processed and proofed. No hand corrections. No
white-out. Sloppy grammar and spelling will affect your grade.
4) Short Film Scripts must conform to ‘P&D Short Films/Video’.
5) Documentary Scripts must conform to ‘Documentary Storytelling… ‘.
6) Baring extreme hardship (a category that say… the absence of computer
paper does not fall into), all late assignments will be docked ONE LETTER
GRADE.
7) All outcomes for writing assignments will be measured by instructordesigned rubrics.
READING MATERIALS:

REQUIRED READING LIST:
1. Documentary Storytelling for Film/Videomakers (3rd Edit)… by Sheila Bernard –
A common-sense approach to the making of non-fiction films based on the author’s
deep awareness of documentary film history and theory. Bernard provides us with
an in-depth look at story and structure as applied to films based not on Hollywood
fiction, but on factual material and the drama that is real life.
2. Producing & Directing Short Film & Video (4th Edit)… by Rey & Irving –
An insightful look into the problems encountered in the writing, directing and
producing of today’s Short Film, and how those problems were solved. Stills and
scripts from three films, samples of various production forms and appendices
pertaining to festivals and grants are included.
3. Guide to the Virtual Jungle… by Dawn Poomee –
One Grad Student’s meandering path through the pitfalls of filmmaking at San Diego
State.

SUPPLEMENTAL READING LIST:
1. Directing the Documentary (4th Edit)… by Michael Rabiger –
This book guides the reader through the process of making a documentary,
spotlighting the real problems involved in researching and focusing a documentary
story idea; leading us through production; then through the unique evolutionary
process surrounding documentary post-production alone.
2. The Artist’s Way… (1oth Anniversary Edit)… by Julia Cameron –
A veritable toolbox of links enabling you to connect with or retrieve your creativity.
While the metaphysical and spiritual references get old, Cameron’s idea that
inspiration can be harnessed any time you need it is a novel one. Her book could
help end ‘writer’s block’ forever.
3
3. The Writer’s Journey (3rd Edit)… by Christopher Vogel –
An insightful guide to the craft of storytelling that draws its roots from mythology.
The best book on story structure I’ve ever read. Ever. The structure Vogel runs with
is a 12-step guide he calls The Hero’s Journey—one you’re sure to take in TFM 610
A WORD ABOUT PITCH SKILLS One thing all media writers must come to understand is that before you write a
word of your screenplay, teleplay, documentary or short film, you first have to
sell it. To do that, writers must pitch their ideas passionately if expediently to a
variety of industry-related types (agents/producers/studios/networks) who get
paid handsome salaries to say NO. Often times, an idea goes by the boards, not
because it wasn’t good, but because the writer couldn’t sell it verbally to his or
her audience. Suffice to say, pitching stories is essential in the writing process
and an integral part of all sales.
A FINAL THOUGHT The course is time intensive, I know, but then so is writing in general. It’s hard.
At times, frustrating. That’s where I come in. I’m here to help. I’ve been a
writer in Hollywood’s trenches for the last 25 years and know how the game is
really played. The upside is… writing sets you free. Free to roam anywhere you
want, be anyone you want, in any time you want. And then there’s the good
news. You can make money at it, create your own hours and still have a house
at the beach. The mantra is… Writers Write. Writers Sell. Writers Eat.
***
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CLASS CALENDAR
WEEK
DATE
WEEKLY ITENERARY
ASSIGNMENT
1
8/27
Introduction: Semester Overview
Lecture: Brainstorming – Genre/Theme
Problems/ Story Structure/Movements /Hooks
Video: ‘Vertical Limit’/’Jaws’/’Sixth Sense’
Morning Pages
2
9/03
Check Off: Morning Pages / Handouts
Pitch Feature Story Ideas
Morning Pages
3
9/3
Check Off: Morning Pages
Lecture: Character & Hero’s Journey
Video: ‘The Verdict’/’12 Angry Men’
Morning Pages
4
9/17
5
Fifteen Cocktail Napkins
Read Bernard – Chapter 2
Begin Assignment
Begin Story Matrix
Five Cocktail Napkins
Write 3-5 Pg Story
Treatment
Complete Matrix
Five Cocktail Napkins
Work Assignment/Matrix
Rey & Irving – Chapter 2
Continue Writing Story
Check Off: Morning Pages
Submit: Story Matrix
Lecture: Short Films – Selecting Material
Video: ‘Kitchen Sink’/ ‘The Bus Stop’/
‘Burning Passion’
Morning Pages
9/24
Check Off: Morning Pages
Submit: 3-5 Pg Treatment
Pitch Short Film Ideas
Video: ‘Short Film 12’ /SDSU Student
Films
Morning Pages
6
10/1
Check Off: Morning Pages
Submit: Short Film Treatment
Lecture: Script Formatting/Dialogue
Video: ‘Chinatown’
Morning Pages
7
10/8
Check Off: Morning Pages
CONFERENCE – Student-Teacher
Short Film Treatment Q&A
Morning Pages
5
Five Cocktail Napkins
Add Act Breaks to
Feature Story
Create 2 Short Film Ideas
Five Cocktail Napkins
Rey & Irving – Chapter 3
Write 2 pg Short Film
Treatment
Five Cocktail Napkins
Rey & Irving – Chapter 4
Poomee – 1st Half
Five Cocktail Napkins
Write Short Film Script
WEEK
DATE
WEEKLY ITENERARY
ASSIGNMENT
8
10/15
9
10/22
Check Off: Morning Pages/Handout
Submit: Short Film Script
Pitch: Documentary Ideas
Lecture: Script Breakdown
Bernard – Chapters
4/5/13
Write Doc Treatment
Poomee – 2nd Half
10
10/29
Submit: Documentary Treatment
GUEST LECTURER: (TBA)
Lecture: Producing/Directing the Documentary
Video: ‘A Simple Dinner’ / ‘Sea Gypsies’
Bernard – Chapters 6/7/9
11
11/5
Return: Short Script for Rewrite
Lecture: Documentary Presentations
Video: Riding Giants
Rewrite Short Film Script
12
11/12
Submit: Doc Presentation
Lecture: Pre-Production - Story Board/
Shot Sheets
Rey & Irving - Chapter 10
Bernard – Chapters
10/11/12
Begin Shot Sheet/Story
Board
Check Off: Morning Pages/Handout
Lecture: Non-Fictional Media
Video: ‘The Men Who Killed Kennedy’/
‘Best Evidence’
Morning Pages
Five Cocktail Napkins
Bernard – Chapters 2 & 3
Create 2 Documentary
Ideas
Line/Breakdown Short
Script
Write Doc Presentation
13
11/19
Submit: Short Script & Breakdowns
Lecture: Grant Writing
14
11/26
Return: Doc Presentations
Return: Short Film Breakdown Sheets
Lecture: Documentary Chapters
Video: ‘Fog of War’
Rewrite Doc Treatment
Continue Story Boards
Bernard – Chapter 8
Rey & Irving – Chapter 1
Study Handout/Begin
Doc Beat Sheet
15
12/3
Discuss: Doc Rewrite / Doc Chapters
CONFERENCE – Student – Teacher
Complete Story Board
Complete Doc Beat Sheet
16
12/10
Submit: Doc w/Chapters
Submit: Short Script w/Story Bd & BrkDwn
Sheets
Begin Pre-Production
on Midway Project
6
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