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. *** 4 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