BECA 370 HAS MOVED

This semester, we'll be trying out a ning community and a wiki instead of using this blog.

Visit the BECA 370 Course Community and the BECA 370 wiki (coming soon)!

Week 15: A Fond Farewell

Well, it looks like we made it! Today was our last class. I've enjoyed getting to know all of you and reading lots of wonderful scripts — thanks for making this a productive and enjoyable semester.

Please remember that final work is due Friday 5/23 in the BECA Office, and be sure to check with the office for their hours next week (they might be different from normal hours).

***Check out the links in the sidebar, and send me yours if you'd like to share your creative work with the rest of the class!

***Also, don't forget to check back for the link to a Writing Resources page (lists of contests and other useful info), coming in the next few days.

Week 14: Pilot Script Workshop

Today we workshopped the short-format pilot episode scripts; if you were absent, you need to make up 2 rounds of workshopping and include the reader feedback along with today's version and the final version to be turned in next week.

Please be sure to read the Final Script Assignment Sheet (downloadable in left sidebar) — this assignment will be treated as a test of your writing mechanics and script format mastery, so pay close attention to the list of errors that will earn an automatic F on the assignment.

Also, if you were absent today, you missed getting work back. Please pick papers up in the BECA Office and take care of any loose strings as noted in my comments. No late work will be accepted after the beginning of class on 5/12.

PLEASE NOTE: You are on your own now regarding mechanics and format; I will have office hours Tuesday from 4-6, but I will not be checking anyone's work for mechanics/format errors after today's class. It's time for me to see what you are able to do on your own!

Does all of this sound serious and scary? Good! But that doesn't mean you shouldn't have fun writing your episode. Be brave! I'm looking forward to reading all the fabulous, funny and dramatic stuff you come up with.

HOMEWORK: Finish your pilot episode script! See assignment sheet; due next week.

Week 13: Short-Format Online Video

Today we checked out some great online video at Channel 101NY (formerly Channel 102). We discussed techniques for cramming an entire show's worth of story and character development into just five minutes — not an easy job! Yet these episodes manage to deliver a complete story infused with struggle, rising tension, and resolution.

Remember also that pilot episodes have a special job to do, on top of delivering a story: they introduce the viewer to your story universe. The audience will be meeting your characters for the first time, so every action and every line of dialogue should really express who they are.

The shows we watched were:

• Puppet Rapist Episodes 1 and 2
• 28 Day Slater Episode 1
• Defenders of Stan Episode 1

I strongly recommend that you check out the Channel 101NY home page and also Channel 101 and watch this month's winners; Majestic Dragon and Stop It have been favorites in my other classes. Also take a look in the archives of both sites; all past shows are stored there. Two of my favorites are Yacht Rock and House of Cosbys.

If you know of other shows that people should watch, feel free to post a comment to today's class blog entry with your recommendations!

HOMEWORK:
Write the script for the pilot episode of an original online series. Your episode should be 5 minutes (10-page script, format same as sitcom). Remember to proofread on paper, not on the screen! We'll workshop the scripts next week, so they don't have to be perfect, but they must be complete (beginning, middle and end). I will collect this version along with the final version later.

Week 11: No Class

Hi folks,

I'm out sick today (allergy attack, no voice!) so please hang on to your radio homework until next week.

See you next Monday,
Marie

Week 10: Radio Drama

*Announcement: The Writing Lab is closed April 14-18 during the BEA/NAB conference.

Today we'll workshop the Radio Essays in small groups. Everyone will get a chance to read, and the listeners will fill out Reader Feedback Sheets to help the writer identify strengths and problems with clarity or emotional impact.

We'll also talk about how sound effects and dialogue add new information and greater emotional interest by drawing the listener in closer to the story. In order to maximize the effects of sound effects and dialogue, it's important to make wise decisions about when/where to use them: they should be designed to give "weight" to moments of drama and emotional significance (including humor), and should not simply repeat information that the narrator has already given.

This week, you'll turn your Radio Essay into a Radio Drama by adding sound effects and dialogue. The format example is in the sidebar (Radio Drama Format).

PLEASE NOTE: If you were absent today or did not have your Radio Essay script with you, you MUST download the Reader Feedback sheet, get together with someone and get your script workshopped, or else your Radio Drama assignment will be considered incomplete.

HOMEWORK:

1. Render at least half your script as dialogue.
2. Add at least 3 sound effects.
3. Follow the format example; use 12-point font and double space.
4. Remember that SFX and dialogue bring the listener closer in to the story — so use them at key emotional points and moments you want to "weight". Also avoid writing dialogue that simply repeats what the narrator has already said; dialogue should add new interest and new information about the story.
5. Read your work out loud at a reasonable radio pace and make sure it times out to 2 minutes.
6. Turn in 3 things: today's Radio Essay, the Reader Feedback Sheet, and the final Radio Drama.
   

Week 9: Radio Essays

Today I handed back the sitcom scripts, which were FANTASTIC — everyone did a great job with story structure, character and dialogue. The scripts were funny and engaging and a joy to read . . .

. . . except for those recurring mechanics and formatting issues that we're not quite on top of.

So here's the plan: Everyone who got their script back today has 1 week to incorporate my corrections, fix ALL of the mechanics and format problems, and give me both versions next week (the one I handed back today, and the fixed one). I won't take any of those papers after next Monday except in the case of an excused absence.

If you turned your script in today, or are getting it to me by arrangement, I'll grade it and return it next Monday. You'll have 1 week from then to do the fixing.

If you were absent today, please pick up your graded script in the BECA Office. You also have 1 week to do the "fixing" — due next Monday, no exceptions.

We also started on the Radio Essay assignment. I read a few examples from the NPR Story Project; you can listen to some more examples here.

HOMEWORK:
Write a 2-minute radio essay about a personal experience; see Radio Essay Assignment Sheet in sidebar (downloadable). Due next week in class.

Week 8: Writing Mechanics Intensive

Today I gave back the scripts you turned in last week — and they were fantastic. Very strong work; you should all be extremely proud!

We also had an intensive review of writing mechanics and script format. If you missed today, please be sure to pick up your graded work in the BECA Office before break. Your final script will not be considered complete if you miss the step of incorporating feedback and corrections.

Also, if you turned in your script late (today), please pick it up in the BECA office before break.

HOMEWORK:
Finish your script! Instructions are on the Class Schedule Update — with two changes:

1. Due 4:00 p.m. Wednesday 4/2 (not Thursday 4/3).
2. No revision of setup will be collected — just the final, complete script.
3. There was no workshop today, so no Reader Feedback #5/6. I will collect #3/4 along with your complete, final script.

Have an excellent break! See you all on April 7.

Week 7: Last Workshop on Setups

Today we did two more rounds of workshopping on the scripts (Reader Feedback #3 and #4), focusing on the hero's dramatic need in the setup.

We also watched an episode of Strangers with Candy and talked about "what's at stake" for the main character, how obstacles arise partly because of the character's own flaws, and how the character must help bring about the solution to the problem.

Pretty soon you're going to be writing the rest of your sitcom script; in preparation, the homework is to write a beatsheet for the rest of the story. Length is up to you; write whatever will be useful to you as a "blueprint".

Also, we reviewed script format: dialogue column centered on the page, but lines have flush left margin (not centered as verse); dialogue column indented on both sides; sluglines contain only location information, not stage directions or dialogue; stage directions single spaced, dialogue double spaced.

I collected the sitcom-setup scripts (the 3/3 draft and the revision) and Reader Feedback #1 and #2.

HOMEWORK:
Write a beatsheet for the rest of your sitcom episode; due next week in class.

Week 6: Yet More Sitcom!

Today we did two rounds of workshopping on the sitcom setup scripts. Everyone read 2 scripts and gave feedback analyzing what the audience learns about the hero and the crisis, and how those combine to create compelling dramatic need.

Please note: If you missed the workshop today, you must get feedback from 2 people and include their notes with your revision next week, or your work will be considered incomplete. (See syllabus under "Attendance".)

I handed out a Class Schedule Update, which is available for download in the sidebar. The Syllabus is also available there; it contains information about attendance and grading policies, as well as writing/tutoring resources.

We also went over script format today. Please be sure to include page numbers on every page, double-space your dialogue and single-space stage directions, and avoid "orphan" dialogue (character name at the bottom of one page, lines on the next). Follow the script format I've given you (download from sidebar).

This week, remember it's perfectly fine to change your script — you can even change it a lot! That's what drafts are for. You don't have to do what people suggested in their feedback; ultimately, all decisions are up to you as the writer. If you start feeling overwhelmed, remember that scripts always take multiple drafts to evolve, and it's fine to work on one or two things at a time rather than try to figure everything out all at once.

HOMEWORK:
Revise your setup script. Next week, you'll turn in 4 items:

• The script you had in class today
• Your revision (what you write this week)
• Reader Feedback sheets 1 and 2
  

Please come see me during office hours if you want help with format, mechanics or anything else. Be brave and have fun writing your fabulous scripts!

Week 5: More Sitcom

Today we did close readings and workshopping of the sitcom treatments, focusing on:

• Establishing/reminding the audience who the "hero" is and what their primary characteristics are (the qualities that make them act a certain way in the world, and that bring them into conflict). This creates dramatic need, the energy that will drive everything else in the story.
  
• Constructing a situation/crisis that specifically tests the "hero" and causes suffering to that individual in a way that is worse than what an ordinary person might experience
  
• Identifying three obstacles that the "hero" has to cope with, in a sequence that keeps things getting progressively worse

We also watched Episode 5 of Series 2 of The Office (U.K. version). We analyzed the main character's identifying characteristics, and the situation presented in the set-up, and how those combine to create maximum tension and conflict. We looked at the main obstacles and how they increase in intensity, culminating in a "dark night" moment and a resolution/payoff for all of the tension created during the episode.

HOMEWORK:

1. Based on your treatment, write the script for the set-up of your episode. Aim for 5 minutes, which is 10 pages of script (formatted like the Script Format example in the sidebar). The set-up ends when the "hero" has recognized the problem and is forming a course of action. The three obstacles will not happen in your set-up; they will happen later in the script.
   
2. Next week, bring both graphs from today (the one you made for your own story, and the one your reader gave to you).
   

Week 4: Sitcoms

Today we'll talk about your beatsheets and the sitcom-structure article you read this week. We'll also watch an episode of The Simpsons, "Lisa the Vegetarian", and talk about the setup, rising action/increasing obstacles, and resolution.

We'll also choose a list of 5 sitcoms to choose from as you begin writing treatments and scripts.

***Here's the list: Seinfeld, Arrested Development, Family Guy, The Office, Curb Your Enthusiasm, Scrubs, Friends.

HOMEWORK:

1. Write a 2-page treatment for a full, completely original episode one of the TV sitcoms chosen today. Instructions are in #1: Treatment (downloadable in the sidebar).
2. After you write the treatment, write a beatsheet for the entire episode. It's important that you do this in the right order! Your beatsheet should be in bullet points, present tense, 12-point font, double spaced, and PROOFREAD. It's OK if you're not writing in complete sentences all the way through, but other writing mechanics still apply (spelling, plurals vs. possessives vs. contractions, etc.).
   

Week 3: No Class Meeting. . .

. . . but don't forget the homework! It's on the Week 2 post.

See you all next Monday!

Week 2: Sitcom Structure and Beatsheets

Today we watched the pilot episode of The Mary Tyler Moore Show, "Love is All Around". We discussed three-act dramatic structure, the importance of establishing dramatic need in the setup (the first few minutes of the script), and the use of beatsheets as a way for the writer to keep a list of things that need to happen in order for the scene/story to make sense.

Your homework for the week was to watch 2 TV shows (at least one of them should be a sitcom) and write a beatsheet for each episode (the whole show, not just the setup). I suggest choosing a show that you tape off of TV or have on DVD so you can rewind/rewatch scenes as needed.

Please type the beatsheets, 12-point font, double-spaced, staple, and turn in to the BECA office by the end of Monday.

I am at a conference, so we won't be meeting on Monday; here is your homework for the week:

HOMEWORK:

1. Read this article on sitcom structure.
2. Choose one of the episodes you wrote a beatsheet for, and answer the questions in Micheal's Comedy Checklist as they apply to that episode. Type up your answers and bring to class next week.
   

Week 1: Welcome to your writing class!

It was good to see everyone today; I'm looking forward to learning a lot more about all of you and the kinds of things you're interested in doing as a BECA major and as a creative person.

The Mechanics Errors Handout is in the sidebar on the left. Please print it out and bring it to class next week — I won't have extras to hand out, so this is important. If you have trouble with downloading, shoot me an e-mail and I'll see if I can help.

See you all next week!

240/241 Productions Online!

Hi folks!

The three scripts that were produced by Skye's 240/241 class are up on YouTube for your viewing pleasure. Great work, Caleb, Angela and Victor — and big thanks to everyone who worked hard to make the videos turn out fabulous.

Take care, have a great break, and I look forward to seeing lots of you again next semester!

Marie