BECA 370-01 Class Blog

BECA 370 HAS MOVED

2008-08-25T18:26:00.001-07:00

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

2008-05-13T14:25:00.000-07:00

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

2008-05-05T16:27:00.000-07:00

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

2008-04-28T20:01:00.000-07:00

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

2008-04-21T09:45:00.000-07:00

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

2008-04-14T10:34:00.000-07:00

*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:

Render at least half your script as dialogue.
Add at least 3 sound effects.
Follow the format example; use 12-point font and double space.
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.
Read your work out loud at a reasonable radio pace and make sure it times out to 2 minutes.
Turn in 3 things: today's Radio Essay, the Reader Feedback Sheet, and the final Radio Drama.

Week 9: Radio Essays

2008-04-07T17:21:00.001-07:00

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

2008-03-17T17:22:00.000-07:00

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:

Due 4:00 p.m. Wednesday 4/2 (not Thursday 4/3).
No revision of setup will be collected — just the final, complete script.
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

2008-03-10T16:36:00.000-07:00

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!

2008-03-03T16:09:00.000-08:00

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

2008-02-25T16:24:00.001-08:00

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:

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.
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

2008-02-18T12:35:00.000-08:00

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:

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).
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. . .

2008-02-11T11:03:00.000-08:00

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

See you all next Monday!

Week 2: Sitcom Structure and Beatsheets

2008-02-04T16:40:00.000-08:00

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:

Read this article on sitcom structure.
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!

2008-01-28T16:52:00.000-08:00

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!

2008-01-03T13:36:00.000-08:00

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

Week 14: Script Feedback

2007-12-05T12:10:00.000-08:00

I hope everyone got good feedback to use this week as you revise, polish, and punch up your episode scripts! If you run into problems along the way, feel free to call each other and check in with me as needed.

Next week, Kent Hall will be joining us from the Yahoo! Video Group. I asked him for a list of shows he thinks are particularly well written, and here's what he recommended:

STBD Pittsburg
http://video.yahoo.com/video/play?vid=1419430

The Guild
http://video.yahoo.com/video/play?vid=1350163

Brigitte Dale
http://video.yahoo.com/video/play?vid=1438795

David Gillette: Vote For Me
http://video.yahoo.com/video/play?vid=840717

One of the above shows is a pilot; the rest have more episodes that you can find by clicking on the name of the show (in the right sidebar on Yahoo! Video). Please watch the pilot episode of each series and a few more episodes of your choice. We'll talk about them with Kent in class next week.

Oh, and check this out: "Defenders of Stan" got a write-up in Entertainment Weekly!

Happy viewing and happy writing this week —
Marie

Week 12: Online "TV"

2007-11-12T17:37:00.000-08:00

On 11/14, I'll be at the NewTeeVee Live: Reinventing Television conference, so I'm revising the class schedule for the next section on sitcom and short-format scriptwriting. Please download the SYLLABUS UPDATE (on the left sidebar) for the reading, viewing and writing work this week.

Here are the URLs for the viewing and reading assignments:

Read Story Structure Tutorials 101, 103, 104, 105, 106, and 108 Million
Watch all 5 Prime Time Shows on Channel 101 and Channel 102
Watch all 10 episodes of Clark and Michael

The shows will play in Quicktime and in the Firefox browser on computers in the CA 200 lab; if you have trouble on your own computer or on other SFSU computers, make time to use the ones in the lab. Hours will be shorter during Fall Break; check in the office for the schedule.

Disclaimer: Some of the online shows go out of their way to be raunchy, gross, politically incorrect or deliberately offensive; I'm showing them not because I also want to offend anyone, but so that we can talk about the evolution of writing techniques and trends in new media.

Also, if you find yourself going blind trying to read the tutorials, try using command/shift/+ to increase the font size on the screen, or copying and pasting the content into a text program (Word, Appleworks, TextEdit, Notepad).

Instructions for the writing assignment are on the Syllabus Update; read and follow them carefully, and be ready for a quiz when we come back from Fall Break!

P.S. Amy found this great chart outlining how long different shows will last due to the WGA strike (how many episodes they've got finished). Thanks, Amy! And if you're interested in following the WGA strike progress, check out the United Hollywood blog. And here's a little topical treat from Ask a Ninja:

Get your own TV Channel on Chime.TV!

Week 11: Persuasive Messages, cont'd

2007-11-07T12:53:00.000-08:00

Today, after a lively discussion of the Writers Guild strike, we followed up on last week's viewing and deconstructed two more persuasive video pieces:

"Vote Different" (Obama campaign promotion based on Apple "1984" ad)
Adidas ad featuring Laila Ali vs. Mohammed Ali

I took a quick look at the first drafts of the persuasive-message scripts, and they looked quite good so far. Remember that this assignment is not to write a PSA with a logical appeal (e.g., driving while drunk is dangerous; junk food isn't healthy). That is a fine place to start, but your persuasive strategy (as described in your mini-treatment) must promise or affirm a transformation in the viewer, and you must clearly define how that transformation is made appealing to your audience based on what you understand about their self-image, their values, their deep desires and fears, etc.

Susanne sent me a link to a great article outlining 15 common advertising strategies; you might want to give it a read.

Also, there is a reading listed on the syllabus, but we're going to hold off on that for a bit. Just focus on your writing this week, and feel free to e-mail me if you run into snags.

P.S. Shannon requested some class feedback on his radio show. Take a break and listen to some clips online (they're easy to play in the browser) and send him your comments (check the Class Contact sheet).

Quiz!

2007-10-31T09:10:00.000-07:00

Before 1993, milk was perceived as a "health food." How did the "got milk?" campaign change that?
How did De Beers diamond company "create societal change" in order to sell more diamonds?
The "truth" anti-smoking campaign did a lot of research on teens and smoking. What were the important psychological insights they found, and how did they use that understanding in a persuasive way?

Week 10: Persuasive Messages

2007-10-30T23:55:00.000-07:00

Today we're going to talk about techniques of persuasive media writing, with a focus on TV commercials and "uncommercials" or other PSA-type spots which seek to change viewer behavior in a way that benefits society.

Here's a list of the online videos we'll watch:

"Who Shot Raymond Burr?" got milk commercial
"Our Life Began" De Beers commercial
"Mr. Roboto" and "Ego Emissions" VW commercial
Tab cola commercials from 1960s, 1979 and 1982
"1984" famous Apple spot, aired during Super Bowl
"Double Life" Playstation commercial
"Cha Cha Slide" and "Ronald McDonald's Daughter" Japanese McDonald's commercial
"Mr. Giant Taco Salad Inventor" and "Mr. Really Really Really Bad Dancer" Real Men of Genius Bud Light commercials
"Cell Phone Karma" Kyocera commercial
"Choose", "Splode" and "You Don't Always Die from Tobacco" truth TV spots
"Manifesto", "Unbrand America", "Buy Nothing Day" adbusters uncommercials
"Beautykit" short videos
"Yappy Dog" and "Bag of Leaves" videos (TheONE campaign to encourage young people to vote)
"I'm Every Woman" video
"Push Ups", "What We Don't Mind You Voting For", and "Lip Sealer" videos (Declare Yourself campaign to encourage young people to vote)

We'll also watch "Introducing Diet Coke" and selections from the 2006 Clio Awards (Gold winners); these are available at the SFSU Media Access Center.

Also, congratulations to Caleb, Angela and Victor, whose scripts were selected by Skye Christensen's BECA 240/241 class for production!

Week 9: Big Scary Boils!

2007-10-24T15:31:00.001-07:00

Today we watched "How to Get Ahead in Advertising" (1989). Please post a comment discussing whether you think the film had a happy ending — not just for the characters, but with regard to the bigger picture that the film addresses. What do you think the filmmakers wanted us to come away with? What did all that crazy boil action mean?

The assigned reading is a chapter from the book Breakaway Brands. There is a PDF for you to download in the left sidebar (along with all the other class documents), or you can download it from the Advertising Educational Foundation website here.

Be ready for a quiz next week!

Also, I will be in L.A. at the Screenwriting Expo for several days, so it is possible that I will not have all of the scripts graded by next Wednesday. However, I have delivered them to Skye via the BECA office, so we are off and running! I want to congratulate all of you on your good work, and I'm looking forward to reading lots of excellent scripts.

If you'd like to get a head start on the next section, Persuasive Messages, here's what to do: watch a lot of TV commercials (there are lots of them up on YouTube, and the Media Access Center has DVDs of advertising awards programs that you can watch in the library). Ask yourself: What is the story being told? This applies not only to the "plot" of the commercial, but the basic promise of all advertising and persuasive speech: the product or idea or action being promoted will somehow change you or change your life for the better. What kind of person does advertising promise to make you, or to affirm that you already are? What transformation is implied?

See you all next week!

Week 8: Last Workshop for 240 Scripts!

2007-10-17T13:55:00.000-07:00

Today we workshopped the scripts and brainstormed ways to solve potential production problems. The homework this week is to finish your script and attach a cover letter with your contact info and anything the 240 class might need to know about producing your script.

Here's what you need to turn in next time:
Today's version (it's OK if you wrote on it during the workshop)
Final version (2 copies: one for me, one for Skye)
Cover letter (2 copies: one for me, one for Skye)

And you'll see on the syllabus that you also need to post a short comment to this blog entry, discussing your experience writing and revising this project.

PLEASE NOTE: Today I changed the rewrite policy. From now on, papers that get low mechanics grades do not need to be resubmitted. They will be graded only once, and that will be the grade you keep — so please do your proofreading before you turn your assignment in, because you only get the one chance! I will be very happy to help with mechanics questions if you come to me before the paper is due. The Writing Lab is also open Tuesdays 12:00 to 1:30 and 3:00 to 4:30.

Week 7: Shaping Up the Scripts

2007-10-10T13:31:00.000-07:00

Today we watched more of last semester's 370/240 productions and some short videos from the Treo Film Festival, and talked about story structure, rising action, change and movement, and using video and sound elements to tell story and communicate "signals" (genre conventions, story-structure elements) to the audience so that they feel receptive as opposed to confused or bored.

We also had a visit from Skye Christensen, who answered lots of questions about script producibility and logistics. As we come up with more questions, Amanda and Angela will act as our liasons with the 240/241 class; we also have several people who have taken 240/241 and can help with production and writing advice.

If you missed class today, please check in the BECA office for work I handed back, and make arrangements with me for getting today's assignment turned in (ideally, get it to my BECA office mailbox by 2:00 Thursday). Also be sure to talk with a few people in class to get filled in on the discussion you missed.

Week 6: Get Your Video On, Part I

2007-10-03T22:33:00.000-07:00

Today we workshopped the first drafts of the video scripts that we'll be handing off to the BECA 240 production class in a few weeks. The key issues for now are script format and shot description, and overall producibility of the scripts (remember these have to be shot in Studio 1 in under three hours).

Homework for this week: Revise scripts. Next week I want the draft you had in class today, plus the new version, plus an attached paragraph summarizing the progress you made/changes you implemented between the two drafts. This means that the second draft is significantly better than the first! It doesn't have to be perfect yet, but the next few weeks are going to fly by, so we've got to get these babies shaped up.

Please refer to Assignment Sheet #2 for full instructions and format example; also feel free to download the script template for easy 2-column formatting.

Happy writing! Feel free to e-mail me if questions come up.

Week 5: Moving on to Video Scripts

2007-09-26T12:37:00.000-07:00

Today we went over some mechanics and formatting issues in the radio essays; please be sure to download and refer to the Mechanics Errors handout in the sidebar.

We also reviewed syllabus policies re: grading, rewriting papers, and what to do if you miss a class. Please review the syllabus if you weren't here for that today.

Homework for this week is on the syllabus; Assignment Sheet #3 is in the sidebar.

NOTE: If you're absent when I hand back work, the work will be waiting for you to pick up in the BECA office. Please pick it up as soon as possible so that you can incorporate my feedback and corrections into your next assignment.

Week 4: Digital Storytelling, Part I

2007-09-19T13:04:00.001-07:00

Today we shifted gears from radio to digital storytelling. This week you'll be reinventing your radio essay as a digital storytelling piece — that is, isolating a moment or an emotional/psychological aspect of the story and "unpacking" it through the use of images as well as sound.

In class, we looked at some video pieces that illustrate different possible approaches to this assignment. Some combine video and narration in direct, literal ways; others use a more experimental video approach.

You are free to craft your video assignment any way you choose: You can keep or leave out the narration, dialogue, and SFX you used in the radio piece; you can change the format from narrative to open letter, meditation, etc. The important thing is that the video expands and deepens something about the original radio piece; by watching the video, the audience gets something it didn't get from the first version.

Full instructions and format example are given in Assignment Sheet #2: Digital Storytelling (download from left sidebar).

You may also do this assignment in video form rather than turn it in on paper. Be sure to host the video somewhere I can access it online next week.

Here are the videos we looked at today:

Momnotmom by Thenmozhi Soundarajan
Looking at Things by Jay Dedman
The Phone Call by Charles Patterson
Open Letter by Adriana Aguilar

You can find lots more examples by following links from the videos above (Streetside Stories, the Center for Digital Storytelling). The best way to find new things is to start with a video you like, and see what that person has linked to (blogrolls, favorites/playlists on YouTube, etc.).

The tech tools we looked at in class today were Eyespot (video editing) and Odeo (sound recording). You can find lots of video and audio resources at the Ourmedia Open Resource Directory.

Week 3: Radio Essay Workshop

2007-09-16T18:17:00.000-07:00

Today everyone had a chance to hear their radio essay read aloud by someone else, and to hear feedback and ask questions in a small-group workshop. Each essay was also closely read and given written feedback on the Reader Feedback Sheet (available in the Documents sidebar).

The syllabus has changed a bit to reflect our upcoming collaboration with Skye Christensen's video production class; please download the new version.

Remember, as you revise and polish your radio essays this week, there is no such thing as a perfect first draft. Ever. : )

Happy writing; see you next time.

Week 2: Radio Essay

2007-09-06T10:31:00.000-07:00

Today we scrutinized some personal essays from the NPR Story Project, looking at what makes a great story. We talked about three-act structure, rising action, increasing tension and obstacles, and the connection between the hero's character and the nature of the crisis/change in status quo (which creates dramatic need).

If you'd like to listen to more examples, check out the NPR Story Project archives.

The assignment sheet is in the Documents sidebar (#1: Radio Essay). Happy writing!

Week 1: Welcome to your writing class!

2007-08-28T16:46:00.000-07:00

This is where you will find all of the documents you need for this class (syllabus, assignment sheets, handouts, etc.). I recommend printing them out and having them with you each day in class. This is also where you should check for important information if you are absent; any changes to assignments or to the syllabus will be posted here.

Everyone is free to leave comments on the Class Blog. If you know of any videos, podcasts, or other resources that might be interesting and useful for the class, please post a comment with a description of the item and a link.

It's going to be a fun semester—so rev up your writer brain and let's get the show on the road!