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