1. WEEKS 10-11 Thursday 19 April, 10-12 - Complex narrative (2), Mulholland Drive - Screening, Friends (1 ep.) - Shorter (TV) formats Thursday 26 April, 11 am – 1 pm - Guest talk: Roland Moore

2. U64006 INTRODUCTION TO SCREENWRITING WEEK 9 Development Guidelines for written assignment

3. DEVELOPMENT PROCESS Idea (theme) Subject  Premise (?) Outline Treatment Step outline (breakdown) Screenplay U64006 Introduction to Screenwriting

4. DEVELOPMENT PROCESS PRODUCERS ASK FOR: One-sheet Presentation outline (package) Treatment(s) Script(s) Proposal  READER (Producers? Co-writers? Actors? Agents?) U64006 Introduction to Screenwriting

5. ONE-SHEET (or POP) 1-page synopsis: Name and contact details (top left) Title Logline (or hook, or premise) Story summary U64006 Introduction to Screenwriting

6. ONE-SHEET (or POP) FORMAT Conservative font (Times New Roman, Helvetica, Arial, Calibri), size 11-12, left margin Single spacing, double between paragraphs No graphics, no fancy U64006 Introduction to Screenwriting

7. ONE-SHEET (or POP) 1-page synopsis: Name and contact details (top left) Title Logline (or hook, or premise) Story summary U64006 Introduction to Screenwriting

8. LOGLINE (or hook, or premise statement) Short, one to three sentences statement (25-30 words), which captures the essential elements of the story/screenplay “King slays father, beds mother, learns truth and tears out his eyes” Sophocle’s Oedipus Rex U64006 Introduction to Screenwriting

9. LOGLINE (or hook, or premise statement) U64006 Introduction to Screenwriting

10. PREMISE U64006 Introduction to Screenwriting

11. LOGLINE (or hook, or premise statement) Start from a synopsis/outline, then slash it down to the very essence of the story. LOG LINES (from Bicat & MacNabb, Creative Screenwriting) Captivating title (creates expectations) Overriding themes Introduce characters (names, job, function) Set the scene (where and when) Evoke colour, taste and smell U64006 Introduction to Screenwriting

12. LOGLINE (or hook, or premise statement) Example – The Silence of the Lambs “Buffalo Bill skins girls to make his clothes. FBI trainee Clarice needs help of cannibal psychiatrist to stop him. What price must she pay?” U64006 Introduction to Screenwriting

13. LOGLINE (or hook, or premise statement) TITLE – Lambs=innocence + silence=sinister 1 st sentence – “Buffalo Bill skins girls to make his clothes.” Western name  nickname  serial killer  character #1 (sinister)  genre (crime, thriller) U64006 Introduction to Screenwriting

14. LOGLINE (or hook, or premise statement) 2 nd sentence – “FBI trainee Clarice needs help of cannibal psychiatrist to stop him.” Character #2  name (soft)  female (potential victim)  FBI (but not expert)  when and where (nowadays, USA) + type of story (detective, investigation) Character #3  psychiatrist (mind, psyche)  cannibal (contradiction, insane) 3 rd sentence – “What price must she pay?” Price = something to lose, risk  danger  thrill U64006 Introduction to Screenwriting

15. LOGLINE A LOGLINE should contain the following information: 1.The genre of the screenplay (e.g. thriller, romantic comedy, etc.). a.To this may be added a reference to similar screenplays. b.You can also fit in a reference to the Type of Story or Plot Type (e.g. redemption plot, maturation plot). 2. Hint at a narrative form/structure (episodic, multi-stranded, circular, etc.) 3. A rough description of characters (their names, central role in the action of the story, essential problem  which results in their conflict with the antagonistic force) U64006 Introduction to Screenwriting

16. LOGLINE A LOGLINE should contain the following information: 4. A description of the dominant antagonistic force (enemy, natural disaster, self­doubt, corruption, etc.) 5. A reference to location and time. 6. An active question which arises from the conflict outlined between the central dramatic forces and which provides enough of a hook for the reader to make them want to hear, or read (NOTE: Do not give away the end of your story!) U64006 Introduction to Screenwriting

17. LOGLINE How to assess whether a LOGLINE works? When writing or reading a logline/hook ask yourself the following questions: 1. Who or what is the narrative about? What is the dramatic problem? And why can't it be solved? 2. What type of story is it? 3. Where is the dramatic conflict coming from? What/who is the antagonistic force? 4. What form and genre of screenplay does this idea belong to? 5. What is original about it? What is familiar? 6. What will an audience be interested in it? U64006 Introduction to Screenwriting

18. ONE-SHEET (or POP) 1-page synopsis: Name and contact details (top left) Title Logline (or hook, or premise) Story summary U64006 Introduction to Screenwriting

19. STORY SUMMARY 4-500 words, condensed recount of ALL main story elements (NOT A LIST). Includes:  Setting  Type of story  Main character(s)  Main and underlying themes  Antagonistic force / main conflict  Goal(s) to achieve  Hint at a narrative pattern (plots and structure), connections between the story events U64006 Introduction to Screenwriting

20. STORY SUMMARY Questions arisen  Where/when is the story set?  How will s/he manage to...?  What are the relationships between the characters?  What conflicts are created between the characters?  Are disputes, problems solved in the end? How? What happens to...?  What are the outcomes when relating the character to society?  Does the outline have a particular structure? U64006 Introduction to Screenwriting

21. FROM LOGLINE TO SUMMARY HOOK/LOGLINE OF THE FULL MONTY “Six men. With nothing to lose. Who dare to go....” Characters and setting Relationships Themes Problems Conflicts Goal & Plot U64006 Introduction to Screenwriting

22. SUMMARY OF THE FULL MONTY U64006 Introduction to Screenwriting Protagonist, setting, main conflict/antagonist/goal Other characters (allies, enemies), relationships, themes, subplots

23. SUMMARY OF THE FULL MONTY U64006 Introduction to Screenwriting Plot(s) developed Outcomes, disputes vs antagonists (both ext. and int.) solved

24. 3-ACT STRUCTURE – General pattern 1.Conflict: the hero takes on a problem 2.Crisis: the hero can ’ t solve the problem 3.Resolution: the hero solves the problem U64006 Introduction to Screenwriting

25. SUMMARY OF THE FULL MONTY U64006 Introduction to Screenwriting What the story is all about Act 1 (hero takes on challenge) Act 2 - Highs

26. SUMMARY OF THE FULL MONTY U64006 Introduction to Screenwriting Act 2 – Lows (crisis, all lost) Act 3 – Big climax, resolution

27. TIPS FOR SYNOPSIS/STORY SUMMARY Bulk of the story told in blocks – few paragraphs (usually 4-8) Simple present Simple style: crisp and concise Simple sentence structure: who does what No dialogue Keep descriptions to a minimum Mostly about plot, characters, motivation, themes Includes WHOLE structure/story, and ending BUT focus on main plot points and their consequences (setup, disturbance, build-ups, climaxes, turning points, setbacks) DO NOT “explain” plot points and story elements

28. OUTLINE Misleading term, used to refer to: Synopsis/one-sheet Any treatment Presentation package

29. PRESENTATION PACKAGE One-sheet Sketches of main characters, i.e. protagonist(s), antagonist(s), main secondary characters Key players’ (director, writer, producer) bios and track records Concise production plan, market strategy, value, scope, etc. Contact details 3-8 pages

30. DEVELOPMENT PROCESS PRODUCERS ASK FOR: One-sheet Presentation outline (package) Treatment(s) Script(s) Proposal  READER (Producers? Co-writers? Actors? Agents?) U64006 Introduction to Screenwriting

31. TREATMENTS Stories must be “TREATED” Step outline (or beat sheet, NOT scene breakdown) Spec treatment (or short treatment, or beat treatment, or full outline) = 3-6 (up to 12) pages Draft treatment = 30-50 pages The term “treatment” is sometimes used to refer to any story summary. NB – Different from synopsis written by story editors/script readers

32. COURSEWORK #4 Written Assignment: 2-page story outline (25%) Develop own story idea for a narrative feature film. The outline of the story must include: Page 1: a one-sheet, i.e. name + title + logline + synopsis of the narrative with clear indication of act breaks Page 2: brief sketches of the main characters (including traits, back stories, dynamics) Wordcount – 1,000 words (+/- 10%). Penalty applies for incorrect wordcount. DEADLINE for submission – Thursday 3 May (wk12), start of class. You MUST submit: a printed copy. a DOC or PDF file of the outline via email.

33. SCREENWRITING ADVANCED Note – Students undertaking Screenwriting: Advanced Level in Year 2 will use this story outline to develop their own scripts. Outline (one-sheet + character sketches) Beat sheet Short treatment (3 pp., full story) Script (Act 1, 30 pp.)