Screenwriting Courses

SCWR 120 – STORYTELLING FOR THE SCREEN

COURSE DESCRIPTION: The elements of storytelling as applied to the screen includes an examination of ethics and learning screenwriting basics by writing a short film script.

LEARNING OUTCOMES
• Students will value diverse stories that explore social justice issues and humanistic themes
• Students will examine the ethical issues around storytelling for the screen
• Students will learn how to find ideas
• Students will learn how to develop these ideas into stories appropriate for the screen
through outline and treatment
• Students will understand the principles of character and the role character plays in story development
• Students will recognize the importance of visual writing and cinematic dialogue
• Students will understand scene construction into a narrative with a beginning, middle
and end
• Students will acquire basic knowledge of classic three-act structure and adapt that to a short film
• Students will execute dramatic storytelling using conflict and plot complications
• Students will utilize standard screenplay format
• Students will learn the value of the collaborative process functioning as a ‘writers’
group’ for constructive criticism

COURSE DELIVERABLES
Students will complete exercises on:
• Developing character biographies
• Writing visual scenes without dialogue
• Writing cinematic scenes with effective dialogue

Signature Project: Students will develop an idea for a 5 – 7 minute short film (no longer than 10 pages). Development of this project will include the following:
• Character biographies for the major roles
• Treatment for the project
• Step Outline for the project
• A written script in proper industry standard format and proofread for spelling and grammar

This script must be rewritten at least twice based on notes from the writer’s workshop. The rewritten scripts will be submitted as the ‘Signature Project’ via digital folder which should include all the project’s development documents.

SCWR 220 – FEATURE STORY DEVELOPMENT

COURSE DESCRIPTION: Practicum in the basics of screenwriting: idea, outline, plot,
characterization, etc. Analysis of scripts.

COURSE GOAL
To understand what a viable long-form screen premise is and be able to build the story,
characters, world, plot and structure.

LEARNING OUTCOMES
• Students will analyze produced films and screenplays to deepen understanding of
screenwriting principles and techniques
• Students will generate story-worthy ideas and pitch in class
• Students will design compelling stories that illustrate a deepening understanding of:
- Character building, with a discussion of character ethics and their moral code
- World building
- Dramatic conflict, story and plot complications
- Structure
- Creating Tension
- Theme as a unifying element
- Cinematic language
• Students will embrace the value of the collaborative process by workshopping with their classmates as a "writers’ room"
• Students will develop analytical skills by critiquing others' work

COURSE DELIVERABLES
Students will:
• Write three long-form story treatments (10-20 pages double-spaced)
• Make substantial revisions of two of these treatments, one of which will move forward
into SCWR 320 as their first feature screenplay

SCWR 320 – FEATURE SCREENPLAY: WRITING THE FIRST DRAFT

COURSE DESCRIPTION: Practical experience in writing feature film scripts with analysis of plot, character, development and structure.

COURSE GOAL: Building on the skills developed in SCWR 220, students will take one of the treatments from 220 and turn it into a completed rough first draft.

LEARNING OUTCOMES
• Students will understand and utilize the principles of character and ethics in terms of
dramatic roles and plot progression.
• Students will refine their knowledge of screenplay structure as it applies to acts,
sequences, and scenes.
• Students will practice visual storytelling techniques.
• Students will expand their knowledge of scene writing and construction, including
action, atmosphere, and dialogue.
• Students will review and increase their ability to use standard screenplay format.
• Students will refine the practice of giving and receiving notes from the professor and
classmates, as well as incorporating them into their work.
• Students will value a diverse range of stories that explore ethics and humanism.

COURSE DELIVERABLES
Students will:
• Develop and draft a long form screenplay based on a treatment from SCWR 220,
including a beat sheet/outline
• Submit weekly development notes for their peers’ class projects

Signature Project: Students will draft a complete longform screenplay, in proper format. A passing grade, which is based on a full draft screenplay, is required to move forward into SCWR 321. Industry standard for a feature-length screenplay is currently 85 – 110 pages

SCWR 321 – REWRITNG THE FEATURE SCREENPLAY

COURSE DESCRIPTION: Practical experience in rewriting a feature-length screenplay

COURSE GOAL: Students will gain practical experience rewriting the feature film screenplay drafted in SCWR 320.

LEARNING OUTCOMES:
• Students will challenge a completed draft by revisiting and refining its basic concept and outline
• Students will deepen their knowledge of classic screenplay structure
• Students will strengthen, clarify and add dimension to character, ethics, action and
dialogue
• Students will improve existing scenes and sequences, adding, deleting and restructuring scenes as needed
• Students will optimize dramatic storytelling by enhancing conflict, stakes, tension and
complications
• Students will elevate their cinematic writing, including action and description, from
serviceable to cinematic
• Students will demonstrate mastery of standard screenplay format
• Students will deepen their understanding of professional standards including analytic
skills for critiquing others’ work and learning how to receive professional criticism

COURSE DELIVERABLES
Students will:
• Rewrite the screenplay completed in SCWR 320, including further development and re- outlining
• Submit weekly development notes for their peers’ class projects

Signature Project: Students will fully rewrite the feature screenplay drafted in SCWR 320, in proper format, and will submit a logline with the project. Industry standard for a feature-length screenplay is currently 85 – 110 pages.

SCWR 325 – WRITING THE COMEDY TV SERIES SPEC

COURSE DESCRIPTION: Practical experience in writing in various comic forms with emphasis on television situation comedy.

LEARNING OUTCOMES
• Students will learn the principles of character and the role character plays in half-hour comedy for television
• Students will expand their knowledge of scene writing and construction specifically for the half-hour television comedy
• Students will demonstrate knowledge of classic screenplay structure as it applies to half- hour comedy for television
• Students will execute dramatic storytelling using conflict and plot complications
• Students will demonstrate skills in visual writing and cinematic dialogue
• Students will utilize standard screenplay format in narrative style for half-hour television
• Students will demonstrate the collaborative process, functioning as writing teams and as a ‘Writers’ Room’
• Students will refine the practice of giving and receiving notes from the professor and
classmates, as well as incorporating them into their work
• Students will demonstrate proficiency in working in various positions in the Writers’ Room
• Students will gain experience ‘Pitching’ jokes, stories and other concepts in the Writers’ Room
• Students will value a diverse range of stories that explore ethics and humanism

COURSE DELIVERABLES
* Each section of this course will work collectively on a single television show. The choice of show for each section is at the discretion of the professor.
Students will:
• Develop a premise for an existing half-hour television series
• Draft a logline, beat sheet and outline for an existing half-hour comedy series
• Write a first draft of a teleplay in proper format and length for an existing half-hour
series
• Revise the teleplay based on notes from the Writers’ Room

Signature Project: Students will draft and revise a half-hour comedy spec screenplay based on an existing show. Industry standard for a half-hour spec script is 30 - 45 pages.

SCWR 326 – WRITING THE DRAMA TV SERIES SPEC

COURSE DESCRIPTION: Practical experience in writing one-hour episodic television drama

LEARNING OUTCOMES
• Students will learn the principles of character and the role character plays in one-hour drama for television
• Students will expand their knowledge of scene writing and construction specifically for the one-hour television drama
• Students will demonstrate knowledge of classic screenplay structure as it applies to one- hour drama for television
• Students will execute dramatic storytelling using conflict and plot complications
• Students will demonstrate skills in visual writing and cinematic dialogue
• Students will utilize standard screenplay format in narrative style for one-hour television
• Students will demonstrate the collaborative process, functioning as writing teams and as a ‘Writers’ Room’
• Students will refine the practice of giving and receiving notes from the professor and
classmates, as well as incorporating them into their work
• Students will demonstrate proficiency in working in various positions in the Writers’ Room
• Students will gain experience ‘Pitching’ stories and other concepts in the Writers’ Room
• Students will value a diverse range of stories that explore ethics and humanism

COURSE DELIVERABLES
* Each section of this course will work collectively on a single television show. The choice of show for each section is at the discretion of the professor.
Students will:
• Develop a premise for an existing one-hour television series
• Draft a logline, beat sheet and outline for an existing one-hour drama series
• Write a first draft of a teleplay in proper format and length for an existing one-hour
series

Signature Project: Students will draft a one-hour drama spec screenplay based on an existing show. Industry standard for a one-hour spec script is 50 - 60 pages.

SCWR 327– DEVELOPING AND WRITING THE SHORT FILM

COURSE DESCRIPTION: Elements of screenwriting as applied to short films intended for production

COURSE GOAL: Building on the skills developed in SCWR 120, students will develop, write and rewrite a short screenplay that it is ready to move into PROD 390, the intermediate film project.

LEARNING OUTCOMES
• Students will explore and understand the short film form and how to develop ideas that can be best realized as a short film.
• Students will understand and utilize the principles of character and ethics in terms of dramatic roles and plot progression.
• Students will demonstrate competency of screenplay structure as it applies to acts, sequences, and scenes.
• Students will demonstrate competency of visual storytelling techniques.
• Students will demonstrate competency of scene writing and internal scene construction
• Students will demonstrate competency in writing dialogue.
• Students will demonstrate competency in using standard screenplay format in narrative style.
• Students will deepen their understanding of professional standards including analytic skills
for critiquing others’ work and learning how to receive professional criticism.
• Students will apply the principles of budgeting and scheduling for the production of a short film.
• Students will value a diverse range of stories that explore ethics and humanism.

COURSE DELIVERABLES
Students will complete:
• A pitch for three short screenplays
• Character bios for two short screenplays
• Beat sheets for two short screenplays
• Drafts for two short films (5-8 minutes), one of which will be chosen to rewrite at least twice for their Prod 390 intermediate film.
• Loglines for two short screenplays
• Weekly development notes for their peers’ class projects

Signature Project: Students will submit a final short screenplay (minimum three drafts), in proper format, for a film (5-8 minutes) that will be produced in Prod 390. Please refer to PROD 390 one-sheet for further details on limitations and requirements.

SCWR 329 – DIRECTING FOR SCREENWRITERS

COURSE DESCRIPTION: An in-depth, hands-on and collaborative workshop class on the craft and art of directing actors, as well as the camera

LEARNING OUTCOMES
• Students will demonstrate working knowledge of the actor’s process, and how to communicate effectively with actors
• Students will gain proficiency with the basics of film language
• Students will demonstrate a working knowledge of script analysis, thematic structure of scenes, and how actors view character and arcs
• Students will become familiar with improvisational techniques, and when and how to use them to unlock creativity
• Students will become proficient in how to run a casting session
• Students will demonstrate the ability to pitch stories, and themselves, for multiple projects
• Students will demonstrate proficiency in creating a safe and inspirational atmosphere on set
• Students will demonstrate working knowledge of the many different acting training disciplines
• Students will demonstrate working knowledge of staging a scene and planning with blocking diagrams and/or story boards

COURSE DELIVERABLES
Students will:
• Develop a working methodology of directing actors
• Write, direct and produce at least two short film projects
• Write an original five-minute script
• Collaborate weekly in class in various creative roles

Signature Project:
Direct a scene with actors in a live workshop with a time limit; this includes casting, rehearsing and staging the scene with every ‘camera set-up’ though no camera will be used.

Students will learn about the various challenges that videos game writers face and how the game writing craft diverges from traditional storytelling to create its own dynamic art form. Students will learn how to use the medium to create rich, compelling, and ultimately powerful narrative experiences for the player. Further, this class will offer insight to students about the emerging opportunities available in the games industry for writers.

Please view PROWL for exact times

In an era defined by rapid technological advancements and global shifts, success in the creative realm of entertainment necessitates an intimate grasp of both the artistic craft and the intricate workings of the industry. This distinctive course offers an immersive exploration into the dynamic business facets of "Show Business" within the entertainment sphere.  Each week will explore a different part of the Entertainment industry, including Gaming, Development, Streaming, the history of the business, guilds and virtual production and entertainment marketing. Through this comprehensive journey, students will gain a firsthand understanding of the ever-evolving landscape of the entertainment industry, where traditional norms are disrupted by groundbreaking technologies like AI and machine learning.   Additional learnings will include personal branding and networking. 

Jay Williams is Global Creative and Senior Marketing Executive with extensive experience across multiple platforms of the Entertainment business including Movies, Television Networks, Digital Platforms, AR/VR, Agencies and Theme Parks. He is a ‘disruptor’ with a significant understanding of the new technology landscape with an extended knowledge of VR/AR and MR storytelling and an Emmy Award-winning VR Producer, always developing and creating for the next disruptive digital platform. 

Students will participate in creating and developing an original television anthology series. The series will contain a unifying subject matter, theme, and style. Then we will build on this series concept with each student creating and writing a full 30-minute episode for this new series. 

For those not experienced in writing or perhaps have some insecurities about the “how and why” behind the scriptwriting process, this course is going to walk you through, step by step. The series that the class creates will be a 30-minute anthology. It will provide each student the opportunity to challenge themselves in their preferred writing genre. Whether your strength is in comedy, drama, sci-fi, fantasy, animation or other form, the goal is to help you explore that interest while keeping it within the structure of the series. 

There are boundaries and rules relating to every TV series. We will keep to those as well. The house or pocket rules will be developed, discussed, and determined in class so everyone will be on the same page. In other words, part of the process is developing the rule book for the series to ensure everyone’s script stays within those bounds. 

David Garber has spent the past 25 years serving as a writer, producer, writer and showrunner on some of television's biggest hits, including such diverse shows as The Power Rangers, Saved By the Bell, The Fall Guy, The Bill Cosby Show, The Simpsons, 227, and the live action Disney film, Dennis The Menace. 

COURSE DESCRIPTION: 

“Today's science fiction is tomorrow's science fact.” - Isaac Asimov

This class welcomes you to tomorrow, as an introduction to producing and screenwriting with AI. During the semester we take a deep dive into the intersection of technology and entertainment and focus on developing, writing, producing, and distributing original content. We'll us emerging technology and software (like OpenAI's ChatGPT4, Midjourney, and Runway) to generate new ideas and loglines, enhance character development and world building, polish dialogue and scripts, produce and distribute shorts, and improve the overall quality of our work.

SCWR 398 – ADVANCED MOTION PICTURE SCRIPT ANALYSIS

COURSE DESCRIPTION: The best way to understand how screenplays work is to examine successful films. In Motion Picture Analysis, we will do an in-depth study of thirteen diverse films, from classics to modern masterpieces, from studio films to independent films to foreign films. We will analyze films with unlikeable protagonists, fractured narrative time, shifting points of view, large ensembles of characters and other unusual forms. We will scrutinize each film through the lenses of various structural theories including three-act structure, unity of opposites, sequence structure, and the hero’s journey. We will examine how the films apply various writing techniques for character development and scene construction. Along the way we will consider how the final film varies from the initial screenplay and why. By the end of the class, you will truly be thinking like a screenwriter… and you may just find a new favorite movie. 

Douglas J. Eboch is best known for writing the original screenplay for SWEET HOME ALABAMA, starring Reese Witherspoon. He also wrote the original novel TOTALLY RAD WORMHOLE. He has written videogames (NIGHTMARE COVE), stage plays (SLEEPOVER AT THE STABLES, MAGI ROAD TRIP), and has had short stories published in such magazines as AMAZING STORIES, THE COLORED LENS, and SCIENCE FICTIONERY. Doug is the author of the non-fiction book THE THREE STAGES OF SCREENWRITING and co-author, with producer Ken Aguado, of THE HOLLYWOOD PITCHING BIBLE. 

COURSE GOAL: To illuminate how fundamental dramatic principles work in feature film, no matter the genre, era, type of protagonist, or even cultural context.

LEARNING OUTCOMES
• Students will acquire an understanding of basic dramaturgy: character development,
conflict, tension, and theme
• Students will build a ‘toolbox’ of screenwriting techniques such as planting and payoff, preparation and aftermath, sequencing, advertising, suspense, framing stories, and
flashbacks
• Students will a variety of story patterns to compare and understand different narrative structures
• Students will study a diverse group of protagonists to compare and understand how
their stories evolve
• Students will improve their structural analysis skills through active discussion of each
film presentation
• Students will be able to apply the ‘toolbox’ from this class to their own writing
throughout the program

COURSE DELIVERABLES
Students will:
• Submit weekly homework which is a character/structure worksheet for each film
screened
• Complete a take home mid-term exam. This is open book and can be done in groups
• Write an essay breaking down a sequence of a film in detail

Signature Project: A final exam where the student writes a detailed structural breakdown of a film they pick from a curated list. This is open book and can be done in groups.

This is an interdisciplinary course with a writer-centric approach, designed to explore the representation of Latinos in American film and television over the past 30 years. By viewing a curated list of films/TV shows and interacting with guest speakers in the industry, students will develop a deeper understanding of how Latinos and the Latinx community have been portrayed in mainstream media. The course will culminate in a creative project, where students will write a pitch for their own original TV show, featuring Latinx characters and stories. 

Ernie Bustamante is an Emmy-nominated TV writer and filmmaker. He has developed pilots for major studios and networks, including Sony, ABC, and Disney Television Animation. He is the creator and showrunner of the award-winning satirical web series BORDER PATROL. His staff writing credits span multiple formats, from multi-camera sitcoms, to single-camera series, and animated shows like the upcoming BARNEY reboot for Max. In 2022, he received an Emmy nomination for his writing on the PBS animated series ALMA’S WAY 

SCWR 421 – REWRITNG THE SENIOR WRITING PROJECT

COURSE DESCRIPTION: Practical experience in rewriting the senior project draft.
The student must provide a professional copy of all senior thesis-level projects to the School of Film and Television in partial fulfillment of degree requirements.

COURSE GOAL: Students will gain practical experience rewriting the feature film screenplay or television pilot drafted in SCWR 420 as the second half of their senior thesis process.

LEARNING OUTCOMES:
• Students will demonstrate ability to challenge and rethink a completed draft by
revisiting and refining its basic concept and outline
• Students will demonstrate proficiency in utilizing the principles of character and ethics in terms of dramatic roles and plot progression.
• Students will demonstrate proficiency in creating structure out of character and conflict.
• Students will demonstrate proficiency in writing dialogue.
• Students will demonstrate proficiency in visual writing techniques.
• Students will demonstrate ability to improve existing scenes and sequences, adding,
deleting and restructuring scenes as needed.
• Students will demonstrate proficiency in giving and taking notes from the professor and classmates in a collaborative writers’ room.
• Students will demonstrate proficiency in pitching stories in the room.
• Students will master knowledge of either feature or one-hour and half-hour television
formatting.
• For TV pilots: Students will demonstrate proficiency in understanding and executing a
television show bible.
• Students will value a diverse range of stories that explore ethics and humanism.

COURSE DELIVERABLES
Students will:
• Rewrite of the screenplay completed in SCWR 420, including further development and re-outlining
• Submit weekly development notes for their peers’ class projects
• Develop and present a 5 – 7 minute pitch of their final project

Signature Project: Students will fully rewrite the feature screenplay or television pilot drafted in SCWR 420 and will submit a logline with the project. TV pilots will also include a bible. Industry standard for a feature-length screenplay is currently 85 – 110 pages. Industry standard for a half-hour pilot of 30 – 45 pages and for a one- hour pilot is 50 – 65 pages.

SCWR 428: ADAPTATION: FROM SOURCE TO SCREEN

COURSE DESCRIPTION
Practical experience in translating books (novels and/or non-fiction) into film scripts

LEARNING OUTCOMES
• The student will develop critical skills by analyzing the process of adapting one medium to another.
• The student will value the influence of film and television on culture and vice versa.
• The student will develop entrepreneurial skills through creating a portfolio of pitches.
• The student will develop oral communication skills through pitching adaptation projects.
• The student will develop a personal strategy for discovering and choosing “adaptable” material.
• The student will elevate their mastery of story development, character development,
storytelling structure and cinematic style.
• Students will develop the ability to give and take notes from the professor and
classmates in a collaborative writers’ room.

COURSE DELIVERABLES
The student will complete:
• Four conceptualization guides from the following categories: novel, short story, play and true story/true life incident/historical
• Pitches for at least two adaptation projects based on the conceptualization guides
• A PowerPoint pitch deck for their final project to present to the class in a twenty-minute oral presentation
• Step outline for the Final Project
• Character Bios for the Final Project

Signature Project: Students will write one of the following adaptation projects based on another medium:
• The first act of a feature length film (25 – 30 pages)
• The first three acts of an hour-long pilot for a television series ( 25 – 30 pages)
• The complete pilot of a thirty-minute television series ( 25 – 30 pages)
• A thirty-minute short film or web series based (25 – 30 pages)

If the project is based on literary material, it must either be in the public domain or if not, permission must be granted by the author or owner of the rights to adapt the material for educational purposes only. If the project is based on a true story or true-life incident, the rights must either be in the public domain or life rights granted to adapt the material for educational purposes only.

The script must be rewritten at least once based on notes from the writer’s workshop.

SCWR 450 – SENIOR WRITING PROJECT: TV PILOT

COURSE DESCRIPTION: Specially directed projects in writing for film, television, or other media from initial concept through finished form. The student must provide a professional copy of all senior thesis-level projects to the School of Film and Television in partial fulfillment of degree requirements.

COURSE GOAL: Students will develop and write an original television pilot as the first half of their senior thesis process.

LEARNING OUTCOMES
• Students will demonstrate superior understanding of the dynamics of storytelling
required for film or television.
• Students will demonstrate proficiency in creating a premise.
• Students will develop proficiency in utilizing the principles of character and ethics in
terms of dramatic roles and plot progression.
• Students will demonstrate proficiency in breaking story in the room.
• Students will develop proficiency in creating structure out of character and conflict.
• Students will demonstrate proficiency in outlining
• Students will demonstrate proficiency in writing dialogue.
• Students will demonstrate proficiency in giving and taking notes from the professor and classmates in a collaborative writers’ room.
• Students will demonstrate proficiency in pitching stories in the room.
• Students will master knowledge of either feature or one-hour and half-hour television
formatting.
• Students will value a diverse range of stories that explore ethics and humanism.

COURSE DELIVERABLES
Students will:
• Develop and draft a long form screenplay that, regardless of genre, is driven by complex characters that undergo change as a result of overcoming internal and external obstacles OR develop and draft of a half-hour or hour television pilot that can sustain a series, including a beat sheet and outline
• Submit weekly development notes for their peers’ class projects

Signature Project: Students will draft a complete television pilot, in proper format. Industry standard for a half-hour pilot is 30 - 45 pages and for a one-hour pilot is 50 - 65 pages.

The art and craft of the short play takes time to hone.  To tell a complete story in 10-15 pages is a challenge. You will write 2 monologues and two short plays. Both plays will be rewritten at least twice. Each of you will also choose a playwright, study them, and give a short talk on their writing process at the end of the semester. The first play will be a two-character piece. The second play can be written for three or four characters.  The playwriting course is structured as a writer’s room. While there will be short lectures, they are built upon the flipped classroom model with discussion at its core. You will pitch and develop premises, use the Freytag Pyramid as an outline and write two drafts of each project. Examples of monologues and short plays will be handed out and screened and each of you will also receive a book of short plays.

Jeffrey Davis’ play, Speed Dating 101, is published by JAC Publishing, Boston. It and “The Children’s Table” and “Manic Season” as well as other plays have been produced in New York, Oregon and Los Angeles. Jeffrey is the co-author of three books on comedy writing and “Pitch Like Hollywood” published by McGraw Hill in 2022. He began his career writing jokes for Thicke of the Night. Among his credits are Love Boat, House Calls with Lynn Redgrave, Give Me a Break, Diff ’rent Strokes, Night Court and Small Wonder as well as America’s Funniest People.

Animated TV shows used to be fairly straight-forward and predictable. However, in today’s world of streaming services and edgier cable channels, animation can be much more layered and adventurous. Whether it be a nihilist scientist traveling the multiverse to a depressed, former TV star horse searching to find happiness, animated show creators center their visions around a wide variety of nuanced characters. This is one of many reasons why animation is so exciting right now and showcases more diverse and unique voices than any other genre on television. In this class, you’ll develop your own original animated TV series concept and write the script for a pilot based on this idea. In addition to that, you’ll also learn many different aspects of writing for animated television, not only on the creative side, but from a business standpoint as well. Most importantly, you will learn about writing more visually and expressing your voice in this exciting and limitless genre. Side note: you do not have to be able to draw in this class. If you can draw, that’s great, but our focus will be writing and creating your show (also I don’t know how to draw so I can’t teach that).

Matt Price is an Emmy Award-winning writer and producer whose credits in animation include “Close Enough” (HBOMax), “Final Space” (Adult Swim) and all eight seasons of “Regular Show” (Cartoon Network).

Meetings: See PROWL for meeting days/times 

Late-night shows create an air of "Hey, let's put on a show!" but writing for them requires maneuvering between several different types of comedy. This course will teach students, even those who may not feel they have the "funny gene," how to construct monologue jokes, develop topical pitches and desk piece ideas, and write sketches. By the end of the term, they'll leave with a professional-quality submission packet for applying to such shows as "The Tonight Show" and "Saturday Night Live."  Or at the very least, an appreciation for what goes into making them tick. 

Rob Kutner  has won 5 Emmys, a Peabody, a TCA, and a Grammy writing for such shows as TBS’ “CONAN” and “The Daily Show with Jon Stewart, and co-created the fact-based comedy TV show “Gander.”  Rob’s other TV writing includes “Teen Titans Go!” “Ben10” “Angry Birds: Summer Madness” and HBO’s “Dennis Miller Live.” He has also written material for the Oscars, Emmys, Writers’ Guild Awards, MTV Movie Awards, Guys’ Choice Awards, and two White House Correspondents’ Dinners.

SCWR Juniors and Seniors Only

Please view PROWL for exact times

Pitching skills are an essential part of every working writer’s life.  In today’s marketplace, it is not enough to have just have a great writing sample. One must be able to effectively pitch original ideas for pilots and feature films, as well as pitching themselves to showrunners and producers who are looking to hire writers for their staffs. The course will also cover how to present yourself in general meetings with prospective managers, agents and producers looking to hire.  This class will cover sales techniques, both in person and on Zoom, as well as specific content and length of pitches in addition to visual accompaniments.

John Strauss has been a working screenwriter and showrunner for over thirty years.  John’s feature credits include “There's Something About Mary”, “Santa Clause II”, Santa Clause III”, and “Free Birds”.  On the television side, John has been an executive producer/showrunner on over ten different television series. His most recent credits include the Golden Globe-winning series, Mozart in the Jungle and Peabody Award-Winning best drama series, David Makes Man.

SCWR Juniors and Seniors Only

Students will analyze Bachelor and Bachelorette “cultural dates” for storytelling, production and editing techniques before casting, shooting and editing an LMU campus dream date reality TV show segment. During this group project, students will get to try on different hats in every phase of the creative process and execute on notes given to them by the “showrunner”/professor. Students will culminate the semester by creating their own reality TV show concept and completing a Signature Project consisting of a 2-5 minute sizzle real and a 1-2 page pitch deck. 

Howard March is a ‘seasoned’ veteran of 30 seasons as Senior Story Producer on The Bachelor, The Bachelorette and Bachelor in Paradise.

A world is not built in a day; it is built on a high concept. This class is designed to expand student knowledge of a variety of story forms and enhance their ability to tell innovative stories, based on high concepts. By drawing on a variety of story forms, drawn from the natural world, diverse cultural traditions, and even Hollywood genres, students can explore stories that reflect their experiences instead of cramming their unique identities into a one-size-fits all model.

SCWR 501 – FUNDAMENTALS OF CINEMATIC STORYTELLING

COURSE DESCRIPTION: Elements of screenwriting as applied to short films intended for production.

LEARNING OUTCOMES
• Students will understand the principles of character and the role character plays in story
development, including a discussion of character ethics and their moral code
• Students will understand scene construction and sequencing scenes into a narrative
with a beginning, middle and end
• Students will execute dramatic storytelling using conflict and plot complications
• Students will learn the principles of dramatic screenwriting: conflict, form, and structure
• Students will recognize the importance of visual writing and cinematic dialogue
• Students will utilize standard screenplay format
• Students will learn the value of the collaborative process functioning as a ‘writers’
group’ for constructive criticism
• Students will value diverse stories that explore humanistic themes
• Students will explore each writer’s unique creative voice

COURSE DELIVERABLES
Students will:
• Develop a fundamental visual writing skill set
• Develop and write character biographies
• Write non-verbal cinematic scenes
• Write cinematic scenes with effective dialogue
• Develop and deliver a verbal project ‘pitch’

Signature Projects:
A. Students will develop, write and rewrite an idea for a short film based on the attached
PROD 550 project description. Please note the strict limitation on dialogue.
Development includes:
• Character biographies for the major roles
• Treatment for the project
• A re-written script in industry standard format
B. Students will develop, write and rewrite a 7 – 10 minute conventional short screenplay

SCWR 510 – PRODUCTION FUNDAMENTALS FOR WRITING FOR THE SCREEN

COURSE DESCRIPTION: Practical experience in the development process: includes taking an
idea to script and the directing, producing and post-producing of a short video project

LEARNING OUTCOMES
• Students will demonstrate proficiency with the basics of story development, pre-
production, and post-production in relation to the overall creative process
• Students will demonstrate their understanding of the collaborative side of creative
story-telling from conception to screening, and responsibly working with production
executives
• Students will demonstrate working knowledge of the distinct roles of above-the-line and
below-the-line production positions, as well as studio, network, and creative staff, and
how everyone intersects through the both the creative and business processes
• Students will demonstrate working knowledge of the essential skills related to post-
production, including aspects of non-linear editing
• Students will demonstrate working knowledge of re-writing a scene for production
• Students will learn how to take and give notes and how to respond to creative criticism
• Students will demonstrate practical knowledge of what a ‘pitch’ is and how to give them
• Students will demonstrate creative collaboration and teamwork when producing
screened stories
• Students will demonstrate an understanding of applicable film history related to seminal
scripts and their translation to film
• Students will become proficient in the Premiere editing system and Final Draft or other
script writing software

COURSE DELIVERABLES
Students will:
• Conceive, pitch, and revise short story ideas
• Write multiple short scripts based on story prompts
• Write, produce, workshop, shoot and edit an original scripted story for final production
• Fulfill all creative roles on other students’ productions including camera, audio, AD,
script supervisor and editor
• Participate in all requires lab training for camera, audio, editing and other practical
positions on a production
• Collaborate positively with students in class workshops

Signature Project: A short film, between 3 – 4 minutes, which is written, produced and directed
by the student and edited in collaboration with another student, and screened for class.

SCWR 511 – PRODUCTION FUNDAMENTALS FOR WRITING AND PRODUCING TELEVISION

COURSE DESCRIPTION: Course centers on understanding the craft of storytelling and character
development as probably the most important task at hand when mounting a production and
properly servicing the script for the writer, executive producer, and studio/distributor. Making wise
choices in the area of camera, lighting, and special effects to non-linear post-production, etc.

LEARNING OUTCOMES
• Students will demonstrate proficiency with basic television production terminology
• Students will demonstrate working knowledge of the distinct role of producer on
screened motion picture series (in contrast to producers in feature film)
• Students will know the roles and responsibilities for the major crew positions
• Students will understand the four-parts of motion picture productions (development,
pre-production, production, post-production)
• Students will gain insight and experience in the ways post-production influences
storytelling
• Students will demonstrate practical knowledge of what a ‘pitch’ is and how to give one
• Students will demonstrate creative collaboration and teamwork when producing
screened stories
• Students will organize and schedule all production elements to record them on a safely
run sets

COURSE DELIVERABLES
Students will:
• Pitch short story ideas
• Write, produce and edit a simple scripted story
• Fulfill a key creative role on another student’s story
• Collaborate in a variety of key production roles

Signature Project:
A short film no longer than 4 minutes which the student has fully written, produced and edited.

SCWR 540 – ELEMENTS OF FEATURE SCREENWRITING

COURSE DESCRIPTION: Elements of feature film screenwriting related to idea, character, story
and structure development, scene and sequence construction, and elements of genres.

COURSE GOAL: Students will learn the fundamentals of screenwriting, focusing on six core
ingredients: Protagonist, Antagonist, Crisis, Want, Need and Causality.

LEARNING OUTCOMES
• Students will acquire techniques for writing visually
• Students will understand and utilize the principles of character and ethics in terms of
dramatic roles and plot progression
• Students will develop ability to create structure out of character, conflict and causality
• Students will understand scene construction as a narrative with a beginning, middle
and end
• Students will execute dramatic storytelling using conflict and plot complications
• Students will utilize standard screenplay format
• Students will develop critical skills in analyzing screenplays
• Students will learn the value of the collaborative process functioning as a ‘writer’s
group’ for constructive criticism
• Students will develop the ability to write cinematic dialogue
• Students will develop the ability to give and take notes from the professor and
classmates in a collaborative writers’ room

COURSE DELIVERABLES
Students will:
• Complete a series of scene and sequence exercises
• Write a premise, a one-pager based on causality, and a treatment for two feature-length
screenplays
• Rewrite one of the treatments to bring forward into SCWR 541
• Submit weekly development notes for their peers’ class projects
• Complete the Program Learning Outcome 3 Qualtrics Reflection Survey at the end of the
course

Signature Project: Based on the development documents above, students will write and rewrite
a well-structured five - ten page treatment for a feature-length screenplay. This treatment will
be brought forward into SCWR 541 where the student will write a first draft.

SCWR 550 – ELEMENTS OF TELEVISION WRITING

COURSE DESCRIPTION: Elements of dramatic writing with an emphasis on the television art
form and the practical aspects of writing television genres.

COURSE GOAL: To learn the basics of television writing in all genres and how to pitch ideas

LEARNING OUTCOMES
• Students will acquire basic knowledge of classic teleplay story structure for television
episodic drama and comedy
• Students will understand and utilize the principles of character and ethics in terms of
dramatic roles and plot progression
• Students will understand scene construction and sequencing scenes into a narrative
with a beginning, middle and end
• Students will execute dramatic storytelling using conflict and plot complications
• Students will acquire techniques for writing visually
• Students will recognize the importance of cinematic dialogue
• Students will utilize standard teleplay format
• Students will develop critical skills in analyzing teleplays
• Students will learn the value of the collaborative process functioning as a ‘writers’
group’ for constructive criticism
• Students will acquire practical knowledge of writing film genres as they apply to TV
• Students will learn how to develop and present a pitch

COURSE DELIVERABLES
Students will:
• Write structural analysis of a one-hour drama and a half-hour comedy episode
• Write character thumbnails for an existing series
• Write a series of scene and sequence exercises in seven different genres: Action, Police
Procedural, Medical, Legal, Sci-fi or Horror, Primetime Soap, and Comedy or
Comedy/Drama hybrid
• Write an episode beat sheet for all seven genres
• Develop a premise for an existing series

Signature Project: Develop concepts for 3 different original series in 3 different genres.
Develop and present a professional pitch that includes three episodes for an existing television
series.

SCWR 551 – FEATURE SCREENWRITING: WRITING AND PRODUCING FOR TV

COURSE DESCRIPTION: Practical experience writing a first draft feature film screenplay; including analysis of character development, plot, and story structure - for WPTV majors only

COURSE GOAL: Students will learn a professional approach to feature writing through a comprehensive development process

LEARNING OUTCOMES
• Students will demonstrate a clear understanding of storytelling dynamics for visual
media
• Students will deepen techniques for employing cinematic language
• Students will deepen their understanding of character and ethics in terms of dramatic
roles and plot progression
• Students will become competent at creating structure out of character, conflict and
causality
• Students will embrace the collaborative process in a ‘writers’ room’ and become
competent at giving and taking constructive criticism
• Students will value diverse stories that explore humanistic themes
• Students will further develop their writer’s voice

COURSE DELIVERABLES
Students will:
• Pitch two of three script ideas and learn how to articulate the beats of a screen story
• Develop a dramatic story from synopsis to beat sheet to outline
• Write character bios or complete character development exercises for at least two
characters in their screenplay
• Submit weekly development notes for their peers’ class projects

Signature Project: Based on the development documents above, students will draft a fully- realized feature-length screenplay. Industry standard for feature-length screenplay is currently 85 - 110 pages.

SCWR 635 – ADVANCED MOTION PICTURE SCRIPT ANALYSIS

COURSE DESCRIPTION: Analysis of feature films from the screenwriter’s point of view and an
in-depth study of each story’s dramaturgical elements. This study will deepen the
understanding of these principles and techniques for the student’s own creative work.

COURSE GOAL: To illuminate how fundamental dramatic principles work in feature film, no
matter the genre, era, type of protagonist, or even cultural context.

LEARNING OUTCOMES
• Students will acquire an understanding of basic dramaturgy: character development,
conflict, tension, and theme
• Students will build a ‘toolbox’ of screenwriting techniques such as planting and payoff,
polarity, sequencing, advertising, revelation and recognition
• Students will be introduced to a variety of story patterns to compare and understand
different narrative structures
• Students will study a diverse group of protagonists to compare and understand how
their stories evolve
• Students will improve their structural analysis skills through active discussion of each
film presentation
• Students will be able to apply the ‘toolbox’ from this class to their own writing
throughout the program

COURSE DELIVERABLES
Students will:
• Submit weekly homework which is a character/structure worksheet for each film
screened
• Complete a take home mid-term exam. This is open book and can be done in groups
• Write an essay on ‘What Doesn’t Work’ for a film they choose from a curated list

Signature Project: A final exam where the student writes a detailed structural breakdown of a
film they pick from a curated list. This is open book and can be done in groups.

SCWR 640 – REWRITING THE FEATURE SCREENPLAY

COURSE DESCRIPTION: Practical experience rewriting the feature film screenplay

COURSE GOAL: Students will learn the importance of rewriting and how to apply this skill

LEARNING OUTCOMES
• Students will further deepen techniques for employing cinematic language
• Students will deepen their ability to create dramatic structure out of character, conflict,
causality and complications
• Students will increase knowledge of classic screenplay structure and alternative forms
• Students will enhance their understanding of the principles of character and dialogue
• Students will enhance their ability to develop theme and layer it through story
• Students will collaborate in a ‘writers’ group’ and enhance their ability to give and take
constructive criticism
• Students will demonstrate competency in self-evaluation, revising and rewriting
• Students will value diverse stories that explore humanistic themes

COURSE DELIVERABLE
Students will:
• Redevelop their SCWR 541 draft screenplay
~ Devise a written plan for revision of their SCWR 541 draft screenplay
~ Complete a revised step outline
• Submit weekly development notes for their peers’ class projects

Signature Project: Students will complete a page-one rewrite of their SCWR 541 feature film
screenplay. Industry standard for feature-length screenplays is currently 85 - 110 pages

SCWR 650 – ADVANCED FEATURE SCREENWRITING

COURSE DESCRIPTION: Practical experience writing a feature-length screenplay

COURSE GOAL: Students will deepen their skills to develop and draft an original feature
screenplay

LEARNING OUTCOMES
• Students will become competent in employing cinematic language
• Students will move toward full competency of dramatic story structure and creating
structure out of character, conflict, causality and complications
• Students will move toward proficiency of classic screenplay structure and alternative
forms
• Students will hone their understanding of the principles of character and dialogue
• Students will hone their ability to work with theme and layer it through story
• Students will develop proficiency in their ability to give and take constructive criticism
and work in a collaborative ‘writers’ group’
• Students will learn how to competently discuss aesthetics of film and apply it to their
own screenplays and those of their classmates
• Students will value diverse stories that explore humanistic themes

COURSE DELIVERABLE
Students will:
• Develop their screen story, from premise to beat sheet to outline and into pages
• Submit weekly development notes for their peers’ class projects

Signature Project: Students will draft a complete first-draft screenplay based on the
development outlined above. Industry standard for feature-length screenplays is currently 85-
110 pages. This is the screenplay students will bring into SCWR 651.

SCWR 661– WRITING AN ORIGINAL DRAMA PILOT

COURSE DESCRIPTION: Practical experience creating an original one-hour drama series and writing the pilot teleplay

COURSE GOAL: A second/third year graduate-level writer’s workshop designed to increase student mastery of screenplay structure and craft as applied to the writing of the one-hour episodic drama pilot.

LEARNING OUTCOMES
• Students will develop the ability to pitch series ideas, taking into consideration
commercial viability, real world production limitations, and effective series presentation
• Students will understand how to develop a Cast of Characters, the ‘World’ of the series, specific story ‘Rules’, possible episode areas and a pitch document
• Students will deepen their ability to break story and develop story beats and outlines
• Students will master screenplay format as applied to a one-hour drama pilot
• Students will learn the value of the collaborative process functioning as a ‘writers’ room’ for constructive criticism and solving each other’s script problems
• Students will learn to value diverse stories that explore humanistic themes

COURSE DELIVERABLES
Students will:
• Create deliver a series pitch targeted to producers, agents, studios, cable outlets and
networks
• Create and write a pitch document for an original pilot idea
• Break the pilot story and write a beat sheet/outline for the pilot
• Gives weekly notes on the pilot story development of their peers

Signature Project: A completed first draft of the one-hour series pilot developed during the class.

SCWR 671 – WRITING THE COMEDY PILOT

COURSE DESCRIPTION: Practical experience creating an original half-hour situation comedy and writing the pilot teleplay

COURSE GOAL: A second/third year graduate-level writer’s workshop designed to increase student mastery of screenplay structure and craft as applied to the writing of the half-hour episodic comedy pilot.

LEARNING OUTCOMES
• Students will develop the ability to pitch series ideas, taking into consideration
commercial viability, real world production limitations, and effective series presentation
• Students will understand how to develop a Cast of Characters, the ‘World’ of the series, specific story ‘Rules’, possible episode areas and a pitch document
• Students will demonstrate competency in their ability to break story and develop
loglines, beat sheets, outlines and effective act breaks
• Students will master screenplay format as applied to a half-hour comedy pilot
• Students will explore finding their voice/perspective
• Students will learn the value of re-writing and gain experience ‘punching up jokes’
• Students will learn the value of the collaborative process functioning as a ‘writers’ room’ where they acquire the process of analyzing and generating constructive notes as well as implementing them in practice
• Students will learn to value diverse stories and alternative styles of storytelling –
examining social issues along with humanistic themes

COURSE DELIVERABLES
Students will:
• Create and deliver a series pitch targeted to producers, agents, studios, cable outlets
and networks
• Create and write a pitch document for an original pilot idea
• Break the pilot story and write a beat sheet and outline for the pilot
• Give weekly notes on the pilot story of their peers

Signature Project: A completed first draft of the original comedy pilot script developed during the class

SCWR 680 – PREPRODUCTION FOR THESIS PROJECT

COURSE DESCRIPTION: A ‘real life’ experience writing and producing a television series;
includes adapting the original pilot and pre-producing a short presentation

COURSE GOAL: To demonstrate mastery of the skills necessary to professionally write and
produce for television. This is a capstone class.

LEARNING OUTCOMES
• Students will demonstrate mastery of:
~ Character development
~ Story development and integrated theme
~ Storytelling structure
~ Creating tension for the audience
~ Cinematic style
• Students will master the ability to give and take constructive criticism and work in a
collaborative ‘writers’ group’
• Students will demonstrate the ability to self-evaluate, revise and rewrite
• Students will competently discuss aesthetics of television and apply it to their own
screenplays and those of their classmates
• Students will develop pitching techniques and be able to deliver a professional pitch
• Students will value diverse stories that explore humanistic themes
• Students will emulate professional practices such as time management and deadlines

COURSE DELIVERABLES
Students will:
• Write and re-write a shooting script (5-10 minutes)
• Revise a budget for the shooting script
• Revise a shooting schedule for the shooting script
• Serve as Executive Producer on the thesis script, i.e. hire cast and crew
• Submit weekly development notes for their peers’ class projects

Signature Project: Students will submit a final project Look Book which includes the revised
shooting script, budget and schedule. Photos of locations and cast can also be included

SCWR 685 – THE BUSINESS OF ENTERTAINMENT

COURSE DESCRIPTION: Classroom lectures, guest speakers, panel discussion from
entertainment industry business affairs, professional in the field of artist management,
development, financing and distribution

COURSE GOAL: Students will learn the critical business basics behind writing, creating, and
marketing entertainment

LEARNING OUTCOMES
• Students will demonstrate their ability to pitch a project
• Students will understand the following business aspects of writing and producing
~ Working with agents, manager and attorneys
~ Contracts, agreements and deals
~ Securing IP and acquiring story rights
~ Negotiating skills
~ Joining unions and guilds
• Students will understand the following aspects of business development and production
~ Major/boutique/independent film studios
~ Network/cable/streaming/digital for TV and theater
• Students will understand the business behind domestic and international marketing
~ Strategy
~ Research
~ Securing an agent/manager
~ Packaging
~ Distribution

COURSE DELIVERABLES
Students will:
• Present a visual and written oral presentation of their show, including logline, Passion,
Why You, Why Now, and present an elevator pitch to one of the companies applicable
for the show. They must also identify possible buyers and packaging ideas and justify.
• Write a Buyers Report on an assigned Studio/Network/Streamer

Signature Project: Students will build upon their midterms presentation to create a Creative
Business Plan and present it to a panel of industry professionals. This includes a more finely
honed pitch and TWO broad sales strategies for the project.
Requirements:
~ An estimated budget using two comps.
~ A visual creative vision for the show
~ A list of dream creative packaging elements, casting of leads, possible Directors and
Producers.
~ Identify and justify shooting locations

SCWR 690 – THESIS SCREENPLAY PROJECT

COURSE DESCRIPTION: Practical experience writing a feature-length screenplay

COURSE GOAL: Students will advance toward mastering the development and writing process
of a feature-length screenplay

LEARNING OUTCOMES
• Students will move toward mastery of screenwriting principles and techniques:
~ Character development
~ Building dramatic conflict and plot complications
~ Act and sequence structure
~ Creating tension for the audience
~ Cinematic language
~ Integrating theme into story
• Students will build competency of advanced structural concepts
• Students will master classic screenplay structure
• Students will master the ability to give and take constructive criticism and work in a
collaborative ‘writers’ group’
• Students will competently discuss aesthetics of film and apply it to their own
screenplays and those of their classmates
• Students will value diverse stories that explore humanistic themes
• Students will hone their unique writer’s voice
• Students will emulate professional practices such as time management and deadlines

COURSE DELIVERABLES
Students will:
• Present a pitch for their final project based on the summer assignment
• Develop their screen story, from premise to outline and into pages
• Present a scene analysis on special topics
• Submit weekly development notes for their peers’ class projects
• Create a revision plan to deliver to the SCWR 691 professor

Note: Once a feature premise is selected, it cannot be abandoned later in the term

Signature Project: Students will draft a complete first-draft screenplay based on the
development process outlined above. Industry standard for feature-length screenplays is
currently 85 - 110 pages.

The art and craft of the short play takes time to hone.  To tell a complete story in 10-15 pages is a challenge. You will write 2 monologues and two short plays. Both plays will be rewritten at least twice. Each of you will also choose a playwright, study them, and give a short talk on their writing process at the end of the semester. The first play will be a two-character piece. The second play can be written for three or four characters.  The playwriting course is structured as a writer’s room. While there will be short lectures, they are built upon the flipped classroom model with discussion at its core. You will pitch and develop premises, use the Freytag Pyramid as an outline and write two drafts of each project. Examples of monologues and short plays will be handed out and screened and each of you will also receive a book of short plays.

Jeffrey Davis’ play, Speed Dating 101, is published by JAC Publishing, Boston. It and “The Children’s Table” and “Manic Season” as well as other plays have been produced in New York, Oregon and Los Angeles. Jeffrey is the co-author of three books on comedy writing and “Pitch Like Hollywood” published by McGraw Hill in 2022. He began his career writing jokes for Thicke of the Night. Among his credits are Love Boat, House Calls with Lynn Redgrave, Give Me a Break, Diff ’rent Strokes, Night Court and Small Wonder as well as America’s Funniest People.

Late-night shows create an air of "Hey, let's put on a show!" but writing for them requires maneuvering between several different types of comedy. This course will teach students, even those who may not feel they have the "funny gene," how to construct monologue jokes, develop topical pitches and desk piece ideas, and write sketches. By the end of the term, they'll leave with a professional-quality submission packet for applying to such shows as "The Tonight Show" and "Saturday Night Live."  Or at the very least, an appreciation for what goes into making them tick.

Rob Kutner  has won 5 Emmys, a Peabody, a TCA, and a Grammy writing for such shows as TBS’ “CONAN” and “The Daily Show with Jon Stewart, and co-created the fact-based comedy TV show “Gander.”  Rob’s other TV writing includes “Teen Titans Go!” “Ben10” “Angry Birds: Summer Madness” and HBO’s “Dennis Miller Live.” He has also written material for the Oscars, Emmys, Writers’ Guild Awards, MTV Movie Awards, Guys’ Choice Awards, and two White House Correspondents’ Dinners.  

Students will analyze Bachelor and Bachelorette “cultural dates” for storytelling, production and editing techniques before casting, shooting and editing an LMU campus dream date reality TV show segment. During this group project, students will get to try on different hats in every phase of the creative process and execute on notes given to them by the “showrunner”/professor. Students will culminate the semester by creating their own reality TV show concept and completing a Signature Project consisting of a 2-5 minute sizzle real and a 1-2 page pitch deck. 

Howard March is a ‘seasoned’ veteran of 30 seasons as Senior Story Producer on The Bachelor, The Bachelorette and Bachelor in Paradise 

The Upside Down. Gotham. Tatooine. Middle Earth. Westeros. Hogwarts. Barbieland. These are just a few of the imaginary worlds that lie behind some of the most beloved films and series of our time. But world building is not only key to creating successful works of fantasy, science fiction and other genres but is just as critical for creating compelling period or contemporary films and shows: from Bridgerton’s Regency mansions and ballrooms to Breaking Bad’s Meth-fueled Albuquerque. In this course we’ll learn and practice many methods, devices and techniques for building worlds – both real and imaginary – that are not merely the settings for our stories and characters but are themselves the generators of story and character and ultimately the very foundation for creating compelling ‘universes’ that audiences will continue to live in long after the stories are ended. And by the end of the course, students will not only have honed their world building skills across many genres and forms, but will have the chance to develop their own unique, fictional world.

Adam Simon is the Co-Creator and Executive Producer of Salem, Executive Producer and Writer of Hulu’s Books of Blood and Co-Executive Producer and Writer of Fox’s NeXt starring John Slattery. His feature film writing credits include Bones, starring Snoop Dogg and Pam Grier and The Haunting in Connecticut. He has written for Oliver Stone, John Schlesinger, James Cameron, John Woo, Jackie Chan and many others.  He’s also created miniseries and pilots for Amazon, NBC, HBO, Fox, Showtime, USA networks and Sony television.

Animated TV shows used to be fairly straight-forward and predictable. However, in today’s world of streaming services and edgier cable channels, animation can be much more layered and adventurous. Whether it be a nihilist scientist traveling the multiverse to a depressed, former TV star horse searching to find happiness, animated show creators center their visions around a wide variety of nuanced characters. This is one of many reasons why animation is so exciting right now and showcases more diverse and unique voices than any other genre on television. In this class, you’ll develop your own original animated TV series concept and write the script for a pilot based on this idea. In addition to that, you’ll also learn many different aspects of writing for animated television, not only on the creative side, but from a business standpoint as well. Most importantly, you will learn about writing more visually and expressing your voice in this exciting and limitless genre. Side note: you do not have to be able to draw in this class. If you can draw, that’s great, but our focus will be writing and creating your show (also I don’t know how to draw so I can’t teach that).

 Matt Price is an Emmy Award-winning writer and producer whose credits in animation include “Close Enough” (HBOMax), “Final Space” (Adult Swim) and all eight seasons of “Regular Show” (Cartoon Network). 

Meetings: See PROWL for meeting days/times 

Adaptations of existing novels, plays, short stories and musicals have long been important sources for Hollywood in creating feature films for screen and television. This course explores the process for choosing and adapting pre-existing source material to the screen. Through careful analysis, students will study how others have solved the problems of adaptation. By examining what works and what does not work in various adaptations, students will learn how to approach source material and develop their own unique perspective. Students will complete a final adaptation project of a first act for a feature or a television pilot based on material in the public domain.

(Open to WPTV students only)

An in-depth, hands-on, and collaborative workshop class on the craft and art of directing actors, as well as the camera. Understand the tools and process of unlocking performances and freeing actors, as well as maintain your vision of the story. Learn how camera choices can be guided by performances, and how to create a set culture built on trust. 

Horror is a philosophical form that asks the question, What is human? In this class we focus on the horror film to expand our understanding of film genres by first delving into the protagonist’s unsociable desire, thereby exploring our own buried fears. Next, we consider the monster’s role in the dissolution of boundaries and jamming of categories, expanding our grasp of what constitutes a monster in order to create our own. We will engage our critical understanding of how this highly emotional and subversive genre has evolved in films, ranging from Murnau’s Nosferatu to Freidkin’s The Exorcist. We will identify the seminal influences of the genre, from the avant garde to the essential strands of horror DNA: the gothic enigma and the ordeal narrative. Through consideration of Hooper’s Texas Chainsaw Massacre and Durcounau’s Raw, we explore horror’s archaic rites of passage and violation of taboos. From the final girl to the witch, we attend to the volatile role of the female body in horror. In the uncanny, the doppelganger and the haunted house, we expand our understanding of Peele’s brilliant teasing out of racial monstrousness in Get Out. Note: the class is rigorous and designed for students who love horror even if their knowledge is limited. There is a film studies component; expect assignments that include critical readings and writing argumentative essays. Having immersed ourselves in frights and enhanced our knowledge of horror tropes, we turn to writing an outline and the 1st act of a feature screenplay or pilot that reflects, through the instrument of fear, what it means to be human.   

Mary Kuryla wrote and directed the feature film Freak Weather, which premiered at the Toronto International Film Festival and was in competition at the Film Festival Rotterdam, Tiger Awards. Her award-winning short Memory Circus premiered at Sundance. She has written screen adaptations for studios and independents and got her professional start with Mr. Mudd Films, writing an adaptation of Gordon Lish’s Dear Mr. Capote for John Malkovich to direct. Kuryla is the author of the collection Freak Weather Stories, winner of the Grace Paley Prize in Short Fiction (University of Massachusetts Press) and her debut novel Away to Stay (Regal House) was published in 2022. She recently directed a horror short, and her award-winning script Jorie Lee Crosses the Line is in pre-production with Varient Films. 

Please view PROWL for exact times