TV Script: Group Review; Young Frankenstein: Day 1 & 2

Period 7:

Please gather in your TV script group and read/review your completed work. Those of you who have not completed your TV script, please check in with your group members, but instead of reading/reviewing today, please complete your work and turn your scripts in late.

If you complete your reading/reviewing, (and you were absent last class!) please complete the blog post assignment from that date. Watch the linked videos, etc.

If you're all complete and up to date, you may work on your homework or take a look at what we will be viewing 8th period.

Period 8:

We will be screening the film: Young Frankenstein by Mel Brooks today in class. To prepare for this, please check out the film and post 1 thing you found interesting about the film that you may not have known in the COMMENT section of this blog. This site/article may help as well...

The film is a parody of the novel Frankenstein by Mary Shelly, but also a parody of the many films, in particular Frankenstein by James Whale (1931) and Bride of Frankenstein (1935). Check out this scene from the original film.

Mel Brooks was part of the American New Wave--filmmakers that challenged the post-modern and contemporary film of the silver screen that came before it.

Parody is an imitation of a genre or style that a writer (or director or actor, etc.) deliberately pokes fun at, exaggerates, or satirizes for comic effect. Unlike satire, the purpose of parody is just in good fun--as opposed to trying to change or comment on society.

As you watch Young Frankenstein, look for examples of parody (or comedy) as follows:

• Satire: poking fun at a social norm or tradition, event, or serious issue
• Rule of 3: repetition is a comic device, the more times we hear something, the funnier it gets. The rule, however, is that to set up a joke, we need to hear it 3 times: the first time to understand it, the second time to recognize the pattern, and the 3rd time is usually the punch line--see incongruity below.
• Hyperbole: exaggeration.
• Repetition: Like the rule of 3, in comedy if we repeat an idea or story, it is called the "callback"--and can be very funny if used skillfully.
• Double entendre: a spoken phrase that can be taken either of two ways--usually one of those ways is sexual. 
• Pun: a deliberate confusion of a similar word or phrase for humorous effect. Usually the pun is a homonym (a word that sounds similar). Shakespeare's chock full of these little buggers.
• Juxtaposition: comparing two elements that are placed next to each other. Contrast makes us laugh.
• Mistaken identity: one character is taken for someone else. 
• Incongruity: the breaking of a logical statement or something that is out of place.
• Irony: 3 flavors...Verbal irony is sarcasm; dramatic irony is when the audience knows something the character doesn't; situational irony is when the outcome of an action is the opposite of what is expected.
• Farce: a ludicrous situation, often with a lot of action (exits/entrances) or physical comedy.
• Slapstick: physical humor.

HOMEWORK: Please read and answer the ?'s on the Movie chapter handout.

New Hollywood; Film Response; Rocket Jump Models

7th period:

Please turn in your homework. Then, please watch the following videos together:

• Film History: New Hollywood (timeline)
• Film History: Contemporary Cinema (timeline)

After viewing, let's go back to the lab and complete the following writing activities:

Choose 2 "Movie Talk" cards. On YOUR blog, please post your answer to these 2 questions. Finally, in the same blog post, answer: what is your favorite film or film genre (and why?)

With the rest of the period, if you have not completed your tv script, please do so now. And, if you are done with everything (and your homework), feel free to head over to this link (Rocketjump) and watch some clips. There are short films and How To instructional films. Watch some of their films. Enjoy.

HOMEWORK: None.

TV Script Project: Day 7

Please complete your TV scripts today in the lab. Save some time at the end of class to share your work with your peer group for this project. Aim to complete your writing by 1:30 if possible, so that you can proofread, check your format, and meet with your group. See the project rubric below.

Script Rubric:

• Episode is creative and well written
• Episode is in correct TV script format
• Episode contains few or no grammar mistakes
• Episode includes a "developed" main plot
• Episode includes a "developed" subplot
• Episode script is between 10-15 (or more) pages in length
• Author illustrates various plot techniques in script (inciting incident, rising action, turning point/crisis/dark moment, enlightenment, climax, resolution, etc.)
• Script includes a title page with author's name (list of characters optional)
• Project turned in complete on time
• Writer used their time productively in class (during lab)

Please turn in a copy of your tv script draft by the end of class today.

HOMEWORK: Due Friday, March 23: please read and answer the ?'s about film. Note that the last question is a blog post on YOUR blog. See handout for details.

TV Script Project: Day 6

Please get together in your groups and discuss how your scripts are coming along. After checking in, go back to your projects and write. Aim to complete your scripts by Wednesday, March 21.

You should, hopefully, be moving in to your 3rd act today. A general breakdown of your script might look like this:

• Page 1: Teaser & titles or Act 1 (inciting incident)
• Page 2: Act One: status quo, major decision as protagonists involve themselves with the inciting incident.
• Page 3: Introduction to the subplot.
• Page 4: Problem arising (rising action & complication), end of Act 1
• Page 5: Act II: dealing with or solving the complication
• Page 6: Development of the subplot.
• Page 7: Turning point or crisis involving main plot (dark moment)
• Page 8: Act III: Dark moment & enlightenment (moment of clarity)
• Page 9: Climax and Conclusion of the subplot
• Page 10: Climax of the main plot (con't.)
• Page 11 or 12: Resolution, end of episode; reestablishment of the status quo

As you can see, you may need to fudge the pages a bit, but overall, your structure (in a 10-12 page script) should be somewhat similar. There's not a lot of time for extraneous or unnecessary dialogue. Remember that TV and Film are generally visual mediums. Use vivid description to convey a story!

See "The Adventure Time" script sample for a model.

Script Rubric:

• Episode is creative and well written
• Episode is in correct TV script format
• Episode contains few or no grammar mistakes
• Episode includes a "developed" main plot
• Episode includes a "developed" subplot
• Episode script is between 10-15 (or more) pages in length
• Author illustrates various plot techniques in script (inciting incident, rising action, turning point/crisis/dark moment, enlightenment, climax, resolution, etc.)
• Script includes a title page with author's name (list of characters optional)
• Project turned in complete on time
• Writer used their time productively in class (during lab)

HOMEWORK: Due Friday, March 23: please read and answer the ?'s about film. Note that the last question is a blog post on YOUR blog. See handout for details.

TV Script Project: Day 5 - The Middle

Please read:

After the Beginning: now what? Working through the middle

You began typing the moment you had an idea. You started off strong. Now three sentences in, or three scenes, or even three pages, you've reached your first stumbling block: what happens next?

With prompts and experience, most writers can get started. What's difficult is continuing through a murky middle. Here are some tips to slog through the worst part of your writing experience:

1. Most of the time we get stuck when we don't know what our characters want. Give your character a motive (a desire, or goal, etc.) to keep him/her moving forward.

2. Forward march: Move the plot forward by adding conflict and action. Involve your characters in a specific action or direct conflict with another character. This is particularly helpful if you are bored.

3. Put yourself in your protagonist's shoes: go inside a character's head. This is a common error that young writers constantly forget to do. Get your character's perspective. What would you think in a similar situation? What would you see if you were in this scene? What would you notice? What would you say? What would you do?

4. Skip forward in time. Advance the time period and move forward with the plot. Skip a line to indicate you've changed time (either forward or backward).

5. Skip to another setting/location. Move your character to a new setting. What happens there? Describe the setting/location, and the actions of minor characters.

6. Skip to a scene happening at the same time, but in a different location. 

7. Press forward: If you need more time to research details and don't want to stop to look up a fact or information, indicate what you need to look up by BOLDING or CAPITALIZING a note to yourself. You can also insert NOTES using your word processor feature under the insert menu.

8. Skip to the next major plot point. If you know where the story is going, but don't know yet how to get there, skip a line and write the next scene.

9. Go back to brainstorming. Use your journal to try out some new things. If you don't know (or are stuck on):

• Your characters: write a character sketch, draw a picture of your character, or develop your character's background history
• Your setting: draw your setting, find a picture of an appropriate setting on the internet, describe your setting using imagery--what sounds, smells, tastes, textures, and sights would one experience in the setting
• Your plot: list possible challenges or problems that a character might face in a similar situation or setting. Decisions characters make (or don't make) often create conflict. Create a mind map or use a graphic organizer to focus on plot elements.
• Your theme: create a premise for your story. What do you want to communicate about the human condition? What lesson or experience are you trying to relate?

10. Obviously, use the index cards and outline you created and push forward. If the middle is giving you trouble, skip to the end and write that. You can also go back and fill in the middle.

Continue writing your TV scripts. You should have completed 2-3 pages last class. If this is not the case (or you don't get much written today in the lab) please catch up by writing at home or during an advisement period. You want to aim to complete your script draft Monday.

HOMEWORK: None. Although, if you are behind, catch up with the rest of us. We'll be completing our episode script next class. 

Subplots; Writing your TV Script: Day 4

A subplot is a subordinate (less important) plot in a story. You might think of subplots as support to the main plot. They can introduce and maintain secondary characters who are foils to the main characters. But subplots also do some of the following:

• Subplots advance your story in increments or parts
• Subplots comment on the action of the main plot, or reveal aspects of characters
• Subplots speed up or slow down your story's pace
• Subplots provide suspense
• Subplots create or alter mood (the juxtaposition between dramatic scenes and comic ones, for example, are what we mean by melodrama!)
• Subplots can fill in holes or weak points in your main plot
• Subplots can provide another viewpoint or "lesson" or theme to the main plot
• Subplots give your readers/viewers a break from the main plot

CLASS ACTIVITY (15-20 minutes): You should have your 3 index cards outlining your episode plot from last class. Gather with your group to help each writer get ideas for a subplot. Match the subplot if you can with the main story. Together create several subplots (1 subplot per writer per script). Write these ideas (subplots) on index cards that can be chosen by your group or shared. A subplot should: 

• Focus on a character who is NOT the major character/protagonist of the main story line
• Should not be as complex or complicated as the main action
• Should have a clear beginning, middle and end (inciting incident, complication, rising action, climax, resolution) 
• Each writer should select one subplot to include in their script (see plot structure above)

Once you have your story index cards, begin writing your 10-15 page television script. Use the character lists, the set lists, the index cards with your plot outline and subplot idea to guide your story. 

Television scripts are comprised of:

1. A slugline (all in CAPS) indicating EXT (exterior) or INT (interior): LOCATION, and time of day.
2. Description (left justified) written in paragraphs that are NOT indented. Skip a line between paragraphs for easy reading. A general rule is to limit your scene action to four or five descriptive and specific lines PER action.
3. Dialogue has the character's name all in CAPS, indented to about 2.5" (5 tabs over); A character's dialogue appears under the character name. It is NEVER centered! Instead, tab over 3 tabs. ACTOR NOTES (if used) should be in parenthesis and 4 tabs over. Keep your dialogue specific. Do not waste your plot time with incidental or unnecessary dialogue!
4. Transitions. Transition notes are RIGHT justified. FADE OUT, CUT TO (are the most typical transitions); DISSOLVE TO, or INTERCUT are used less frequently. 

Use the handy handout to guide and help you format your script correctly! Use the models (sample scripts) for ideas and/or formatting examples.

If you plan a 10 page script for example, your first act should be about 3 pages, your second act should be about 4 pages, and your third act should be about 3 pages. -- This isn't a lot of space, please note. Your subplot should comprise no more than 1 page per act (1 of 3 pages in the first act; 1 of four pages in your second act; 1 of 3 pages in your third act, etc.)

In a 15 page script, you might have each act about 5 pages long. Of those 1 or 1.5 pages should be dealing with your subplot.

You may, if you need to, have a longer script. But 10-15 pages is our target.

Get writing! This project is not due yet!

HOMEWORK: None.

TV Script Project: Day 3

Today, please get into your tv groups. Together, create a list of key characters in your stories. Decide which characters are major/minor, which ones are protagonists and antagonists. You may wish to give a short description of the character and their role in the series.

Then, decide on settings. Which settings will be used typically? Make a list of 3-5 settings that you might be able to reuse (a character's kitchen, an office, a jail cell, a library, a football field, the school lunchroom, etc.) and together agree on what these places look like. Describe them. Writers will be able to use this information when writing their scripts! (see below)

You may use Google docs and share your notes so that all members of your group have access to a character list and set list. Remember: the lower your budget, the fewer sets and actors you can hire!

Then, using your story pitch, writers should use 3 index cards to flesh out and detail your script's 3-act structure (one index card per act). Structure in a tv show looks like this:

• Beginning: (ACT 1)
• Prologue or teaser* (a short scene that introduces the inciting incident)
• The main titles & intro
• Status quo & the introduction of the first problem (exposition/rising action)
• Introduction to the subplot
• Act 1 will end with a complication or crisis for one of your protagonists
• Introduce a deadline into your narrative--this is called the "time lock" in script writing
• Middle: (ACT II)
• Development of the plot (rising action/crisis)
• Development of the subplot (rising action/crisis)--a subplot usually comments on the main plot in a different way. It also can be used to highlight a minor character or theme
• A turning point (crisis) where the story takes an unexpected turn
• Act II usually ends with a dark moment for the protagonist--all looks bleak! (How will the characters solve the crime, solve their problem, react to further complications, etc.)
• End: (ACT III)
• Resolution of the subplot
• An enlightenment moment for the protagonist--who now knows what they need to do (in a mystery, for example, the detective figures out who the killer is and must confront the criminal, etc.)
• Climax (protagonist and antagonist meet)
• Resolution - return to status quo

On your index cards, write the main actions for your plot (what you wrote on your story pitch) for ACT 1 (1 card), ACT II (your second card) and ACT III (your third card). Remember to be specific about the location or setting in which your action takes place! Also, make sure you are specific as to which characters are involved directly with the action. Use your group's cast and set list for help.

Once you have your 3 index cards, gather with your group again (by the end of 7th period, for example). 

Together as a group, work to help each writer get ideas for a subplot. Match the subplot if you can with the main story. Together, as a group, create several subplots (1 subplot per writer per script). Write these ideas (subplots) on index cards. A subplot should: 

• Focus on a character who is NOT the major character/protagonist of the main story line
• Should not be as complex or complicated as the main action
• Should have a clear beginning, middle and end (inciting incident, complication, rising action, climax, resolution) 
• Each writer should select one subplot to include in their script (see plot structure above)

Period 8: 

Once you have your story index cards, begin writing your 10-15 page television script. Use the character lists, the set lists, the index cards with your plot outline and subplot idea to guide your story. 

Television scripts are comprised of:

1. A slugline (all in CAPS) indicating EXT (exterior) or INT (interior): LOCATION, and time of day.
2. Description (left justified) written in paragraphs that are NOT indented. Skip a line between paragraphs for easy reading. A general rule is to limit your scene action to four or five descriptive and specific lines PER action.
3. Dialogue has the character's name all in CAPS, indented to about 2.5" (5 tabs over); A character's dialogue appears under the character name. It is NEVER centered! Instead, tab over 3 tabs. ACTOR NOTES (if used) should be in parenthesis and 4 tabs over. Keep your dialogue specific. Do not waste your plot time with incidental or unnecessary dialogue!
4. Transitions. Transition notes are RIGHT justified. FADE OUT, CUT TO (are the most typical transitions); DISSOLVE TO, or INTERCUT are used less frequently. 

Use the handy handout to guide and help you format your script correctly! Use the models (sample scripts) for ideas and/or formatting examples.

If you plan a 10 page script for example, your first act should be about 3 pages, your second act should be about 4 pages, and your third act should be about 3 pages. -- This isn't a lot of space, please note. Your subplot should comprise no more than 1 page per act (1 of 3 pages in the first act; 1 of four pages in your second act; 1 of 3 pages in your third act, etc.)

In a 15 page script, you might have each act about 5 pages long. Of those 1 or 1.5 pages should be dealing with your subplot.

You may, if you need to, have a longer script. But 10-15 pages is our target.

Get writing! This project is not due yet!

At the end of class (about 1:35 or 1:40) meet again with your group to discuss how things are going. Where are you in your writing process, what questions do you have, what problems are you facing? Etc. Help your group solve problems or find answers/solutions.

HOMEWORK: None.

Television Script Project: Day 2

Period 7:

Now the hard part. As an individual writer hired by the studio to write the season of this show for your producer (me), each writer will come up with an idea to pitch for the season. This pitch is what is called a story pitch. The story pitch is longer than the teaser pitch. This is what is typically included in a story pitch:

• What is the working title for your episode? [This can change, of course]
• Which characters will be featured in the episode?
• Make sure you mention your episode's setting in your description!
• What is the inciting incident or hook? (this is sometimes the teaser. A teaser or prologue usually is a compelling scene just before the titles of the show start--think of Star Trek or Twilight Zone as models...)
• What is the main plot? Usually a television show has two plots (one main, the other a subplot). 
• What conflicts, crisis, or problems arise in the first act? (the beginning)
• At the end of an act, there is usually a reversal or turning point (crisis) that happens just before the commercial break. How does your act 1 end?
• What is your second act about? How will your second act end? (the middle)
• What is your third act about? How will the television episode end or resolve? (the end)

By the end of period 7 today, you should have completed your story pitch.

8th period:

Share your pitch with your group and your group will plan a season based on some of your pitched ideas. This is part of a writing assignment, so please turn in your written story pitch after you share it with your group today.

Head Writer: with the help of your team, plan a season for your show based on the ideas you heard. Work with your team to figure our where each episode should go (in what order) in the season. Writers usually use index cards to figure out which episode goes where in a season. We'll be using more index cards next class as we begin to write our episode. Give each episode a # and a working title. If the episode will feature a particular character, write that on the index card with the premise of the episode (a one-sentence summary of the episode).

Look here for more help if you get stuck or need some examples.

HOMEWORK: Please read the article "How to Land Your First TV Writing Job" by Michael Wheaton. On YOUR blog, please post a comment about what you learned from the article about TV writing. Is this something you might want to pursue as a career? Why or why not?

Read one (or more) of the sample television scripts: "Big Bang Theory", "Blackish", and/or "The Simpsons". Get familiar with the television script format. You'll need to use the format next class!

The Simpsons, Forming Your Television Groups; The Pitch

Complete the genre choice sheet and hand this back to me. What genre would you like to apply for? These choices will be used as we work on our next major project (the TV script). During our viewing of The Simpsons, I'll arrange writing groups.

The Simpsons:

Emerging from the Tracy Ullman Show (a comedy sketch show), Matt Groening's The Simpsons is the longest running American television program in history. The prime-time animated show began in 1989 and is still running.

Please read the article on the Simpsons (see homework).

We will screen two episodes. I've included a fan-written script (not in proper tv format) and a sample of storyboards. Let's take a look.

Homework Reminder: Please read "The Birth of the Simpsonian Institution" by Chris Turner. On your BLOG, please post a summary of main points or information in the article you read, AND consider the ancestors and descendants of The Simpsons (the graphic on the last page of the article). Discuss an animated show not listed and, after researching it, explain how it influenced or has been influenced by The Simpsons.

Lab:

The television pitch. A television series is pitched to television producers. If the producers like the idea, they often will hire the writer(s) to submit a pilot or sample script. If all goes well, the pilot might lead to a series. If all goes well again, a 1st season of a show may be renewed for a second season or third or 30th, as in the case for The Simpsons. The Simpsons, by the way, has recently been hired again for its 31st season!

The teaser pitch is a very short pitch of the idea behind the show. Let's start here. In 5 sentences or less, hook your peers by creating a teaser pitch:

• What is the premise of the show? Answer: "This show is about..."
• Who are the main characters in the series? (Who will be the program's protagonist(s)?)
• What is the main setting for the series? This might include time, place, season, weather, etc.
• What does the show resemble? What previous shows, films, or books are sort of like this idea? 
• What is your vision?
• How much might the show cost to make?

After hearing each group member's basic idea, decide on whose idea you will use. This person will be the "head writer" for your television group. Head writers should turn in a copy of your teaser pitch to me.

Then, the hard part. As an individual writer hired by the studio to write the season of this show for your producer (me), each writer will come up with an idea to pitch for the season. This pitch is what is called a story pitch. The story pitch is longer than the teaser pitch. This is what is typically included in a story pitch:

• What is the working title for your episode? [This can change, of course]
• Which characters will be featured in the episode?
• Make sure you mention your episode's setting in your description!
• What is the inciting incident or hook? (this is sometimes the teaser. A teaser or prologue usually is a compelling scene just before the titles of the show start--think of Star Trek or Twilight Zone as models...)
• What is the main plot? Usually a television show has two plots (one main, the other a subplot). 
• What conflicts, crisis, or problems arise in the first act? (the beginning)
• At the end of an act, there is usually a reversal or turning point (crisis) that happens just before the commercial break. How does your act 1 end?
• What is your second act about? How will your second act end? (the middle)
• What is your third act about? How will the television episode end or resolve? (the end)

By the end of class today, you should have completed your story pitch. If you do not complete it, please complete it for next class. Next class you will share your pitch with your group and your group will plan a season based on some of your pitched ideas. This is part of a writing assignment, so please be prepared to turn in your written story pitch.

Look here for more help if you get stuck or need some examples.

HOMEWORK: Please read the article "How to Land Your First TV Writing Job" by Michael Wheaton. On YOUR blog, please post a comment about what you learned from the article about TV writing. Is this something you might want to pursue as a career? Why or why not?

Read one (or more) of the sample television scripts: "Big Bang Theory", "Blackish", and/or "The Simpsons". Get familiar with the television script format.

Television: Twilight Zone & The Simpsons

BRAINSTORM: Look at the list and write the titles of some example samples of television shows that fit the category. Consider which shows you are familiar with, which ones are interesting to you, and what tropes are often found in the ones you watch.

Then decide as a class on a genre (or two or three)...if you were to make a TV show, what genre would you pick?

Action, adventure, anime, animation, black comedy, law, cop/crime, costume drama, mystery/suspense, soap opera, game show, horror, sci-fi, fantasy, family drama, comedy, situational comedy, reality show, medical drama, military, paranormal investigation, western, romance, parody, children's program, food/cooking, talk show, nature, travel, home repair, religious, other?

Then:

Twilight Zone (1959-1964) ran for five seasons (156 episodes) on CBS. Rod Serling produced, wrote, and narrated the series. The original series was shot in black and white and used popular (or soon to be popular) actors in cameo or non-repeating character roles. The unexpected twist or surprise ending was a popular trope of the series. Genres included fantasy, science fiction, suspense, and psychological thriller, and the show influenced future shows in these genres.

Other shows like The Outer Limits, Night Gallery, Ray Bradbury Theater (Bradbury also wrote for Twilight Zone), Tales From the Crypt, Goosebumps, X Files, and the more recent Black Mirror, are all inspired from this original show. Twilight Zone was recreated and updated with a new series in 2002.

We will read a little of the script: "Nightmare at 20,000 Feet" originally from a short story of the same name by Richard Matheson. It stars William Shatner (a later Captain Kirk) as the protagonist.

Next:

The Simpsons:

Emerging from the Tracy Ullman Show (a comedy sketch show), Matt Groening's The Simpsons is the longest running American television program in history. The primetime animated show began in 1989 and is still running.

Please read the article on the Simpsons (see homework).

We will screen two episodes. I've included a fan-written script (not in proper tv format) and a sample of storyboards. Let's take a look.

HOMEWORK: Please read "The Birth of the Simpsonian Institution" by Chris Turner. On your BLOG, please post a summary of main points or information in the article you read, AND consider the ancestors and descendants of the Simpsons (the graphic on the last page of the article). Discuss a show not listed and, after researching it, explain how it influenced or has been influenced by the Simpsons.