USC SCHOOL OF CINEMATIC ARTS

CTWR 415a: Advanced Writing

SYLLABUS (2 Units)

Instructor: Joshua Senter Class meets: Thursday, 10am - 12:50pm

Email: [email protected] Location: SCB 101
Section: #19432R Of ce hours: By appointment

COURSE OBJECTIVES:

• To learn the principles and elements of writing a feature length screenplay.

• To develop an original feature length screenplay idea into a story with strong dramatic tension
and characters that you are passionate about.
• To write a THREE ACT scene-by-scene OUTLINE of your feature length screenplay idea as
well as workshop up to THREE SCENES from that story written as SCRIPT PAGES.

COURSE DESCRIPTION:

This is an introductory course in developing a feature-length screenplay in which you will

discover your resources as a storyteller; your memory and observation, your responsiveness to
stories around you, and of course, your imagination; your ability to create and develop
compelling dramatic characters and great cinematic tales.

The course will lead you through three fundamental aspects of storytelling: how to get started,
stimulating inspiration for your work; how to acquire resources for discovering new characters,
new worlds and fresh ideas; and techniques for developing (“breaking”) your stories into a
detailed OUTLINE.

To this end, you will be given weekly assignments that you will either write in class or prepare
outside class as homework. While you are expected to write these assignments and deliver them
to me in printed form, you will generally be asked not to read what you’ve written, but to tell
your stories in class. The idea is to develop your skills at verbally holding an audience’s
attention.

You will focus on a single feature idea, presenting it as a short (3-5 page) treatment, then create
an outline before pushing forward into writing actual script pages. The give-and-take of
classroom discussion is a substantial aspect of the course. You are expected to participate and
engage in the development of the stories of the other members of the class. Be as constructive,
supportive, and enthusiastic as you can be.

For many of you, this semester will be your rst foray into writing a ORIGINAL
FEATURE LENGTH SCREENPLAY. So, we’ll start at the beginning of that process by
creating an OUTLINE for a screenplay in which you’ll create three dimensional characters

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 and a compelling story in a THREE ACT structure. We will also work on a FEW SCRIPT
PAGES to help with the development of the story.

As legions of writers have noted, story is character. If you create living, breathing, complex
characters, they help you to generate the story and make it more unpredictable. So we will
start off with the creation and development of our characters, making sure we know who
they are and what they want.

We'll work on premise, story structure, scene structure, and con ict as you write the
OUTLINE and then move into writing script pages as needed.

Our weekly class sessions will include lectures on elements of screenwriting, reading and
discussion of students’ work, and viewing of lm clips. The schedule and assignments may
be adjusted to help us accomplish what we want to do more effectively. There will also be
individual conferences addressed to the needs of each student and his or her material.

COURSE REQUIREMENTS:

1. Attendance is mandatory. Unexcused absences will result in your grade being lowered.
Students will read each other’s work and provide constructive, considered feedback to
their fellow writers. Energetic, positive, courteous participation in class is an invaluable
part of the course (and it’s fun).

Here is the of cial Writing Division Attendance Policy:

Students are expected be on time and prepared for each class. Two unexcused absences will
result in your grade being lowered by one full point (ex: A to B). A third unexcused absence
will result in your grade being lowered another full point (ex: B to C). Two late arrivals
equates to one full absence. In order for an absence to be excused the student must have
approval from the professor and provide documentation at the next attended class session.
Please note that if you are a Writing for Screen and Television major/minor you must
receive a grade of a C or better in order to receive degree credit. If you have any questions
about the minimum grade required for credit please check with your home department.

If you have an emergency and must miss class please contact your professor prior to class
or contact the Writing Division at 213-740-3303.

2. Assignments are to be completed and submitted by speci ed due dates as discussed in

class. Consistently late work will cost you a grade.

3. Your assignments will be read and discussed in class so be sure to bring enough copies
for every two students and the instructor. Free photocopying is available in the Writing
Division of ce for class assignments under 10 pages.

Please do not use the excuse of computers crashing, printers breaking, and other
mechanical failures as reasons for not completing your assignments. Back up to ash
drives, whatever, and print out often for your own safety and peace of mind.

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SCRIPT FORMAT:

HAVE SCREENWRITING SOFTWARE. You will be required to write in standard script

format (use a screenwriting program like Movie Magic, Final Draft, etc.).

Good writing is rewriting, and it’s also proofreading. Make sure to correct all typos,
dropped words, bad grammar, and misspellings.

REQUIRED READING:

3 FEATURE SCREENPLAYS, to be assigned

GRADING CRITERIA:

Classroom participation - 10%

Character bios and premise - 20%
First draft of three act outline - 40%
Final polish of outline - 30%

As per Writing Division policy the following is a breakdown of numeric grade to letter
grade:

94-100….A 80-82….B- 67-69….D+

90-93….A- 77-79….C+ 63-66….D
87-89….B+ 73-76….C 60-62….D-
83-86….B 70-72….C- 0-59….F

Outstanding work will get an A. Good work will get a B. Ordinary, average work will get a
C. And so on.

A.I. POLICY:
The uses of generative Artificial Intelligence to create narrative continue to evolve
throughout the media workplace. However, it is vital that before relying on AI to assist in
aspects of storytelling that we learn to source and execute our work via our own unique
imagination.

Creating, analytical, and critical thinking skills are part of the learning outcomes of this
course. All assignments should be prepared by the student working individually or in
groups. Students may not have another person or entity complete any substantive portion
of the assignment. Developing strong competencies in these areas will prepare you for a

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 competitive workplace. Therefore, using AI-generated tools is prohibited in this course, will
be identified as plagiarism, and will be reported to the Office of Academic Integrity.

SEMESTER SCHEDULE:

WEEK 1 (August 24)

Introductions. Review of syllabus. Go over course goals and student expectations.

Topics: Discovering your story; elements of character, world, and theme.

Assignment: Come up with three pitches(ideas) for a possible feature lm story.

WEEK 2 (August 31)

Each student will pitch their three ideas to the class, and we will all discuss. Topics: Importance
of main character, goals, and obstacles.

Assignment: Pick the feature lm story you are going to tell. Write CHARACTER BIOS,
including leads’ & secondary characters’ wants and goals.

WEEK 3 (September 7)

Discuss and critique CHARACTER BIOS, and discuss the emerging shape of your STORY.
Topics: How story grows from character; the dramatic “pyramid.”

Assignment: Write a three page STORY DOCUMENT. Focus on nailing the beginning, middle,
and end of the story.

WEEK 4 (September 14)

Discuss and critique each student’s three page STORY DOCUMENT. Topics: Basic structure;
main tension, culmination, resolution, sequences.

Assignment: Complete the rst half of ACT ONE of your OUTLINE.

WEEK 5 (September 21)

Discuss ACT ONE and story structure. Each student will present their ACT ONE progress. View
lm clip. Topics: Midpoints and Act Breaks.

Assignment: Finish ACT ONE of your OUTLINE; begin ACT TWO of your OUTLINE. Bring
in a brief description of opening and closing scenes of ACT TWO.

WEEK 6 (September 28)

Present/discuss openings and closings of ACT TWO. Topics: Setups and payoffs (e.g. costume,
props, dialogue); activity and action within scenes

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Assignment: Complete ACT TWO of your OUTLINE; bring in description of opening & closing
scenes of ACT THREE.

WEEK 7 (October 5)

Present/discuss ACT THREE openings and endings. Topics: Subplots and complications, often
developed through Secondary Characters.

Assignment: Write the rst half of your ACT THREE OUTLINE; create a CAST LIST.

WEEK 8 (October 12)

Discuss CAST LIST and secondary character subplots. Topics: Dramatic irony; Worthy Rivals.

Assignment: Complete rst draft of your OUTLINE.

FALL BREAK (October 19)

WEEK 9 (October 26)

Discuss OUTLINE rst drafts. Topics: Dialogue & Subtext. Dialogue vs. Behavior.

Assignment: Write OPENING SCENE of your screenplay as script pages.

WEEK 10 (November 2)

Read and workshop OPENING SCENES. Topics: The importance of choice & originality in
location & environment.

Assignment: Rewrite ACT ONE of your OUTLINE. Write pivotal ACT TWO SCENE as script
pages.

WEEK 11 (November 9)

Discuss ACT ONE of OUTLINE rewrites. Workshop pivotal ACT TWO SCENES. Topics:
Verbal setups; economy and clarity of language. View lm clips.

Assignment: Rewrite rst half of ACT TWO of your OUTLINE. Write pivotal ACT THREE
SCENE as script pages.

WEEK 12 (November 16)

Discuss OUTLINE rewrites. Workshop pivotal ACT THREE SCENES. Topic: Maintaining
dramatic tension within scenes and throughout the story.

Assignment: Rewrite second half of ACT TWO of your OUTLINE.

THANKSGIVING BREAK

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 WEEK 13 (November 30)

Discuss OUTLINE rewrites. Workshop any remaining script scenes. Topics: Time frame of story
building to a climax; Theme.

Assignment: Rewrite ACT THREE of your OUTLINE.

WEEK 14 (December 14)

FINAL: Turn in rewritten and polished OUTLINE.

Statement on Academic Conduct and Support Systems

Academic Integrity:

The University of Southern California is a learning community committed to developing

successful scholars and researchers dedicated to the pursuit of knowledge and the
dissemination of ideas. Academic misconduct, which includes any act of dishonesty in
the production or submission of academic work, compromises the integrity of the person
who commits the act and can impugn the perceived integrity of the entire university
community. It stands in opposition to the university’s mission to research, educate, and
contribute productively to our community and the world.

All students are expected to submit assignments that represent their own original work,
and that have been prepared speci cally for the course or section for which they have
been submitted. You may not submit work written by others or “recycle” work prepared
for other courses without obtaining written permission from the instructor(s).

Other violations of academic integrity include, but are not limited to, cheating,
plagiarism, fabrication (e.g., falsifying data), collusion, knowingly assisting others in acts
of academic dishonesty, and any act that gains or is intended to gain an unfair
academic advantage.

The impact of academic dishonesty is far-reaching and is considered a serious offense

against the university. All incidences of academic misconduct will be reported to the
Of ce of Academic Integrity and could result in outcomes such as failure on the
assignment, failure in the course, suspension, or even expulsion from the university.

For more information about academic integrity see the student handbook or the Of ce
of Academic Integrity’s website, and university policies on Research and Scholarship
Misconduct.

Please ask your instructor if you are unsure what constitutes unauthorized assistance
on an exam or assignment, or what information requires citation and/or attribution.

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 Students and Disability Accommodations:

USC welcomes students with disabilities into all of the University’s educational
programs. The Of ce of Student Accessibility Services (OSAS) is responsible for the
determination of appropriate accommodations for students who encounter disability-
related barriers. Once a student has completed the OSAS process (registration, initial
appointment, and submitted documentation) and accommodations are determined to be
reasonable and appropriate, a Letter of Accommodation (LOA) will be available to
generate for each course. The LOA must be given to each course instructor by the
student and followed up with a discussion. This should be done as early in the semester
as possible as accommodations are not retroactive. More information can be found at
osas.usc.edu. You may contact OSAS at (213) 740-0776 or via email at
[email protected].

Support Systems:

Counseling and Mental Health - (213) 740-9355 – 24/7 on call

Free and con dential mental health treatment for students, including short-term
psychotherapy, group counseling, stress tness workshops, and crisis intervention.

988 Suicide and Crisis Lifeline - 988 for both calls and text messages – 24/7 on call
The 988 Suicide and Crisis Lifeline (formerly known as the National Suicide Prevention
Lifeline) provides free and con dential emotional support to people in suicidal crisis or
emotional distress 24 hours a day, 7 days a week, across the United States. The Lifeline
is comprised of a national network of over 200 local crisis centers, combining custom
local care and resources with national standards and best practices. The new, shorter
phone number makes it easier for people to remember and access mental health crisis
services (though the previous 1 (800) 273-8255 number will continue to function
inde nitely) and represents a continued commitment to those in crisis.

Relationship and Sexual Violence Prevention Services (RSVP) - (213) 740-9355(WELL)

– 24/7 on call
Free and con dential therapy services, workshops, and training for situations related to
gender- and power-based harm (including sexual assault, intimate partner violence, and
stalking).

Of ce for Equity, Equal Opportunity, and Title IX (EEO-TIX) - (213) 740-5086

Information about how to get help or help someone affected by harassment or
discrimination, rights of protected classes, reporting options, and additional resources
for students, faculty, staff, visitors, and applicants.

Reporting Incidents of Bias or Harassment - (213) 740-5086 or (213) 821-8298

Avenue to report incidents of bias, hate crimes, and microaggressions to the Of ce for
Equity, Equal Opportunity, and Title for appropriate investigation, supportive measures,
and response.

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 The Of ce of Student Accessibility Services (OSAS) - (213) 740-0776
OSAS ensures equal access for students with disabilities through providing academic
accommodations and auxiliary aids in accordance with federal laws and university
policy.

USC Campus Support and Intervention - (213) 740-0411

Assists students and families in resolving complex personal, nancial, and academic
issues adversely affecting their success as a student.

Diversity, Equity and Inclusion - (213) 740-2101

Information on events, programs and training, the Provost’s Diversity and Inclusion
Council, Diversity Liaisons for each academic school, chronology, participation, and
various resources for students.

USC Emergency - UPC: (213) 740-4321, HSC: (323) 442-1000 – 24/7 on call
Emergency assistance and avenue to report a crime. Latest updates regarding safety,
including ways in which instruction will be continued if an of cially declared emergency
makes travel to campus infeasible.

USC Department of Public Safety - UPC: (213) 740-6000, HSC: (323) 442-1200 – 24/7
on call
Non-emergency assistance or information.

Of ce of the Ombuds - (213) 821-9556 (UPC) / (323-442-0382 (HSC)

A safe and con dential place to share your USC-related issues with a University
Ombuds who will work with you to explore options or paths to manage your concern.

Occupational Therapy Faculty Practice - (323) 442-2850 or [email protected]

Con dential Lifestyle Redesign services for USC students to support health promoting
habits and routines that enhance quality of life and academic performance.
Support and accommodations for students with disabilities. Services include assistance
in providing readers/notetakers/interpreters, special accommodations for test taking
needs, assistance with architectural barriers, assistive technology, and support for
individual needs.

Diversity and Inclusion:

Diversity and Inclusion are foundational to the SCA community. We are committed to
fostering a welcoming and supportive environment where students of all identities and
backgrounds can ourish. The classroom should be a space for open discussion of
ideas and self- expression; however, SCA will not tolerate verbal or written abuse,
threats, harassment, intimidation or violence against person or property. If students are
concerned about these matters in the classroom setting they are encouraged to contact
their SCA Diversity and Inclusion Liaison, http://cinema.usc.edu/about/diversity.cfm; e-
mail [email protected]. You can also report discrimination based on a protected
class here https://equity.usc.edu/harassment-or- discrimination/

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Disruptive Student Behavior:

Behavior that persistently or grossly interferes with classroom activities is considered

disruptive behavior and may be subject to disciplinary action. Such behavior inhibits
other students' ability to learn and an instructor's ability to teach. A student responsible
for disruptive behavior may be required to leave class pending discussion and
resolution of the problem and may be reported to the Of ce of Student Judicial Affairs
for disciplinary action.

PLEASE NOTE:
FOOD AND DRINKS (OTHER THAN WATER) ARE NOT PERMITTED IN ANY
INSTRUCTIONAL SPACES IN THE CINEMATIC ARTS COMPLEX

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