Course Title: Redraft a feature screenplay
Part B: Course Detail
Teaching Period: Term1 2020
Course Code: COMM7356C
Course Title: Redraft a feature screenplay
Important Information:
This course will be delivered through face-to-face classes, interaction with industry mentors, and the learning support material and resources in Canvas.
School: 375T Vocational Design and Social Context
Campus: City Campus
Program: C6160 - Advanced Diploma of Professional Screenwriting
Course Contact: Penny Johnson
Course Contact Phone: +61 3 9925 4815
Course Contact Email: svdsc.mac@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Teacher: Luke Preston
luke.preston@rmit.edu.au
Nominal Hours: 70
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
Enrolment in this elective course at RMIT requires you to have completed all first year courses.
Course Description
In this course you will generate a market appropriate feature film screenplay to an advanced stage, develop the appropriate accompanying short documents as well as a plan for what to do with the project once you graduate. You will also develop the knowledge and skills required by a script editor to work with a writer, either through a film production company or independently, to edit and develop a feature length script.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
PSWFFS606 Redraft a feature screenplay |
Element: |
1. Establish redrafting requirements |
Performance Criteria: |
1.1 Identify purpose and requirements for redrafting with relevant people 1.2 Clarify vision for the production, including any recommendations and solutions from script report 1.3 Establish and confirm development timelines with relevant people 1.4 Maintain an open and productive dialogue with relevant people during the redevelopment process. |
Element: |
2. Evaluate the existing script to further the story |
Performance Criteria: |
2.1 Analyse theme of the existing script to devise a strong, sustainable premise 2.2 Determine strength of the characters and develop complex characters appropriate for a cinematic narrative 2.3 Evaluate strength of the story to generate workable narrative ideas 2.4 Experiment freely with styles and structures to advance the story |
Element: |
3. Develop the synopsis for the feature screenplay |
Performance Criteria: |
3.1 Write a synopsis that describes the story, characters and their motivation 3.2 Outline screenplay's dramatic, thematic and cinematic purpose 3.3 Seek feedback and incorporate any changes as appropriate |
Element: |
4. Develop the treatment for a feature screenplay |
Performance Criteria: |
4.1 Write a treatment that tells a dynamic cinematic story in prose 4.2 Create a scene-by-scene logline of the screenplay narrative as required 4.3 Convey story and the way it will be told cinematically, in a strong, creative and engaging manner 4.4 Weave subplots creatively into the main story 4.5 Describe character motivation, thought and feeling in the treatment 4.6 Use cinematic language to convey the film's narrative 4.7 Complete treatment to the agreed timelines |
Element: |
5. Redraft the feature screenplay script |
Performance Criteria: |
5.1 Review and clarify changes on the treatment from relevant people to assist in redrafting the script 5.2 Address structural and stylistic problems in the redraft as required 5.3 Deepen engagement with the narrative's characters, story and theme as required 5.4 Integrate changes into a revised draft in a creative manner 5.4 Write clear and concise development notes to accompany the redraft as required 5.5 Finalise redrafted script to the required deadline |
Learning Outcomes
Your goal is to not only finish the year with a market ready feature film screenplay, but also a plan on how to drive the project into production and the skills to operate within the creative team.
Details of Learning Activities
In this course, you learn through:
1. In-class activities:
- lectures
- teacher directed group activities/projects
- class exercises to review discussions/lectures
- peer teaching and class presentations
- group discussion
- class exercises to review discussions/lectures
- analysis/critique of students’ writings
2. Out-of-class activities:
- independent project based work
- writing and reading assignments
- online and other research
- independent study
Teaching Schedule
Semester 1
Week |
Date |
Class Content |
Assessment |
Competency and Elements |
1 |
Feb 11 |
In this first week we will discuss the role of the screenwriter in the Australian industry, what’s expected of them and how to sustain an ongoing career as a feature film screenwriter. |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
2 |
Feb 18 |
Pitching and idea generation |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4 |
3 |
Feb 25 |
The Five Pitfalls of Screenwriting These are common issues that most screenplays struggle with which script editors can be on the lookout for whilst working with their writer. |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4 |
4 |
Mar 3 |
Genre & Market Analysis |
Initial Assessment Task (quiz) due |
PSWFFS605 1, 2, 4 PSWFFS606 1, 2, 3 |
5 |
Mar 10 |
Using El Mariachi as a case study, the class will explore how an action film can be made on $5000.
|
|
PSWFFS605 1, 2, 4 PSWFFS606 1, 2, 3 |
6 |
Mar 17 |
Branding: Be Coca-Cola not Sofia Coppola |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3 |
7 |
Mar 24 |
Structure Outline and discuss the following feature film structures: a) 3 Act Structure b) 5 Act Structure c) 8 Act Structure |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3 |
8 |
Mar 31 |
Week 8 is all about character and how to develop the hero of a screenplay into an engaging protagonist that people will spend $20 and two hours on. |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
|
|
Mid-semester break: Monday 6 April to Monday 13 April inclusive |
|
|
9 |
Apr 14 |
Next Draft Notes & The Script Report Writers hate writing Next Draft Notes, but if they want a producer or a funding body to invest (pay) for the next draft, the writer needs to present them with a pitch of what it is they’re going to get for that money. |
Assessment Task #1 Due |
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
10 |
Apr 21 |
Working with your editor, you will determine the type of opening your project currently uses and brainstorm five more alternate openings to ensure your story opens in the best possible way. |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
11 |
Apr 28 |
As a group we will break down the third act of Lethal Weapon and work out not only why it is emotionally effective, genre specific but also the mechanics of how it works. |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
12 |
May 5 |
As an exercise you will craft a log line for The Silver Linings Playbook. Then, working in your writer/editor groups, editors will write five loglines with their writer. |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
13 |
May 12 |
“Send me the 1 pager.” This is probably the most uttered phrase from a producer to a writer who has ever pitched them a project. We’ll discuss why producers, distributors and funding bodies require this document and the key elements involved in crafting an effective one. |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
14 |
May 19 |
What is a beat sheet? Why do we use them and how can they help writers from wasting weeks, if not months writing content that may see the delete button. |
Assessment Task #2 Due |
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
15 |
May 26 |
No scheduled class: Semester review TBC |
|
|
Semester 2
Week |
Date |
Class Content |
Assessment |
Competency and Elements |
1 |
Jul 9 |
Introduction: Now what? So you’ve written the first draft of your screenplay, now what? Over the course of the next semester you will develop your screenplay not only a second draft stage but a market ready third draft screenplay. |
PSWFFS605 4 PSWFFS606 1, 2, 3, 4, 5 |
|
2 |
Jul 16 |
Screenplay Analysis: What’s broken here? In order to develop a screenplay successfully, you will need to conduct an honest assessment of the condition the screenplay is currently in and will compile a list of strengths and weaknesses. From week two, we’ll have a table reading of everybody’s feature films. |
|
PSWFFS605 4 PSWFFS606 1, 2, 3, 4, 5 |
3 |
Jul 23 |
The Second Draft Focus: Where to start? Rewriting a screenplay can sometimes be a daunting task. In this class we will explore various approaches on how to tackle the jump from the first to second draft by utilizing techniques such as mini-drafts and compartmentalisation. |
|
PSWFFS605 4 PSWFFS606 3, 4, 5 |
4 |
Jul 30 |
Beat Sheets: Baby steps Not only is creating a beat sheet of your screenplay extremely helpful when creating the first draft, they also can play a helpful role in crafting the second draft as well. |
|
PSWFFS605 4 PSWFFS606 3, 4, 5 |
5 |
Aug 6 |
Theme: What’s it all about? Now that you have finished your first draft it’s now time to talk about the importance of theme, defining what your theme is and identifying key parts within your story to express that theme. |
Assessment Tasks #3 and #4 Due |
PSWFFS605 2, 3, 4 PSWFFS606 3, 4, 5 |
6 |
Aug 13 |
You Did Too Much: How to cut down your page count In this class we will explore five different techniques you can implement to bring your page count down. |
|
PSWFFS605 2, 3, 4 PSWFFS606 3, 4, 5 |
7 |
Aug 20 |
The Style is the Substance Editors will identify the style of the writer they’re working with and using a highlighter read through the first ten pages of their screenplay to isolate those moments of uniqueness. Sometimes a writer is unaware of their own style until it is pointed out to them. |
|
PSWFFS605 2, 3, 4 PSWFFS606 3, 4, 5 |
8 |
Aug 27 |
Fantasy Movie Making Filmmaking is a business and in today’s busy marketplace having a marketable idea and a killer script isn’t enough. To get a film produced you need many elements, but none of those elements is more important than casting. |
|
PSWFFS605 2, 3, 4 PSWFFS606 3, 4, 5 |
|
|
Mid-semester break: Monday 31 August to Friday 4 September inclusive |
|
|
9 |
Sep 10 |
The Third Draft Just as the first and second drafts had a specific focus, the third draft also has a focus all of its own. |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
10 |
Sep 17 |
Who are all these people and why do I care about what they have to say? How to take notes without burning the joint down. In filmmaking, everybody has an opinion on your screenplay. From the producer, to the producer’s wife, to the producer’s wife’s intern who got the job not because they’ve just graduated from film school and won a bunch of awards, but because they’re the producer’s wife’s nephew and nothing more. |
|
PSWFFS605 2, 3, 4 PSWFFS606 3, 4, 5 |
11 |
Sep 24 |
There’s no traditional class this week, although Luke will be available from 4:30 to 9:30 to help with any queries or to provide feedback on any of the assignments. |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
12 |
Oct 1 |
How not to get screwed: the law and you Know your rights. In this class we will identify the various types of contracts and agreements that are typically entered into between screenwriter and a producer/production company as well as the five most important clauses to be aware of in a contract. |
|
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
13 |
Oct 8 |
Business plan: What now? Congratulations, by now you will have completed the third draft of your screenplay or are very close to it. Now the big question is what to do with your one hundred pages of awesomeness now that it’s all completed? |
Assessment Task #5 Due |
PSWFFS605 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
14 |
Oct 15 |
No scheduled class |
|
|
15 |
Oct 22 |
In this session you will have a one on one meeting regarding feedback on your screenplay. |
|
PSWFFS605 1, 2, 3, 4 PSWFFS606 1, 2, 3, 4, 5 |
Learning Resources
Prescribed Texts
None |
References
Resources available on Canvas. |
Other Resources
You will require access to a computer and to the internet for this course. RMIT will provide you with resources and tools for learning in this course through our online systems and access to specialised facilities and relevant software. You will also have access to the library resources.
The University Library has extensive resources and provides subject specialist expertise, research advice, help with referencing and support through:
The Learning Lab
https://www.rmit.edu.au/students/study-support/learning-lab
The Study Support Hub
https://www.rmit.edu.au/students/study-support/study-support-hub
Overview of Assessment
Assessment is ongoing throughout the course. Your knowledge and understanding of course content is assessed through participation in class exercises, script development meetings, and through the application of learned skills and insights to your writing tasks.
This course addresses the following units of competency, clustered for delivery and assessment:
- PSWFFS605 Script edit a feature film
- PSWFFS606 Redraft a feature screenplay
Assessment Tasks
Students enrolled in Vocational Education and Training qualifications are assessed for Competency. To be assessed as Competent means you have consistently demonstrated the required knowledge and skills at a standard expected in the workplace. To be assessed as Competent in this course, you will need to complete each assessment task to a satisfactory standard. You will receive feedback from the teacher at the conclusion of each assessment task.
You should refer to the assessment brief which is available through Canvas for full assessment criteria.
Assessment 1: Short Documents
Due: Week 9, 19 April
Like a screenplay, a successful synopsis has a strong basis in structure, gives the reader the feel and tone of the project and should leave them with a sense that they should absolutely read the screenplay instantly.
Assessment 2: Treatment/Beat Sheet
Due: Week 14, 24 May
You are asked to write a 10 Page treatment/beat sheet for the proposed second draft, including the changes you wish to implement. The treatment/beat sheet must be written in prose and outline every single beat within the story.
Assessment 3: Script Editor's Report
Due: Week 5, Semester 2, 6 August
You will be required to submit a script editor’s report with a word count of 1500-2000 words. This report will be on the screenplay of a classmate (which means you will receive a script report on your project also).
Assessment 4: Lead a Development Meeting
Due: Weeks 2 & 3, Semester 2, 6 August
In conjunction with delivering your script report, you will also conduct a short development meeting with the writer of the screenplay in which you provided a report for. In this meeting you will talk through your report, determine the strengths and weaknesses and present feedback in a positive manner.
Assessment 5: Third Draft Feature Film
Due: Week 13, Semester 2, 8 October
For this assessment you will submit your feature film screenplay.
Once you have achieved competency for all assessments in a unit of competency, you will receive an overall result. If you have not completed an assessment task to a satisfactory standard, you will be given an opportunity to resubmit that task within one week of receiving feedback from your teacher. If the resubmission is deemed unsatisfactory, the matter will be referred to the Program Coordinator.
Results that apply to courses that are delivered and assessed in accordance with competency-based assessment are:
CA: Competency Achieved
NYC: Not Yet Competent
DNS: Did not Submit for Assessment
Assessment Matrix
The assessment matrix demonstrates alignment of assessment tasks with the relevant unit of competency. These matrices are available through Program Administration.
Other Information
Attendance
Your learning experience will involve class-based teaching, discussion, demonstration and practical exercises
It is strongly advised that you attend all timetabled sessions. This will allow you to engage in the required learning activities, ensuring you the maximum opportunity to complete this course successfully.
Information about your studies
You can access My Studies through the RMIT website for information about timetables, important dates, assessment dates, results and progress, Canvas etc.
https://www.rmit.edu.au/students
Assessment
Information on assessment including Special consideration, Adjustments to assessment, (eg. applying for an extension of time):
https://www.rmit.edu.au/students/student-essentials/assessment-and-exams/assessment
Academic Integrity and Plagiarism
RMIT University has a strict policy on plagiarism and academic integrity. Please refer to the website for more information on this policy.
https://www.rmit.edu.au/students/student-essentials/assessment-and-exams/academic-integrity
Credit Transfer and Recognition of Prior Learning
Credit transfer is the recognition of previously completed formal learning (an officially accredited qualification).
Recognition of Prior Learning (RPL) is an assessment process that allows you to demonstrate competence using the skills you have gained through experience in the workplace, voluntary work, informal or formal training or other life experiences.
Please speak to your teacher if you wish to discuss applying for Credit Transfer or RPL for the unit(s) of competency addressed in this course.
https://www.rmit.edu.au/students/student-essentials/enrolment/apply-for-credit
Course Overview: Access Course Overview