Susan Kray, Ph.D. Department of Communication

Communication 436 Foundational Studies: Fine and Performing Arts Requirement

Rationale Visual representations of human stories go back at least as far as we have written records, to thousands of years ago when people watched dramatic performances ofmythic stories as part of the annual cycle of religious rituals. Aristotle described the structure of effective theatrical plays in his Poetics in 2350 BeE, enunciating principles still in use by dramatists and film makers. Film has been called America's distinctive contribution to the array of human art forms and today electronic technology gives hundreds of millions of people the ability to make their own videos. In this course, students will acquire the ability to plan and write a human story told through action, through moving images, whether as a form ofartistic self-expression or to infuse a practical video (intended for training, information, entertainment, or persuasion) with aesthetic, dramatic, and human values.

This is a liberal arts course. Students will learn the basics of an art form with technological and aesthetic roots going back over a hundred years. They will learn to use visual, dramatic, storytelling principles expanded and developed for film but based on standards enunciated at least twenty-four hundred years ago and, unquestionably, practiced for thousands ofyears before that.

Proposed Catalog Entry Students will learn to plan and write a visual story, using and evaluating visual themes, character, and, above all, action, in time and space. You will learn how to prepare your moving-image stories for production and for screenwriting competitions,

Susan Kray, Ph.D. Department of Communication

Narrative Communication 436

Foundational Studies: Fine and Performing Arts Requirement

Visual representations of human stories go back at least as far as we have written records, to thousands of years ago when people watched dramatic performances of mythic stories as part of the annual cycle of religious rituals. Film has been called America's distinctive contribution to the array of human art forms and today electronic technology gives us the ability to make and distribute our own video stories. In this course, students will acquire the ability to plan and write a human story, using the resources and constraints common to American visual-storytelling communities.

Student will acquire the ability to plan and write a visual story to be performed through moving-image media, whether film, video, or Internet forms. They will compose these visual stories as a form of artistic expression or as a way of infusing a practical video (intended for training, information, or persuasion) with aesthetic, dramatic, ethical, and human values. Students learn to plan and evaluate properly structured stories and how to use and evaluate visual themes, character, and action in time and space. They will also learn how to prepare their work for film festival competition and will how their work can serve and enhance the great American moving-image story-telling industries that create artistic work for American and far-flung international audiences.

This is a liberal arts course. Students will learn the basics of an art form with technological and aesthetic roots going back over a hundred years, using visual, dramatic storytelling principles developed for film but based on standards enunciated at least twenty-four hundred years ago and, unquestionably, practiced for thousands of years before that.

Demonstrate aesthetic responsiveness and interpretive ability. Students learn to plan and evaluate properly structured stories. They learn to use and evaluate symbolism, visual themes, character, and action. Through it all, they regard all these elements, with Aristotle, as serving the protagonist's program of purposeful dramatic action.

Employ knowledge of the arts to analyze issues and answer questions relating to human experience, systems, and the physical environment. Every effective film is basically a story about a social issue or a fact of the human condition, translated into individual terms to show a protagonist in his or her struggles to find or create meaning, in tension with the story problem of the movie's plot line. I guide students toward defining the issues that underlie the storyline and in redefining them so they are played out in the purposeful actions of one flawed but determined human being. Screenwriting is a demanding art form, requiring that students learn to differentiate between their own thoughts and feelings and those that can be transmitted though visual and aural means to other people. They have to make the transition from writing about interior events ­

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thoughts, feelings, beliefs, intentions - to writing about exterior events that others can observe; and yet the actions that screenwriters, through their scripts, instruct directors, actors, and editors to depict must relate to the deepest realities of human and social existence in a way that can touch the hearts of faraway audiences composed of strangers. A film is effective only if evokes audience emotion and the artistry required is considerable.

Connect works of art to their literary, cultural, and historical contexts. They learn how moving-image storytelling fits into an artistic practice that depends on an industry that survives only because it communicates with audiences allover the world as well as appealing to Americans. Visual storytelling requires a focus on human character, human beings' interactions with society and the natural world, and close attention to the ethical dimensions that make moving-image storytelling powerful for audiences in our own society and for people in other cultures as well.

Reflect on themselves as products of and participants in traditions of the fme and performing arts. The screenwriter's own humanity is always his or her greatest resource, because hislher stock-in-trade is composed, in the end, of the human heart, human ethics, and the human condition. Therefore I guide students to reflect on themselves as members of society practicing an art form (albeit within an industry). They also need to understand the potential of this particular art form to affect many lives, whether as "mere" entertainment that lightens and refreshes the human spirit, or as moving-image visual stories that can educate, persuade, and sometimes, for better or for ill, motivate other human beings to action.

COMMUNICATION 436 WRITING YOUR VISUAL STORY

Non-major credit: Fine and Performing Arts Major credit: 400-Level Elective

Dr. Susan Kray, Ph.D. Erickson 341, Department of Communication (812) 237-3235. FAX: (812) 237-3217 skray@isugw.indstate.eduand abzu@aol.com

Office Hours: 1 - 1:50 p.m. Tu, Th and by appointment Class Tuesday, Thursday, 2 p.m. to 3:15 p.m.

Classroom: 311 Dreiser Hall, 040 Erickson Hall Final Exam Thursday December 11 at 3 p.m.

NOTE: You are responsible for the content of this syllabus and for all the requirements for this course specified in this syllabus, even those not orally discussed in class.

I. COURSE OBJECTIVES 1. To familiarize students with the principles and skills of moving-image visual

storytelling, from Aristotle to today's "Screenwriting Gurus."

2. To familiarize students with planning and basic techniques using the professional, industry-standard software and storytelling principles.

3. To help students acquire skills in the classroom and the lab that will help them create projects to distribute, enter into competitions, or include in portfolios.

4. To help students develop the ability to critically review their own work and that of others.

In this course, students learn the most crucial phase of visual moving-image storytelling: the planning and writing. Without a plan, there is no story. No sane professional sets out to make a film without a script. The artistic process starts with the writing and is governed by it throughout.

What is the difference between writing a story for people to read and writing a story for people to watch on the screen? Your art, the art ofwriting for film and video, can be described as ''telling a visual story about a person through motion and emotion." To earn college credit for learning this art, you must satisfy three sets of criteria: your work must

• Fulfill aesthetic criteria appropriate to this art.

• Be professional in its form, appearance, and concepts.

• Satisfy academic standards of quality with respect to meaning, representation, intelligence, civility, good taste, and aesthetic criteria.

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II. REQUIRED READING and VIEWING 1. This syllabus.

2. Any handouts, e-mails, or Blackboard postings.

3. Reserve readings, Internet readings, or online film scripts as assigned.

4. Any films, television programs, or Internet videos viewed in class or assigned.

5. Tierno, Michael (2002). Aristotle's Poetics for Screenwriters: Storytelling Secrets from the Greatest Mind in Western Civilization. Hyperion. NY.

6. Henson, Wendy Jane (2005). Screenwriting Step by Step. Pearson. NY.

NOTES ON YOUR READING:

• Tierno's book for screenwriters shows you how great stories work.

• Henson shows you the nuts and bolts ofhow to put scenes and stories together for visual moving-image media

III. REQUIRED MATERIALS TO BRING TO EACH CLASS 1. This syllabus. 2. Pen and writing paper 3. A USB drive for backing up all computer work. 4. All handouts, e-mails, Blackboard postings, and assigned readings. 5. Two hard copies of the "Evaluation Form" included in this syllabus. 6. Your textbooks. 7. Your notes from class lectures and discussions.

IV. REQUIRED COMPUTER RESOURCES 1. A working Internet connection 2. Working e-mail. It is your responsibility to

a. check your e-mail b. check Blackboard

3. You will have 24-hour access to this lab and to the screenwriting and editing software on these computers.

V. WORK PLAN The course work plan consists of the following elements:

1. Lectures 2. Reading, writing, and viewing assignments 3. Writing assignments 4. Class discussion 5. Projects 6. Quizzes

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VI. FOUNDATIONAL STUDIES OBJECTIVES Demonstrate aesthetic responsiveness and interpretive ability. Students learn to plan and evaluate properly structured stories and to use and evaluate symbolism, visual themes, character, and action. You will relate your visual story to relevant themes concerning society or the human condition, aesthetics, ethics, and technology.

Employ knowledge of the arts to analyze issues and answer questions relating to human experience, systems, and the physical environment. Every effective film is basically a story about a social issue or a fact of the human condition, translated into individual terms to show a protagonist struggling to find or create meaning, in tension with the story problem of the movie's plot line. Students will learn to define the issues that underlie the storyline and understand how they are played out in the purposeful actions of one flawed but determined human being.

Connect works of art to their literary, cultural, and historical contexts. You will learn to create video stories that touch the minds and hearts of your audience by crafting emotionally evocative moving-image narratives about a human being in a life-changing crisis. Effective video stories require a focus on human character, human beings' interactions with society and the natural world, and close attention to the ethical dimensions that make moving-image visual stories powerful for audiences.

Reflect on themselves as products of and participants in traditions of the fine and performing arts. The storyteller's own humanity is always his or her greatest resource. Therefore students will be guided to reflect on themselves as members of society practicing an art form intended to appeal to other human beings. If you have professional aspirations, you will want your story to cross demographic and cultural boundaries to appeal to people allover this country and even the world.

You will come to understand the potential of this particular art form to affect many lives, whether as "mere" entertainment that lightens and refreshes the human spirit, or as moving-image visual stories that can educate, persuade, and sometimes motivate other human beings to action. Students will learn to analyze the ethical dimensions of moving­image storytelling as an art and the ethical aspects of the stories they craft.

VII. GRADING Two quizzes 20% (l0 points each) Four projects 40% (10 points each) Final project 20% (10 points) Class participation 20% (10 points for each half of the semester). Total: 100%

VIII. ATTENDANCE AND GRADING When figuring course grades at the end of this semester, I shall count near-perfect attendance-and-participation in your favor in case of borderline grades (79 becomes 80, etc.).

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IX. CLASS PARTICIPATION AND GRADE Notice that class participation counts for 20% ofyour grade. Consider that you must be present to participate. Since class participation, by its nature, cannot be made up, your participation grade WILL inevitably suffer negative impact from

1. Excessive absences (since you must be present to participate)

2. Failures to participate (clearly and audibly)

3. Failures to submit work in proper form.

4. Any interference with the smooth, civil functioning of the class meeting through side conversations, conspicuous late entrances, or other distracting behavior.

The creative process is both delicate and dynamic. Students will cooperate with the instructor to maintain a classroom atmosphere that is both diligent and supportive. Please keep in mind that this classroom is a workplace. Ifyou come in late, do not create distractions or consult other students about what you missed. Any deviation from appropriate, task-oriented, mutually supportive, professional behavior will result in a zero participation grade for that day. Such conduct may even result in a loss of existing participation points.

On the other hand, teamwork is an important and traditional part of the screenwriting process. You will be given ample opportunity to consult with classmates and to help each other to understand your own creative process, so as to improve the work of all concerned.

Nevertheless, you should consider these class sessions to be the equivalent of business meetings and conduct yourself accordingly.

GRADES WILL BE EARNED FOR • 2 quizzes from lectures and readings • 4 projects • 1 Final Project • Class participation

Quizzes: Worth 10 points each. No make-up tests will be given. The quiz will start at a designated time and end at a designated time. All students must take the quiz within this time.

Writing Projects: Worth 10 points each. Due dates will be assigned with each project. No late projects will be accepted

Final Project: Worth 20 points.

Class Participation and Conduct: Worth 20 points.

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X. PROPER FORMS FOR WRITTEN AND ORAL WORK 1. Screenwriting: 12-pt Final Draft Courier, using proper software and formatting. 2. Memos, reports, story outlines, and other homework: 12-pt Roman Times, using

proper format and literate, proper English. 3. "Pitches" and other oral communication appropriate to the practice of the

screenwriter's art will conform to professional standards of clarity, organization, and presentation.

As an educated adult and as a possible future professional, should you choose to pursue this artistic work, you should consider your written work as potential items in your portfolio and make this work suitably professional and presentable. You will also enhance your communication skills by learning to orally "pitch" your stories at a meeting in a professional manner.

XI. HOMEWORK AND CLASS PARTICIPATION All homework and class work assignments except those designated as papers and quizzes count under the "participation grade."

• Lateness: If you come in late and miss the explanations you need to understand class exercises, be sure to check with someone - but NOT during lecture or discussion - to fmd out what you missed. Wait until a break or contact them outside of class. Consider this a business environment.

• Absence: Obviously, excessive absences would sharply lower your grade for this course. Class participation, by its nature, cannot be made up.

• What you missed: If you miss a class discussion, it is up to you to check e­mailed material and also to contact class members for notes and to photocopy any notes or handouts they may have been given that day. Students who phone or e­mail me to "find out what I missed" will simply be reminded to review this section of the syllabus.

• Forms: When you receive worksheets to use in preparing for class discussions. o You must complete both sections--one as homework, one in class--in

order to earn your participation grade. o No fractional grades for this work!

• Principles of structure and analysis: You will keep ajournal consisting of legible notes from class discussion, focusing on the most important principles. I shall check these journals from time to time, as they are part ofyour class participation grade.

• Professional conduct: The creative process is somewhat fragile, so students will cooperate in maintaining a classroom atmosphere that is both diligent and supportive. Any student whose self-expression takes the form of griping, sulking,

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quarreling with criticism, or creating any other distraction is engaging in unprofessional conduct. Such conduct puts other students' learning at risk.

A word to the wise: Participation points can be lost as well as gained.

XII. EVALUATION OF PARTICIPATION The creative process is both dynamic and delicate. Therefore, students will cooperate with the instructor to maintain a classroom atmosphere that is both diligent and supportive. Helping other students is valued, but keep your interactions focused on class work. Please keep in mind that our lab and our classroom are workplaces, not playgrounds or places to hang out. Any deviation from appropriate, task-oriented, mutually supportive, professional behavior will result in a zero participation grade for that day. Such conduct may even result in a loss of existing participation points.

XIII. STRUCTURE OF PEER CONSULTATIONS IN LAB Visual communication is a collaborative medium. Hence, peer consultation while you work is an acceptable activity, within limits. These limits are:

1. Stay on task. This is a lab, not a place for hanging out and socializing. If you feel must pursue irrelevant topics, you should adjourn to some other venue.

2. Keep voices down. This is a working environment. 3. Maintain a businesslike atmosphere.

XIV. CLASS ETHICS University rules pertaining to plagiarism and other forms of intellectual dishonesty are in force in this class. Please consult the University's Academic Dishonesty Policy found in the Student Code of Conduct.

XV. SYCAMORE STANDARD: STUDENT "STANDARD FOR BEHAVIOR" As a student at Indiana State University, you are presumed to have agreed to the standard and by enrolling in this course you state that,

"I will practice personal and academic integrity; I will commit my energies to the pursuit of truth, learning, and scholarship; I will foster an environment conducive to the personal and academic accomplishment of all students; I will avoid activities that promote bigotry or intolerance; I will choose associations and define my relationships with others based on respect for individual rights and human dignity; I will conduct my life as a student in a manner that brings honor to me and to the University Community; I will discourage actions or behaviors by others that are contrary to these standards."

Please note: To this credo, students in this course also agree that, "I will commit my energies to the pursuit of artistic achievement and a mature standard ofcritical appreciation. I will commit myself to developing artistically mature standards for critiquing others' work and for receiving their criticism."

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XVI. SYCAMORE STANDARD: LAPTOP USAGE "Laptop Not Required for Course: Usage Permitted: While there will be no assignments or examinations for which the laptop will be used, your use of a laptop is generally permitted as long as such usage remains within the bounds of the Code of Student Conduct and it conforms to the provisions of its use as laid out in this syllabus. There may be occasions where laptop usage is forbidden and if that occurs, failure to comply with this direction will be viewed as a violation of the Code of Student Conduct."

XVII. COMMUNICATION Telephone: (812) 237-3235. FAX: (812) 237-3217 E-mail: skray@isugw.indstate.edu Office hours: 2-2:50 p.m. Tuesday and Thursday in 341 Erickson and by appointment. Ifyou bave any questions, problems, or frustrations, please let me know.

XVIII. ADDITIONAL INFORMATION 1. Students are evaluated on aesthetic and technical skills and critical, analytical

abilities, as shown through projects, other written work, and class participation. 2. No late work will be accepted. 3. No make-up quizzes or examinations will be given. 4. Student conduct in the classroom, in the field, and elsewhere must remain within

campus guidelines. 5. Food, drinking, and smoking are not permitted at any time in the classroom. 6. Food and drink are not permitted in the lab. If you bring such items, you should

store them on the shelves near the main entrance. 7. This is a learning environment. Do not use language or gestures that may offend. 8. This is a learning environment. Do not indulge in distracting behavior.

Aristotle' Poetics and the World of Film: The Mini-Version

Aristotle discovered the elements of story telling over 2300 years ago by watching stage plays. He wrote his Poetics (about drama), describing how visual story telling works. I have summarized a few higWights for you.

I. All stories must have: 1. Beginning, middle, end.

2. Unity of idea: The story is about one main idea, and that idea is played out through action.

3. Unity of action: A main protagonist engages in one "unified," coherent dramatic action throughout. (Rocky wants to last 10 rounds. Ethan wants to get his neice back from the Indians. Rick wants to get Usa to come back to him.) You will identify that unified action for each hero in our fIlms this semester. The film is not about the "hero"; it is about the hero's action. Each act follows logically and necessarily from the previous one, and sets up the next action as logical and necessary.

4. Conflict. One or more of•.. a. Self vs self b. Self vs society c. Self vs another person

Today, Aristotle could add other conflicts used in films: d. Selfvs nature. Examples: weather (Perfect Storm); a disease (Lorenzo's

Oil), an animal (Jaws). e. Self vs unknown. Examples: space aliens, creatures in horror movies... f. Self vs. supernatural.

5. Audience Emotion: Getting the audience to feel "pity and fear" for the hero.

6. Show, don't tell. Whatever motivates the hero to pursue his course of action must be shown unfolding before the audience's eyes. So must his actions.

II. Additional elements: 7. Reversal of Fortune. How are the mighty fallen! and the lowly lifted up.

8. It's close to home: The strongest conflict is an action within the family: parent attacks child, brother murders brother, wife betrays husband, son steals from father.

9. Undeserved misfortune: Audiences feel for characters who struggle against undeserved misfortune.

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Dr. Susan Kray, Ph.D. The Hollywood Paradigm©

Act I - The Setup 1. Ordinary Life. Ordinary, that is, for the main character. These scenes should be

unfamiliar and fascinating to the audience.

2. Inciting event, the "bolt from the blue" that changes the direction of the Main Protagonist's life. This is something surprising and new that happens to the main character, that neither she nor the audience could have predicted.

3. Decision One manifested through action. The Main Protagonist makes a first decision. This decision can be small and obvious and even reluctant.

4. Resting moment. She thinks she's got the problem solved. But then it comes back to bite her.

Act IIA is the protagonist's preparation for the Struggle. This could be (but is not necessarily) training, making early attempts, or gathering information.

5. The Midpoint. Something like a second inciting event happens to the main character that forces her to either quit or make a total commitment to the goal.

6. Decision Two manifested through action. Point of No Return. The main character clearly defmes the problem and makes a final, irrevocable commitment to struggle with it.

Act lIB is the focused. all-out Struggle. 7. The Black Moment of the Soul. Or "Low Point." Something catastrophic

happens, almost depriving the Main Protagonist (and audience) of all hope. (Just before the end of Act II).

8. Decision Three manifested through action. This catastrophe forces her to make a do-or-die ultimate. no-holds-barred decision (end of Act II).

Act III is the Final Battle. 9. The Final Battle may start with allies and with many adversaries or few.

10. The final struggle generally narrows down to the one main character versus one main adversary.

11. The Climax. The main protagonist wins or sees that he cannot win.

12. The Return Home, either really or metaphorically, at a new level or in a new way. Ideally, the character has learned something important about life and is "changed forever."

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Adapted from a fonn created by C. E. Nelson and associates, Indiana University, based on W. B. Hill 1969 Learning Through Discussion. BRING 2 BLANK COPIES TO EACH CLASS TO USE ~ DISCUSSIONS.

IMPORTANCE AND INTEGRATION: How important is this chapter or video? How does it relate to course themes and other course materials? (Use the back of this page if necessary).

SUMMARIZE AND EVALUATE YOUR DISCUSSION GROUP At the end of class: 1. SUMMARIZE the main points of agreement and difference within your group.

2. EVALUATE THE PERFORMANCE OF THE GROUP AND ROLES PLAYED.

OVERALL REACTIONS GENERAL DYNA~iJICS

Lots Some None yes ? No I learned Completed all steps

satisfactorily I participated Everyone participated

I contributed Leadership functions were distributed

I enjoyed Overall focus on resolving uncertainties and comparing insights

ROLES: Check your own. Circle those you observed in others.

ve o es D f; f IRIo esPOSI°ti R I .ys unc 10na Asked for information Gatekeeping Sidetrack to own area Gave information Timekeeping Interrupted others Asked for reactions Encouraging Monopolized discussion Gave reactions Tension release Put-down

Irrelevant stories, etc. Restated Point Useful pause Asked for summary Gave/asked examples Apologizing

Withdrawal Premature evaluation

Summarized discussion Other

Failure to listen Other:

3. PARTING THOUGHTS (Use the back of this page ifnecessary): Swnmarize your views on your discussion group today, on the impact of this discussion on your view of the article/chapter/film, and of the article/chapter/film.

Print Form

Course Title:Screenwriting l{ J C FS Categorytine and Performirj COLLEGE OF Communication ARTS &SCIENCEDepartment: _

David Worley Chairperson: _ Date:, _

Susan KrayFaculty Representative: _ Date:, _

RECEIVEDInstructor commitments

Instructors agree to ensure that the content and delivery of this FS course meets the Learning Objectives (LO) and the Skill and Applied Learning Requirements (SALR) of the category of the course.

Instructors will include the following in their syllabi: a. Statement explaining the FS requirement the course is meeting-b. Statement identifying specific FS learning objectives for the course c. Statement explicating how the assigned work assists students in meeting the FS program's goals, as well as the goals of the specific FS category under which the course falls d. Statement encouraging students to review the University's Academic Dishonesty Policy found in the Student Code of Conduct e. When appropriate, a statement outlining the citation style the instructor wishes students to use and the repercussions they will face if they plagiarize or act in other academically dishonest ways f. Statement explaining course attendance policy g. Statement describing the central tenets ofacademic freedom and how these relate to the course h. One of the four designated statements on laptop computers i. The University statement on the rights and responsibilities of students with disabilities

Instructors will submit to their department chairperson and to the FS coordinator an electronic copy of their syllabus at the beginning ofeach semester in which they teach this course, including summer sessions.

Instructors will submit a copy oftheir SIRs to the FS coordinator.

Instructors will have their students complete the designated FS assessment instrument for the category in which this course falls and will submit the completed instruments to the FS coordinator.

Chairperson/director commitments

The chairperson/director will complete the verification documentation for this course each academic year and submit it to the FS coordinator.

The chairperson/director will coordinate with the chairpersons/directors offering courses in this FS category to assure a broad array of course offerings.

The chairperson/director will ensure general consistency across sections.

Questions for Chairpersons and Curriculum Affairs Committee

I. When will this course be offered?

x a. Fall semester__ b.Springseme~er__ c. Summer sessions

d. Fall and Spring__ e. Fall, Spring, and Summer sessions

f.Other:, _

2. Approximately how many seats can your department/program provide for the category?

20 a. Fall semester:, _

b. Spring semester:. _

c. Summer sessions: _

3. Approximately how many sections of the course will be offered each semester?

1 a. Fall semester: _

b. Spring semester: _

c. Summer sessions: _

4. What will be the typical section size?

20 a. Fall semester: _

b. Spring semester: _

c. Summer sessions:. _

5. Will the course be offered online?

a. Fall semester__ b. Spring semester__ c. Summer sessions

d. Fall and Spring__ e. Fall, Spring, and Summer sessions

£ Other: _

6. Approximately, how many sections will be offered online?

a. Fall semester: _

b. Spring semester: _

c. Summer sessions: _

7. If your department or program is proposing more than I course for this category, please identify where this course ranks when compared to the other courses which have been proposed (#1 out 3)

8. Additional Comments: