Screenwriting for Short Video Preview

Screenwriting for Short Video Table of ContentsPreface ............................................................................iiiIntroduction .......................................................................................viiLesson 1: Get Your Act Together .................................................. 1Lesson 2: What a Character! ...................................................... 15Lesson 3: Scene by Scene ........................................................... 25Lesson 4: Storyboards ................................................................. 35Lesson 5: Let’s Start Talking: Dialogue I .................................... 47Lesson 6: Where the Action Is: Getting Your Story Moving ..... 59Lesson 7: Set Design and Story .................................................. 69Lesson 8: Talk Is NOT Cheap: Dialogue II .................................. 81Lesson 9: The Buzz: Coming Soon to a Theater Near You ....... 91Lesson 10: Premiere Night........................................................... 103Glossary ..................................................................................... 111Appendix: National Standards in English Language Arts ........ 113Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide i

Screenwriting for Short Video PrefaceWe Believe in ScreenwritingHardly a day goes by when we don’t read another (also made by adolescents) and are given the opportunityarticle about the digitization of our media culture, abouthow videos and I-Pads are corrupting the brains of a cognitive level, evaluation is one of the higher–orderadolescents, and how cell phones have driven all of us thinking skills, and cultivating this skill encourages teensto distraction. Simultaneously, smart phones and video to develop insights, reasoning and powers of observationcameras, MP3 players and social networking applications that will continue to serve them throughout their academic careers.that confronts all of us—teachers, parents, communityleaders and youth workers, and more—is how to harness Most important, Screenwriting for Short Video isteens’ enthusiasm for new media in ways that support their designed to exploit the creativity and innovativenesseducations, their literacy and their futures?captured the imaginations of a generation of teenagers, exploratory activities: from structuring movie posters toand spawned a widespread and enthusiastic interest interpreting dialogue, from planning with storyboards to providing live “staged readings” of student screenplays.shoot video of their friends performing stupid human boundless energy of adolescents, and celebrates theirtricks. Serendipity, more than storytelling, characterizes inventiveness, imaginations, and independence.these accidental video products. We believe in teens!a number of levels, do so because they are underpinnedby clever conceptualization, compelling stories and The Structure of All Lessons inplots, beautiful sets and camera work, and well planned Screenwriting for Short Video:screenplays. An Introduction for TeensScreenwriting for Short Video is a course that underlines Every lesson in Screenwriting for Short Video begins withfor young people the critical, step-by-step planning and an overview of the goals for the day and the timeline in which students should accomplish these tasks.course re-invigorates teens’ enthusiasm for elegant writing, Screenwriting for Short Video is designed to be taught in 75-90 minute blocks over 10 class sessions. Because theperformance targets in each lesson, which cumulatively activities are progressive and cumulative, we think thelead students to complete their brief screenplays. course gains a lot of traction when it isn’t stretched out too long, but rather when lessons occur in relatively close could be held two days a week. Block schedules may allow for more creative programming.their composition skills, as well as gain an appreciation While lessons have been designed to be completed in a 75- to 90-minute time period, this length of time mightrelated to improving their communication skills. Instructor’s Guide iiiCopyright © Community Learning LLC. All rights reserved.

Preface Screenwriting for Short Videoconcentration, enthusiasm, and sustained attention helpful breakdown.for their tasks. Alternatively, students could be taughtin blocks that deal only with the initial “Notes for the Longer time periods, of course, empower instructors to spend more time with students, enable students moreelements can be taught separately, and the “Journal “room” to develop their ideas, and allow classroomJumpstart” could be assigned as homework. Please see to be extended.Activity Title StrategiesNotes to the Student Notes to the Student is a hybrid of activities, including a brief review of material covered in the previous lesson, a “lecturette” or shared readingFilm Forum Film Forum to explore how new material covered in their notes may or may not be a set follows. Students will practice their higher order cognitive skills inHands-On Activity Innovative activities in every lesson engage students in fun, challenging tasks, such as deconstructing movie posters, experimenting with dialogue, and many others.Unleash the WriteGeist to write/work they’ve learned and encourage them to apply new information andJournal Jumpstart Designed primarily to extend writing time, the “jumpstart” day’s lesson.Alternative Timetables for Teaching And smaller miraclesScreenwriting for Short Video But let’s imagine that your time for class is somewhatHow much time do you have for class? shorter. Here are some alternative strategies for90-minute miracles managing your timetable.A lot can happen in a classroom full of teenagers in 1. Time frame: 75 minutes.90 minutes. Screenwriting for Short Video has been assign the “Journal Jumpstart” for homework.practice, hands-on, fun activities, creative writing time, Journal writing is typically a form of inward,and brief prompted writing in every lesson over a90-minute period for 10 lessons. shared. We’ve suggested very brief assignmentsiv Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Screenwriting for Short Video Preface of tasks that can support the screenplay writing, which teens are asked to refrain from using their devices but is not screenplay writing itself. during lesson time, or if they are inclined to do so, to leave the classroom area. Volunteers can help support2. Time frame: 60 minutes. instruction by encouraging students during device-free activities. up a “screenplay writing studio” for students to complete only screenplay work during a study hall or How Screenwriting for Short Video: An Introduction for Teens meets the new may becompleted in the studio or for homework. Common Core State Learning Standards in English Language Arts3. Time frame: 60 minutes. Screenwriting for Short Video comprises a series of alternating lessons. fun, interdisciplinary classroom activities that engage learners effectively, cognitively and behaviorally. AsStudent Books contain all the information needed they participate in the development of ready-to-shootto complete this course, including worksheets and screenplays, students exercise skill sets in language artssupplemental information for learners’ knowledge. (new vocabulary, evaluation, writing, research skills), andIn the back of each book are 20 screenplay pages, occasionally, in discussions and activities that help themwhere the budding screenwriters compose their understand concepts in other disciplines.to keep, so they can add to and refer back to the Screenwriting for Short Video is focused on drivinginformation they learned in this course. achievement toward meeting the new Common CoreCourse Kit Materials adopted in more than 40 US states, now form the basis for educational programs focused on college and careerof each lesson, and other materials needed to complete readiness. Here, we illustrate how many of the activitieseach activity outlined in the Student Books. and discussions in the Screenwriting for Short Video course supports learner progress, understanding, andA Note about Volunteers ongoing development of ELA literacy skills and creativity. A complete list of the Common Core Anchor Standards (ELA) for Grades 6-12 can be found in the appendix.their peers is vital to their growth. Sometimes, however, Every lesson has implications for student achievementteens together are also teens off-task, distracted, and in and out of the classroom. Because in every lesson,chattily interacting with one another via text, phone and students are expected to work on their screenplays, thein-person. lessons meet the following standards for Writing:Screenwriting for Short Video contains many activities imagined experiences or events using effectivethat allow teens to interact with one another, but italso has some activities that demand teens’ attention,critical support, especially during writing activities,gently encouraging writers who are “stuck,” acting which the development, organization, and styleas timekeepers, and promoting focus, diligence and are appropriate to task, purpose, and audience.persistence.It’s hard to keep students away from their devices such *© Copyright 2010. National Governors Associationas tablets and cell phones. Rather than collecting these, Center for Best Practices and Council of Chief Statehowever, as many teachers do at the beginning of class,we support the idea of the “15-minute challenge”—in Instructor’s Guide vCopyright © Community Learning LLC. All rights reserved.

Preface Screenwriting for Short Video by planning, revising, editing, rewriting, or trying program for their participants. a new approach. courses work—youngsters get extended engagement shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and With an emphasis on fun, Community Learning’s courses audiences. work to ignite curiosity and stimulate authentic learning in contexts ranging from art to criminal investigation.lesson meets the following standards for Writing, Instructors provide guidance in every lesson—and areReading, and Speaking & Listening: supported by step-by-step plans and easy-to-manage materials. Watch our web site, www.CommLearning.com, analysis of substantive topics or texts, using for more information about our forthcoming Course Kits! evidence. We look forward to working with you and your staff to in diverse formats and media, including visually create a great program for children. If you have any CommLearning.com. presented in diverse media and formats,About the AuthorShelly Rafferty Withers, Ph.D. (Curriculum andInstruction), has written and published for more than 20CD scripts, short stories, poetry, articles for newspaperstraining materials, and e-learning and web content. Shehas been associated with Community Learning for manyyears, acting principally as an editor and pedagogicalreviewer, web content producer, marketer, and occasionalblogger. She has spent a large portion of her career inacademic publishing.About the Community Learning TeamCommunity Learning’s mission is to provide thought-provoking, hands-on and academically enriching learningexperiences for elementary, middle and high schoolsupport for administrators desiring a rich, engaging Copyright © Community Learning LLC. All rights reserved.vi Instructor’s Guide

Screenwriting for Short Video Introduction video can collect “millions of hits” or connect with your social network on YouTube, Photobucket, Flickr or Vimeo, it’s got to be conceived, written screenwriting! Welcome to Screenwriting for Short Video: An Introduction for Teens, a 10-lesson introduction to writing the script for your own video. In this course, you’ll learn all the fundamentals of screenwriting, from coming up with a story idea, to developing your characters, working on dialogue, and exploring the basics of set design, action, and even publicity! Each lesson is focused on a singular goal: providing you with the tools By studying each lesson, playing games and participating in exercises with your friends, you’ll have the opportunity in every lesson to sharpen a new dimension of your screenwriting talent. You’ll also be given time to write,commercials. Exercises like “conversational pairs” provide plenty of comicrelief—screenwriting is fun!In the end, you’ll be charmed with all you know and strut your own stuffduring “Premiere Night” –when your classmates act out your screenplayawarded.Screenwriters are Hollywood’s unsung heroes. And they are Hollywood’sbest storytellers. Behind the dizzying rip of Jack Black’s guitar riffs in TheSchool of Rock, Juno’s goofy infatuation, and Jon Heder’s awkward dancein Napoleon Dynamite, a screenwriter crafted the dialogue, helped pitchshould behave and move.Everyone knows that JK Rowling wrote the Harry Potter series. But atranslating Rowling’s hefty cast of characters and intricate plotting into oneof the world’s most-loved story sensations.What kind of sensation are you going to create?Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide vii

Lesson One Get Your Act TogetherBefore Class Begins: Preparation Have students introduce themselves with the following task: “Introduce yourself, and becauseSet up a DVD player and television. Also take out this class is about screenwriting and moviesthe Course DVD. If you have time, pre-screen thegreat place for you to record observations of your Start Previewnotes of the “best responses” students provide withtheir scorecards, the better prepared you’ll be to Distribute the Student Books. Ask students to enter their names on the cover of their books.Assemble the materials you need to instruct With students listening, read aloud the 5 tasks described below. In today’s class we are going to work toward accomplishing several goals.additional pencils and pens. basic terms necessary to understanding screenwriting (manyMany facilitators prefer to work with students seated of you already know some of these terms fromin a circle, or in a series of circles. Arrange desks or English class). We’ll also review the “three-actchairs accordingly. [Notes for the Student]If you’re planning to support your students’ “writingtime” with music or other sorts of inspirational 2. Second, we will watch and critique a student-materials (such as photos), be sure to have these , and pay special attention to the way inmaterials ready before class begins. which the predictable elements of screenwritingToday’s Opener and/or Review the “three-act structure” in relationship to theIntroduce yourself.Welcome the students to Screenwriting for Short treatment” and its relationship to the three-actVideo and give students an overview of the scope(how many weeks, meeting times) of the course. and then engage in an exercise to see ifAnd be sure to cover your absence policy, the three-act structure can be pinpointed inclassroom rules, location of rest rooms and exits,discipline and respect, and expectations. to complete an activity about the three-act structure to demonstrate your understanding.Cover the book policy—including whether ornot students are ever permitted to take their 4. In the fourth activity, you’ll “Unleash theworkbooks and screenplays out of the WriteGeistclassroom.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide 1

Lesson One Get Your Act Together screenplay pages at the end of your Student pre-production. Pre-production refers to all of book and start drafting your own screenplay. before the cameras start rolling. Pre-production down on paper. See what life you can breathe includes screenwriting, scouting locations, casting, costuming, and many other activities. write, tweak, edit, compose, revise or create something totally new. [Screenplay Pages] concepts of screenwriting: genre, theme, and the three-act structure screenwriting single movie you’ve ever seen. journals treatments. Don’t worry! You’ll have plenty of Genre time to work on your treatments. You won’t have to complete the treatments this week. Examples are western, thriller, horror, romance, comedy, war, coming-of-age, and many others. your writing process: the challenges and triumphs alike. [Journals] 1 Screenwriting Terms and the movie,” a parody, a farce, a slapstick comedy, or Three-Act Structure A theme is a different way to classify a movie.Students should read this lesson aloud in class. communicate, or issues it is trying to address.Make sure you take the time to cover any genre, but maybe the emotion driving the actionstudents that there is a glossary in the back ofNotes for the Student story about a geek in love with a beautiful womanWelcome to Screenwriting for Short Video: An Before the screenwriting process begins, a writerIntroduction for Teens. By the end of this course, should understand how the three-act structureyou will not only know more about screenwriting almost every movie follows, and it lays out everythan you ever thought possible, but you will walk movie’s beginning, middle and end.will give you all the tools you need to start on thein the class activities will be a screenplay, a story setting, the protagonist, the antagonist, and theembedded in a set of directions for directors to use protagonist is the main character, often the “hero”to tell a story with a camera and actors. In this class, person (or thing) with whom the protagonist has ayou’ll never touch a camera, but a camera operatorwill be able to pick up your screenplay (also called ascript) and start shooting. So, let’s get started.2 Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.







Lesson One Get Your Act TogetherMovie title: Three-Act StructureGenre: Act I eme:AntagonistProtagonistCon ict Act IILow point Act IIIClimaxResolution6 Instructor’s Guide Student Book Page 5 and 97 Copyright © Community Learning LLC. All rights reserved.

Get Your Act Together Lesson OneThree-Act Structure Answer SheetMovie title: Groundhog Day Genre: Comedyeme: Love, Becoming a Better Person Act ISetting: Punxsutawney, PennsylvaniaAntagonist: Groundhog Day Protagonist: Phil ConnorsCon ict: Phil must nd a way to keep Groundhog Day from happening over andover again. Act IILow point: Phil gives up on trying to stop Groundhog Day. Act IIIClimax: By being a better person, Phil nally wakes up on February 3rd.Resolution: Together with Rita, Phil decides Punxsutawney isn’t such a bad placea er all.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide 7

Lesson One Get Your Act Together4 Unleash the WriteGeist: Work In every class in this course, you’ll be given some on Your Screenplay writing time to work on your screenplay (except the last class).Give students the opportunity to write for 10-15 Where to begin? Whatever you write, remember,minutes. Start the writing process with a ritual this is the start, not the end. If you write something(such as asking students to close their eyes for 60 you don’t like, you can always start over. But if youseconds) to signal the need to get ready to write.the writing session the same way every time. don’t focus on formatting yet. You can always go back and re-format as your screenplay begins toEmphasize the need for students to take shape. devices Sometimes it’s easier to start “in media res” that is, Student Performance Targets in the middle of a bank robbery, following a bicyclist down a lonely road, watching a pickpocket atEvery student should feel successful at the conclusionof class. In each lesson, we ask students to accomplish story—their story tells them. In other words, maybeseveral tasks. Praise students as they succeed. In the you should start with your main character doingstudents’ books, we focus performance on writing the something interesting that tells us something aboutscreenplay, or completing the activity sheets, or writing intheir journals, but students in screenwriting can succeed might face.in several ways. course, because there’s no “big” studio putting upWe think students are successful when they the money for your production. compose, revise or create something totally new.knowledge of the world, or to their work. Screenplay Performance Targets You need a logline, treatment, and at least a half-page of actual screenplay. You will have an opportunity to work on your logline and treatment during the Journal Jumpstart portion of the lesson. Remember, don’t focus on formatting your screenplay recommended in class. take place. Return to the Three-Act Structure activity sheet if you’re having trouble trying to see in whichUse every opportunity to positively praise students direction your story should go.when they accomplish any of these tasks.8 Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Get Your Act Together Lesson One5 Journal Jumpstart: That’s a Wrap! Other Directions, Logline and Treatment Discussions & Destinationsdegree of perseverance a student exhibits in his Be sure to point out the availability of additionalStudents should not feel compelled to share their resources, particularly those available on the internet. Encourage students to copy whatever information they might need from their Student Books to follow up in their local libraries or at home.reviewing the tasks outlined in the Student book. might be written for a big Hollywood movie atIf there’s not enough time, allow students to take your next class, you can ask students to share the results of their assignments.Write a logline and treatmentWhat does the treatment have to contain for you analysis of what happens in all three acts, visitto know it’s complete? Check off the criteria as you understand simply how 3-act structure reallya vision—it’s not “written in stone.” As you learn moreand more about your personal screenwriting process,about 150 words. . . . and use the following checklist toguide you down the right track.Is brief (not more than 150 words). current links by visiting our website at www. CommLearning.com, clicking on theDoesn’t contain dialogue. Screenwriting for Short Video course kit andIsn’t an outline. then Tools for Teaching. Concluding Class If you haven’t previously done so, ask the loud to at least two people). you expect to cover in the next class. Collect the Suggests who the audience will be. Students’ Books and secure the DVD player and disc.Later, after you’ve written a logline and treatment youlike, you can transfer it to the actual screenplay pages.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide 9





Film Critic’s Scorecard Key Categories Rating Notes Stars Action Total Stars Average Overall Score Characters —: 10 = Acting Ranking: Dialogue Copyright © Community Learning LLC. All rights reserved. Scenes Sets Sound Music Story Other Count the number of stars in each category and divide by ten. Check your math! Film:12 Instructor’s Guide

Lesson Three Scene by SceneBefore Class Begins: Preparation 2. Second, we will watch and critique a student , and pay special attention to theSet up a DVD player and television. Also take outthe Course DVD. If you have time, pre-screen the development of scenes and scene structure and how these contribute to storytelling.time or with your students). 3. Next, we will discuss the function of sceneAssemble the materials you need to instruct 4. In the fourth activity, you’ll “Unleash thepencils and pens. WriteGeist” and apply what you’ve learned.Arrange desks or chairs in your desired 15 minutes to write, tweak, edit, compose, revise or create something totally new.If you support your students’ “writing time” with [Screenplay Pages]music or other sorts of inspirational materials(such as photos), be sure to have these materials masterpiece. [Journals]ready before class begins. Let’s Get Small!Today’s opener and/or review 1 Understanding The Story Review last lesson. Structure of Short Video Allow students the opportunity to share their Students should read this section aloud in “Biography of a protagonist” from Lesson 2. class. Make sure you take the time to cover Assign the day’s Mathematician. students that there is a glossary in the back of Start Notes for the Student Preview some time focusing on the three-act structure of Distribute the Student Books. With students storytelling. In today’s lesson, we want you to forget listening, read aloud the 5 tasks described below. what you’ve learned.In today’s class we are working toward thinking about how video—the 5- to 10-minuteaccomplishing several goals. version of video—is different than a Hollywood understand the one-act structure of course you function as the screenwriter, it’s possible short video. We’ll review how the fundamentals that in the future, when you’re ready to actually of screenwriting get “micro-managed” when we [Notes for the Student]Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide 25

Lesson Three Scene by Scenethe screenwriter, but also as the lighting director but allowing the audience to follow the characterand costume designer, the cinematographer, the through a series of scenes gives the screenwriter adialogue coach, the best boy, and perhaps, even as chance to tell the audience more of the story.one of the actors! Let’s take a look at how scenes work.So, let’s focus on the size of the movie you’re about what kinds of scenes you’ll want to use.going to make for a moment. And try to thinkof a big Hollywood movie that has to be told“microcosmically”—that is, it still has to have drama,and theme and genre and all that good stuff, but it of action, or do you want long scenes in which characters react with one another? How you useeverything gets smaller—but it doesn’t disappear. scenes will determine how many you will use in yourIn this same way, we need to think about the scope ofact” structure shot in a variety of locations (the players which makes for longer scenes, you will have fewerusually change locations in every act), you’ll probably scenes. But if you want lots of fast-paced action, you’ll have more. It will be up to you to decide how watch how some scenes work!doesn’t mean, however, that you point your camera 2setting within the location by changing the scene. Watch and Critique/Film Forumthe living room, one on the front porch, and one in the Dan and the Red Sea. We selectedkitchen. You move the action by changing the scene, the concept of scenes and scene planning.saying you can’t—but it’s probably more realistic to review the Card with them before you show thelocation. Remember, you’re not trying to write the Assign one student to act as Mathematician.history of the world in 10 minutes, you’re trying to Remember to add to your running tally.capture an “episode”—a relatively small happening. Below, we suggest a few ideas that may helpIn this compressed episode, we stack several small you guide students through the discussion of thisblocks together to tell a story. In screenwriting,these blocks are called scenes. A scene is all Dan and the Red Sea:of the continuous action that takes place in one 1. While it’s not a perfect example, Dan and thePerhaps a character in the movie is meeting some Red Sea basically follows Dan through afriends for lunch. We may see the character series of scenes. How many can you identify?waking up in his bedroom, putting his coat onin the hall, driving his car down the street, andappears somewhere new, we call it a new scene.26 Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.







Lesson Three Scene by Scene 4 Unleash the WriteGeist: 5 Journal Jumpstart: Work on Your Screenplay Scene (Not Heard)Starting with your chosen ritual, give students the this lesson, we ask students to plot out a seriesopportunity to work on their screenplays for 10-15minutes. hard time getting started, have them replicate the “Scene List” grid that appears in this lesson.Students should Remind them that starting with the logline willto write, tweak, edit, compose, revise or create If there’s not enough time, allow students to takesomething totally new. your next class, you can ask students to share the results of their assignments.were working in a different scene than one you may see if you can describe the action of your entirehave started with. A change of scene often means achange of characters. Don’t worry too much about worry about the transitions (how you get from onedescribing scenes here (you can do that in your scene to the next), but rather to focus on moving the story, developing the characters, and demonstratingmore “meat” on the skeleton of your story before you change from one scene to the next. You can do it!can add in more details about settings and props, for If it’s helpful, draw a grid (like the one on page 22)example. If you’re stuck, turn to a fresh, clean page inyour screenplay pages, and start something new. Screenplay Performance Targets can envision the scenes in-between.Revisit your earlier pages. Did you start with just That’s a Wrap! Other Directions,one scene in mind? Some screenplays take place Discussions & Destinationsall in the same location with no change in scene,but most will have two or three. Even if you planned Encourage students to copy whatever informationyour screenplay with just one scene, experiment they might need to follow up at home.with the idea of scene-changing. Your goal Want to know more about scene development?Remember, approximately 1 page of screenplayIf you’ve completed the scene exercise, you shouldhave some new ideas about your own screenplay. helpful. Learn more about the fundamentals of30 Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Scene by Scene Lesson Three secret-the-expanded-scene-breakdowncurrent links by visiting our website at www.CommLearning.com, clicking on theScreenwriting for Short Video course kit andthen Tools for Teaching.Concluding Class to cover in the next class. Collect the Students’ Books and secure the DVD player and disc.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide 31

Lesson Three Scene by Scene Film Critic’s IdeasHow many stars will you award?Discussion Questions: Dan and the Red Sea1. While it’s not a perfect example, Dan and the Red Sea basically follows Dan through a series of scenes. How many can you identify?2. Dan and the Red Sea scenes than there really are…what is it? others? Why can’t I channel that energy [usually given exclusively to sports teams] and extend that to other sources?” What’s wrong with this sentence and how would you re-write it? What strategies should5. In Dan and the Red Sea scene to the next? My Ideas...me something, or gave me something to think about. Here it is:32 Instructor’s Guide Student Book Page 24 Copyright © Community Learning LLC. All rights reserved.

FilmFiClmrCirtitiicc’’ssScorecard KeyCategories Rating Notes StarsActionCharactersActingDialogueScenesSetsSoundMusicStory Other Total Stars Average Overall ScoreCount the number of —: 10 =stars in each category Instructor’s Guide 33and divide by ten. Ranking:Check your math!Film:Copyright © Community Learning LLC. All rights reserved.

Lesson FiveLet’s Start Talking: Dialogue IBefore Class Begins: Preparation Start PreviewSet up a DVD player and television. Also take outthe Course DVD. If you have time, pre-screen the Distribute the Student Books. With students listening, read aloud the 5 tasks described below.time or with your students). In today’s class we are going to work towardAssemble the materials you need to instruct accomplishing several goals.erase markers for the whiteboard (or chalk for the discuss the fundamentals ofchalkboard), and additional pencils and pens. dialogue, its functions, variations and rules. [Notes for the Student]Many facilitators prefer to work with studentsseated in a circle, or in a series of circles. Arrange 2. Second, we’ll watch and critique a student-desks or chairs accordingly. and pay special attention to the waysIf you’re planning to support your students’ “writing in which the screenwriter uses dialogue to movetime” with music or other sorts of inspirationalmaterials (such as photos), be sure to have these Scorecard]materials ready before class begins. 3. Next, we’ll turn to an activity in which we’llToday’s opener and/or review experiment with the ways in which dialogue [Dialogue Activity] In our last lesson, we covered storyboarding. 4. In the fourth activity, you’ll “Unleash the concerns about storyboards that they want to WriteGeist” and apply what you’ve learned. share? Did anyone draw or develop any new storyboards they want to share? minutes to write, tweak, edit, compose, revise or create something totally new. [Screenplay Pages] In our last lesson, we asked you to write about screenwriting writing your visual portrait change how you journals to make notes for your own characters began to see other parts of your screenplay? and the kind of dialogue they might use. Was there a central image, set of props, series of colors or other visual element that represents something symbolic in your screenplay? What did learning about storyboards makeAssign the day’s Mathematician.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide 47



Let’s Start Talking: Dialogue I Lesson FiveWhat does “in a dramatic way” mean? Well, you for NOT going out with Sally, and Sally speaks likecould read with great excitement, or with sadness,ways to read a single sentence. and she speaks with a lot of nervousness. pasture. 2. What elements of speech, either contribute to,3. If I don’t get something to drink pretty soon, I’m the characters’ speech believable? not sure what’s going to happen.4. I can’t do a thing with this hair. fascinating, although the teen boys use phrases5. Quick, give me a piece of paper. I need to write like “Dude!” to remind us they are teens, and Sally’s speech makes her seem like a stereotypical this down. “dumb blonde.” Still, while these mechanisms make the dialogue more authentic, it’s also a little 2 forced. The swearing is unnecessary and does not Watch and Critique/Film Forum advance the story. Falling Asleep for Her 3. At one point, the “smart guy” refers to the Critic’s Scorecard” at the end of the Lesson, and students will be prepared to make notes. exposition. In effect, he is stepping out of As always, you have the option of showing the character and almost making an aside to the camera. Is this an effective mechanism for At the end this activity, have the Mathematician advancing the story? average the “star scores” of all students and announce the score at the end of class. Keep a The “smart guy’s” aside reminds us that the actors running tally so that at the end of the course, you are self-conscious about being in a movie, yet this can review scoring. strategy doesn’t move the story or add anything of Below, we suggest a few ideas that may help value. stimulate discussion. Discussion questions for Falling Asleep for Her: doing, he violates the rule of “show, don’t tell.” 1. How does the screenwriter use dialogue to How might Sally Schmidt’s character have been better served? We don’t need the “smart guy” to act as Sally Schmidt. Even though we know that the love struck boy can overhear Sally talking in the hall later, when he hears her in person, he doesn’t fall asleep. Something about this doesn’t ring true. voice, but when she does, we already know how she will sound because the “smart guy” already told us, and we lose any sense of anticipation. The dialogue is fairly unique for each character: narration, describing events, people, and the lovestruck boy talks like a somewhat love reactions. Could this story have been told struck boy; his friend, acting as the voice of without that? reason, uses his language to provide a rationale Instructor’s Guide 49Copyright © Community Learning LLC. All rights reserved.

Lesson Five Let’s Start Talking: Dialogue IGenerally speaking, the dialogue is the story, speech acts between a (s) speaker and (r) respondent) in a way that tells us something about the characters.the narration repeats what the action shows. This construct your responses, visualize the charactersstory could have been told without the dialogue. for which you are writing responses.6. In what ways does Falling Asleep for Her Students should offer their own opinions in “female customer” (in the car repair shop), does response to this question. consumer, as a helpless and clueless victim about 7. Screenwritten dialogue has rules: How did to be bamboozled, or is she secretly a highly the screenwriter of Falling Asleep for Her do? competent inspector for the State Automotive Industry Inspection Bureau? You should be able to long, and repeats itself. As a consequence, the defend your constructed responses. story loses any strong action value. directly (although it can convey new information), 3 Chit for Chat: Conversational Pairs (swearing, for example), and it (4) should make sense, not “non”sense. In this activity, students complete the responses provided by speakers in a worksheet format. Be Write your responses, then compare them with the sure to cover the examples. responses of your classmates.In the following exercise, complete the After students complete their responses, askconversational “pair” (we’ll refer to the pair as students to share.Here’s an example:(s) Spoiled rich kid: “My mummy says I can eat as many cookies as I want!”(r) Butler (rolling his eyes): “Your mummy doesn’t know her limits with martinis, either.”How might the dialogue change if the respondent is a pediatrician?(s) Spoiled rich kid: “My mummy says I can eat as many cookies as I want!”(r) Dr. Hawthorne: “Your mummy had better start buying you larger britches!”(s) Spoiled rich kid: “My mummy says I can eat as many cookies as I want!”Get the picture? Now give the “pairs” on the following pages your own spin.50 Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.









Let’s Start Talking: Dialogue I Lesson Five Film Critic’s IdeasHow many stars will you award?Discussion Questions: Falling Asleep For Her2. What elements of speech, either contribute to, or diminish, a sense of authenticity? lot of exposition. In effect, he is stepping out of character and almost making an aside to the camera. Is this an effective mechanism for advancing the story? tell.” How might Sally Schmidt’s character have been better served? reactions. Could this story have been told without that?6. In what ways does Falling Asleep for Her7. Screenwritten dialogue has rules: How did the screenwriter of Falling Asleep for Her do?My Ideas...me something, or gave me something to think about. Here it is:Copyright © Community Learning LLC. All rights reserved. Student Book Page 46 Instructor’s Guide 55

Film Critic’s Scorecard Key Categories Rating Notes Stars Action Total Stars Average Overall Score Characters —: 10 = Acting Ranking: Dialogue Copyright © Community Learning LLC. All rights reserved. Scenes Sets Sound Music Story Other Count the number of stars in each category and divide by ten. Check your math!Film:56 Instructor’s Guide

Screenwriting for Short Video GlossaryAction Plot-driven story: story that focuses on a changein a space of time that provides us with new of circumstances because of the actions of theinformation about how the characters are movingAntagonist: the “bad guy” or the person (or thing) Pre-production: all of the activities surroundingBackstory Protagonist: the main character, often the “hero” orcontext that leads up to the main story “heroine”Character Resolution: after the climax, when the protagonistin a story returns to his or her everyday lifeCharacter-driven story: a story that focuses on Scene: all of the continuous action that takes placethe personal changes that occur in the protagonist(and sometimes the antagonist, too) because of the Scenography: see Set designmoral dilemma Screenplay: a story embedded with a set ofClimax: when all of the action in the movie reaches directions for directors to use to tell a story with a camera and actorsConversational pairs: speech acts between a Script: see Screenplayspeaker and respondent Set designDialogue: the words and gestures actors say and the elements of establishing the proper mood, suchinformation, moving action, and revealing character in the frameGenre Setting takes placeromantic comedy, etc. SluglineIn media res where a scene takes placestory in the middle of action Speech acts: all of the ways in which human beingsLogline: one- to two-sentence summary of an idea make meaningful sounds or otherwise communicatefor a screenplay or movie interpersonallyLow point: the point in the movie where the Storyboard: a set of visual instructions that helpprotagonist seems the farthest from his or her goal others envision the screenplay Storyteller: a composer of tales that involveCopyright © Community Learning LLC. All rights reserved. Instructor’s Guide 111

Glossary Screenwriting for Short VideoTagline: a short phrase that communicatessomething original and fresh, intriguing andmemorable about a movie—used in publicityThemethat a movie is trying to communicate, or issues it istrying to addressThree-act structure: the format that almostevery movie follows, and it lays out every movie’sbeginning, middle and endTreatment: a summary of a screenplay idea thatincludes the movie’s genre, theme, main characterand important scenes112 Instructor’s Guide Copyright © Community Learning LLC. All rights reserved.

Screenwriting for Short VideoAppendixCommon Core Anchor Standards R-9. Analyze how two or more texts address similar(ELA) for Grades 6-12 themes or topics in order to build knowledge or toCollege and Career Readiness Anchor compare the approaches the authors take.Standards for Reading (CCR-R) Range of Reading and Level of Text ComplexityKey Ideas and Details R-10. Read and comprehend complex literary andR-1. Read closely to determine what the text says College and Career Readiness Anchor Standards for Writing (CCR-W)to support conclusions drawn from the text.R-2. Determine central ideas or themes of a text Text Types and Purposessupporting details and ideas. W-1. Write arguments to support claims in an analysis of substantive topics or texts, using validR-3. Analyze how and why individuals, events, and and convey complex ideas and information clearlyideas develop and interact over the course of a text. and accurately through the effective selection, organization, and analysis of content.Craft and Structure W-3. Write narratives to develop real or imaginedR-4. Interpret words and phrases as they areused in a text, including determining technical, well-chosen details, and well-structured eventR-5. Analyze the structure of texts, including how Production and Distribution of Writingof the text (e.g., a section, chapter, scene, orstanza) relate to each other and the whole. W-4. Produce clear and coherent writing in whichR-6. Assess how point of view or purpose shapes the development, organization, and style arethe content and style of a text. appropriate to task, purpose, and audience.Integration of Knowledge and IdeasR-7. Integrate and evaluate content presented in W-5. Develop and strengthen writing as needed bydiverse formats and media, including visually and planning, revising, editing, rewriting, or trying a new approach.R-8. Delineate and evaluate the argument and W-6. Use technology, including the Internet, toof the evidence. produce and publish writing and to interact and collaborate with others. Research to Build and Present Knowledge W-7. Conduct short as well as more sustainedCopyright © Community Learning LLC. All rights reserved. Instructor’s Guide 113

Appendix Screenwriting for Short Videoinvestigation. communicative tasks, demonstrating command of formal English when indicated or appropriate.W-8. Gather relevant information from multipleprint and digital sources, assess the credibility College and Career Readiness Anchorand accuracy of each source, and integrate the Standards for Language (CCR-L)information while avoiding plagiarism. Conventions of Standard EnglishW-9. Draw evidence from literary or informational L-1. Demonstrate command of the conventions ofRange of Writing standard English grammar and usage when writing or speaking.W-10. Write routinely over extended time frames L-2. Demonstrate command of the conventions ofshorter time frames (a single sitting or a day or two) standard English capitalization, punctuation, andfor a range of tasks, purposes, and audiences. spelling when writing.College and Career Readiness Anchor Knowledge of LanguageStandards for Speaking and Listening L-3. Apply knowledge of language to understandComprehension and Collaboration how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.a range of conversations and collaborations with Vocabulary Acquisition and Usediverse partners, building on others’ ideas andexpressing their own clearly and persuasively. L-4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by usingpresented in diverse media and formats, including context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate. L-5. Demonstrate understanding of word relationships and nuances in word meanings.reasoning, and use of evidence and rhetoric.Presentation of Knowledge and Ideasevidence such that listeners can follow the line demonstrate independence in gathering vocabularyof reasoning and the organization, development, knowledge when considering a word or phraseand style are appropriate to task, purpose, and important to comprehension or expression.audience.visual displays of data to express information andenhance understanding of presentations.Copyright © Community Learning LLC. All rights reserved. Instructor’s Guide 114