UCLA Extension Writers Program Public Syllabus Note to students: this public syllabus is designed to give you a glimpse into this course and instructor. If you have further questions about our courses or curriculum, please contact the Writers Program at (310) 825-9415 or via email at writers@uclaextension.edu. We are happy to answer any questions and to help you find the best class to achieve your writing goals. As UCLA's principal provider of continuing education, the majority of UCLA Extension courses are designed for the post-baccalaureate professional-level student. Enrollment is therefore normally reserved for adult students 18 years of age and older. The Writers Program may consent to enroll younger students based on special academic competence and approval of the instructor. Minors who enroll in a Writers Program course without first receiving permission from both the department and the instructor are subject to withdrawal. To request approval, please contact the Writers Program. LIGHTS! CAMERA! COMEDY! A Comedy Sketch Writing Workshop Lisa Medway, Instructor SYLLABUS COURSE DESCRIPTION Geared to feature film and TV writers who want to create sketches, scenes, and/or webisodes, this short-form comedy writing workshop teaches you to come up with fresh premises, create iconic characters, build a joke, and structure a 3-5 minute piece. In the environment of a sketch comedy show's writers' room, you also learn how to budget your time and production costs in order to create funny, performance-quality material. To help you get your work "on its feet," a troop of professional comedic actors attend class twice. In the first of these 2 sessions, the actors perform your work, which is recorded and used for class discussions designed to guide your rewrites. Several weeks later, the actors return to perform your revised, punched-up, and polished piece which you can use to promote your work. * * * * * The goal of the class is to create many sketches/scenes. We develop your concepts from pitch to script to performance. You also generate a portfolio of material and learn the fundamentals of comedy writing via in-class exercises ( Quick Writes ), homework assignments and simple improvisations. Homework assignments will include writing
2 exercises to help you define your comedic voice, create characters, and channel your inner-absurdist. IMPORTANT INFORMATION: This is a Writing Workshop/Comedy Lab. You will need to attend class. Your attendance and participation is not a request, it s a command! This is a course where you need to show-up, literally, not virtually, to write and discuss your work, and experience your material performed LIVE, by actors who are coming to our class for you. Students are invited to share their written work and give feedback to one another via Blackboard. Thanks! CLASS MATERIALS: Please bring normal (8 ½ X 11 ½ ) writing paper (that can be removed from a pad or notebook) and a pen to class each week. You might also want to take notes. It s possible that I ll say something worth jotting down. Please invest in a stapler as all pages must be stapled in the Upper Left Hand Corner. Please use scriptwriting software (FINAL DRAFT). Please don t attempt to format a script in a Word Doc. No!!! It doesn t work. We re replicating a professional workplace. All scripted material needs be in multi-camera/sitcom (double-spaced) format. All prose must be in: Times New Roman, 12 pt font, DOUBLE-SPACED with 1 ½ margins, R & L. Page numbers: upper Right. Stapled, Left Hand Corner. Name, Date, Assignment on First Page, ONLY on Upper Right. Weekly assignments will generally include: 1. A Writing Exercise 2. a scene based on a prompt I ll give in class 3. your original ideas (a 1 sentence premise), 4. Revisions of the previous week s homework assignment 5. 1 revised draft of one piece of original material a scene, sketch, webisode. WEEK 1 MEET & GREET & TAKE A LEAP * * * * * Who are we? Who are your influences? What s your comic sensibility? What are your writing goals? What do you want to create? A web series? A submission packet for THE DAILY SHOW? Material for your one-person show? Scenes for your comedy screenplay or half-hour pilot? We will nurture your ideas in class, to shape and define your comedic voice. (It s not crucial to know anything before Class 1.) The mantra of the next 10 weeks will be: CHARACTER, CHARACTER, CHARACTER. A story, scene and sketch are the triptych of: Concept, Character & Conflict. We will do simple, bare bones Black Box (no frills) material in order to focus on the fundamentals of premise, form, character, structure, dialogue and jokes. For your first sketch, pick an arena Work, Family, Relationships, Politics, Sports, Gardening, Ballet, Food, Religion, Movies, TV, Commercials, Music, Art, Health, Travel, Current Events etc. These are arenas. Once you pick and arena, you can invent
3 a premise or concept. Concepts need to be: SIMPLE & SPECIFIC. You ve got a lot to accomplish in 5 pages or less. Economy is vital. We will test drive ideas and do an in-class Quick Write writing exercise and read them. 1. Writing Exercise #1 2. Write a Monologue (1, not more than 2 pages) Here s your prompt: 3. Pick a person you know well who wouldn t be caught dead being a performer but who loves and supports you and everything you do: your biggest cheerleader. a. Make a List of 6 character traits: 3 flaws, 3 virtues b. What s his/her connection/relationship to you? c. How much does this person/character hate the limelight? Why? d. How did you convince her/him to do this? e. Now write a monologue about the character s attitude (emotions) about agreeing to perform your work (this is very meta). The monologue is the character speaking to you, an unseen character or the audience expressing her/himself about this wacky thing they ve agreed to do for you (out of love). f. Have FUN! 4. Pitches: write 3-6 concepts for a sketch, a scene or a webseries (following the Pitch Paradigm that I ll give you.) Concepts need to be: Small, Simple, and Specific. Each idea: 1-3 sentences. WEEK 2 IT S FUNNY BECAUSE IT S TRUE We ll read and discuss Week 1 Exercises and Monologues. We ll hear a few pitches. Tonight is about EMOTIONAL TRUTH & INVENTION. Comedy is pure, not artificial. Comedy is the Truth stretched to the edge (but not beyond) of reason. I will give you tricks & tips to help jumpstart your Scene Machine? CONFLICT is the fuel that drives all stories (drama and comedy). We ll talk about Juxtaposition = when we marry two, disparate, oxymoronic elements i.e. Blind Surgeon, Baby Genius, Male Wet Nurse. Your mantra is: LESS IS MORE. Comedy is brevity. Each week we ll discuss the following: Creating Characters, Concepts, Choosing a Form, Conflict, Tone, POV, Dialogue and Jokes. We ll watch a little TV a small Pu Pu Platter of famous sketches from SNL. We ll break-them-down. We ll hear your pitches and discuss; do Quick Write Exercise and read them. 1. Writing Exercise #2
4 2. Develop one of your concepts based on the following: a. Concept b. Character c. Conflict d. Form e. Beginning, Middle, End 3. Using the prompt I ll give you in class, write a 2-character ( 2-hander ) scene. 4. Create 3-6 more arenas, concepts, characters (1-3 sentences, each) WEEK 3 STRUCTURE: THE SPINE OF EVERY STORY We ll read a few Writing Exercises, 2-hander scenes and your revised monologues and discuss. We ll hear some pitches and give feedback. Without structure: Beginning, Middle & End, even a 1-page monologue will collapse. Every scene has a beginning, middle and end. Even though it s quick, a sketch/ scene needs to be set up, escalate and be resolved just like a longer work. We ll discuss consonance: the hard, percussive sound of comedy and rhythm, pace and flow. We ll do 2 Quick Writes to test drive: Structure/No Structure. We ll read them and find out what you ve learned. 1. Writing Exercise #3 2. Revise your Week 1 Monologue 3. Create 3 concepts featuring 3 (lead) characters 4. Using the prompt I ll give you in class, write a 2-character ( 2-hander ) scene. 5. Pick 1 of the scenes/sketches you ve written and make copies for each student in class (TBD) 6. Work on your draft (original material) WEEK 4 EMOTION = EXAGGERATE = ESCALATE = HYPERBOLE = HILARITY We ll read and discuss your homework. Tonight will be about The Physics of Comedy: finding the nooks and crannies and opportunities for jokes. We ll deconstruct The Anatomy of a Joke and why we laugh. I ll talk about set-ups, punch lines, visual, physical and prop humor. The function of dialogue. We ll do a Quick Write and read them. The actors are coming next week! We ll discuss what you need to prepare, what to bring, making copies (TBD) of your scripts: Class 5 pre-production.
5 1. Writing Exercise #4 2. Using the prompt I ll give you in class, write a 3-character scene 3. Prepare 1 (5 minute) scene, or multiple scenes totaling no more than 5 pages, from all the material you ve generated over the last 4 weeks. Polish it, Punch it up, make copies for all the characters in your scene(s) plus 2 extras for you and me. 4. Collect (simple) props or (minor) costumes that you ll need for your scene. (Don t go over-board!) WEEK 5 SHOWTIME! The Actors will be here and so will a video camera to record their performances. You will cast your scenes from the pool of talent in the room. You will have a brief meeting with them; give them direction, blocking and answer questions and have a quick rehearsal. Then we ll make a show! After everyone s material has been performed, we ll discuss the work with the actors and get their POV. What worked? What was rough? Where were the bumps? What d you learn? How much fun was THAT? 1. Writing Exercise #5 2. Revise the material that was performed last week. 3. Come up with 3 concepts (1-3 sentences, each). 4. Revise your 2-character scene. 5. Using the prompt I ll give in class, write a 3-character scene. 6. Work on your current draft (original material) WEEK 6 THE AFTER PARTY We ll watch the videotape, and deconstruct last week s Sketch Show. What can we revise, polish and punch-up in the coming weeks? How do we write for talent? How do we showcase an actor s specific skill? The symbiosis of Casting & Material. We ll do a Quick Write and read them. We ll talk about: accents, slang, dialect, foreign language: the Sound of your scene. 1. Writing Exercise #6 2. Concepts/Characters/Form (1-3 sentences, each). 3. Revise your 3-character scene.
6 4. Using the prompt I ll give you in class, write a 4-character scene. 5. Work on the current draft of your original material. WEEK 7 WORD is a 4-LETTER WORD We ll read your homework exercises and hear more pitches. Tonight is about Language, Dialogue, choosing the best word, Brevity, Clarity, Percussion. Why LESS IS MORE and spare is best. We ll also talk about catch phrases and how, why and when to brand a character with a catch phrase. We ll do a Quick Write and read them. 1. Writing Exercise # 7 2. 3 Concepts/Characters etc. (you know the drill) 3. Using the prompt I ll give you in class, write a 5-character scene 4. Work on your current draft of original material. WEEK 8 HOW TO BE A PROFESSIONAL WRITER IN SHOW BUSINESS We ll talk about The Industry and the routes to take to become a professional and how to brand yourself in the 21 st century. Agents, managers, How to Be the Perfect Client. Submissions, business etiquette, how to sabotage your career, climbing the ladder. Committing to a Life in Comedy. Your creativity will be put to the test in the way you launch your career. It s more important to be prolific than talented (but you ve got to be talented, too). Prolific Worker Bees (almost) always succeed. We ll do a Quick Write and read them. The LIGHTS! CAMERA! COMEDY! Players return next week. We will talk about the material you plan to bring for them. Class size/number of students (remaining) will determine how many pages of material you ll bring next week (TBD). 1. Writing Exercise #8 2. 3 Concepts/Characters/Form yadda, yadda, yadda 3. Revise your 4-character scene. 4. Select, Prepare, Punch-up, Polish your material for the performance/taping it can be new material or revised material: your call, your choice. 5. Assemble your props, wigs, hats, mittens, food whatever you need for your scenes/sketches/webisodes 6. Make copies of your scripts for the actors.
7 WEEK 9 SHOWTIME 2: THE SEQUEL It s another exciting night where you get to cast, consult with your actors, direct and discuss your material. It will be videotaped. We will LAUGH; it ll be so much fun, it won t feel like school. We ll have a Q&A with your cast following the taping. 1. Prepare, Polish, Punch-up 1 scene/sketch (or 2 depending on current student head count) of: your original material, the Writing Exercises, Quick Writes, assigned (Homework) scenes whatever you want, to perform in class 10 (we are your cast next week). 2. Revise your 5-character scene. (Please bring a SASE next week so I can mail it back to you, if you would like my notes.) 3. Write 1 page (double-spaced, of course) describing what you ve learned in the last 9 weeks about: a. your comedy writing skills: BSQ (before Summer Quarter) & Now b. your revised goals since Class 1 c. your class experience d. what you learned from the actors; the experience of your work being performed. 4. Next week is our Wrap Party. Feel free to bring refreshments (optional) and invite a guest. WEEK 10 LIGHTS! CAMERA! COMEDY! PARTY! We ll watch the video from last week s taping and laugh and discuss and have a party. Wow! 10 weeks flies-by at the speed-of-light! Thank you all for a fun, productive and hilarious summer! GRADING A - Perfect attendance; weekly assignments; consistent and valuable class participation. B - Nearly-perfect attendance; most assignments; good class participation. C - More than 3 absences; only a few assignments; infrequent class participation. D - Poor attendance; few assignments; poor class participation; you let us (but mostly yourself) down! What happened?
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