About Mark Troy
Complete List of Writers.com
Classes
Screenwriting 101: Introduction to Screenplay Writing (10
Weeks)
This is an introductory class in structuring and writing a screenplay,
whether meant for Hollywood or independent production. Students will develop
their story ideas into industry accepted pitches, write loglines, step outlines
and agency queries while writing the first draft of their original screenplay.
Screenwriting 102 concentrates on rewriting and polishing a
final draft.
Course Outline
Homework will be assigned each week
for discussion in class. A lecture, suggestions for films to watch, an
assignment for
the student's portfolio or project, and schedules for an optional chat will also
be offered.
Class 1
1. Turning ideas into story
2. Books to read about film writing
3. Where to buy scripts to read (on line and in stores)
4. Software writers use
5. What is a "pitch"?
Class 2
1. Film format
2. Understanding why film format is so specific
3. How format fits into storytelling
Class 3
1. Screenplay structure
2. How to write scenes, dialogue, and action
3. Combining the three formats of film language into screenplay form
4. Turning dialogue into action
Class 4
1. What is an outline?
2. What is, and how do you write, a "beat sheet"?
3. What is, and how do you write, a "treatment"?
Class 5
1. How to write interactive dialogue
2. The music/rhythm of dialogue
3. Dialogue that sounds like conversation
Class 6
1. Character development
2. Conflict of characters
3. Character emotions
4. Dramatic tension
Class 7
1. Camera terms. Shots
2. What is "action"?
4. Rewriting
5. Developing your own distinct style
Class 8
1. The establishing shot
2. The opening ten pages
3. Bringing an audience into your world
Class 9
1. Putting it all together
2. What is a "reader's report"?
Class 10
1. The Biz!
Screenwriting 102: Advanced Screenplay Writing (10
Weeks)
This class is the next step in a program for screenwriters who have taken
Screenwriting 101 or have some experience in writing in the
form.
Concentrat ion is on the development of your studio-bound or independent film
idea --
from initial conception to finished first draft. This includes some rewriting
and polishing
of your script.
The outline (below) addresses the entire class, but students are encouraged to
work at their own speed.
Course Outline
Homework will be assigned each week
for discussion in class. A lecture, suggestions for films to watch, an
assignment for
the student's portfolio or project, and schedules for an optional chat will also
be offered.
Class 1
1. Review of screen writing software programs
2. Books to read about film writing
3. Where to buy scripts to read (on line and in stores)
4. Delivery of pitch of your script (due)
Class 2
1. Developing tone and style in the first two pages
2. How to find tone from other movies
3. Delivery of your first ten pages of your script
Class 3
1. Finding character arcs
2. Combining characters to make stronger thru-line
3. Turning dialogue into action to keep story focused and moving forward
Class 4
1. Delving into the theme of your script
2. Working your theme into your pitch (and story)
3. Delivery of first act of your script
Class 5
1. Writing an introductory letter for agents for managers or producers
2. In-depth discussion of a movie, currently in release, chosen by the class
Class 6
1. Scene breakdown
2. Using a scene you have written and learning how to edit
3. Delivery of your script up to the midpoint (Optional)
Class 7
1. Casting your movie
2. Who are you writing for?
4. Why do you think this idea should be visualized?
Class 8
1. Turning establishing shots into drama
2. Cut cut cut: Scenes that don't push story forward.
3. Finding who is the voice of the audience in your script
Class 9
1. Cutting "weak" dialogue
2. Delivery of your first draft script (Optional)
Hand in for review all that you have.
Class 10
1. The "Dos" and "Don'ts" of the Biz!
2. Instructor will deliver all the notes and future ideas on your script
(those scenes that have been delivered so far)
About Mark Troy
Mark Troy has had over 40 major plays produced around the world including
Desperation (Samuel French Short Play of the Year), Belladonnas of the
Court (Five Valley Theatre League Awards including Best New Comedy, forthcoming from
Brooklyn Publishers this fall), Century Village Boca, The
Proposal, Birdy (All finalists at The Actors Theatre of Louisville Short Play
Festival), Balloon (Chicago Dramatist Short Play Winner), Getting You Bupkus
and The Misguided Production (both Malibu International Play Festival
Winners), Everyone I know (Los Angles Play Festival Winner), The Plot (Winner
Riant Play Festival Week 1, NY; Winner SlamBoston, Best Play, Boston MA), as
well as The Secret Nymph of New Hyde Park, New York Scenes, Peking Duck,
Family Calamity, Aggravation and Avenues, and Tsuris with Ed Asner and
Betty White. His plays have been staged in New York, Los Angeles, Chicago,
Australia, Scotland, and the Philippines.
In film, Mark has projects in development at Columbia Pictures, Castle Rock
Entertainment, and MGM as well as independent projects at Newman Entertainment, Fogel
Entertainment, Saratoga Films, and Victor Constantine. He has worked with, among others, Rob
Reiner, Tom Hanks, Arnold Schwarzenegger, and Robin Williams. Mark wrote an
early draft of The Guru with Heather Graham and does script doctoring for TV
shows such as Third Watch, Ed, and Four Your Love. He also
wrote the cult classic Zipperface. He is currently working on a sequel to Men
in Black.
Mark has taught/lectured at Harbor College, Gettysburg College, Queens College,
Learning Tree University, Universal Studios, the Learning Annex, and many theater
groups around the country.
Visit Mark's web site here: here
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