Screenwriting Practices 2A

This subject has the following teaching availabilities in 2015:

240 hours

For the purposes of considering request for Reasonable Adjustments under the Disability Standards for Education (Cwth 2005), and Student Support and Engagement Policy, academic requirements for this subject are articulated in the Subject Overview, Learning Outcomes, Assessment and Generic Skills sections of this entry.

It is University policy to take all reasonable steps to minimise the impact of disability upon academic study, and reasonable adjustments will be made to enhance a student's participation in the University's programs. Students who feel their disability may impact on meeting the requirements of this subject are encouraged to discuss this matter with a Faculty Student Adviser and Student Equity and Disability Support: http://services.unimelb.edu.au/disability

Through a series of workshops, tutorials and creative practice, students will build on skills learned in Screen Practices 1A and 1B, with a focus on developing and writing content for television. Students learn basic skills necessary to write professionally for television and develop an understanding of the broader television landscape. Students are required to write at least one television script and present it professionally with appropriate pitch documents. Students will also develop an understanding of television writing as a collaborative process and of how a television ‘story room’ works.

BFA (Screenwriting) students continue to undertake some shared workshops and classes with the BFA(FTV) directing students with a view to promoting a pragmatic understanding of filmmaking practices and nurturing creative teams. Students also attend a series of lectures in which visiting industry professionals discuss all aspects of the industry.

The objectives of this subject are to teach students:

• Key concepts and practices needed by television screenwriters
• Basic content creation, development and writing skills, required by professional television writers
• An understanding of the current television environment and its trends
• To write and develop short documents appropriate to the television industry
• Basic skills and attitudes needed to work collaboratively with other television writers on a television series
• An appreciation and understanding of non-writing film and television industry practices and craft roles

Pop Quizzes (examinations consisting of a few short questions) (Weeks 1-11) worth 5%

Script meeting report A (5%) (equivalent 600 words) (Week 3)

Script meeting report B (5%) (equivalent 600 words) (Week 6) worth 10%

Collaborative TV Writing Assignment (equivalent 2000 words) (Week 4) worth 20%

TV Script Development Assignment (equivalent 4000 words) (Week 11) worth 50%

Critical and Creative Reflection Blog (equivalent 1000 words) (Week 12) worth 10%

Class Participation (Participation assessed on criteria of engagement, ability to discuss & give/receive feedback and teamwork skills.) Ongoing Assessment worth 5%

This subject is not available as a breadth subject.

The learning outcomes of this subject are:

• A greater understanding of key concepts and professional practices central to developing and writing successful television
• To introduce students to the processes and skills involved in collaborative television writing
• To allow students to explore their ‘voice’ through writing for television
• To broaden the students’ general knowledge of the television industry and its trends
• To understand and apply factors that promote successful television writing
• A deeper understanding of non-writing film and television roles as demonstrated through critical reflection
  The ability to give and take creative feedback in a professional manner