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Last updated on
8 September, 2007

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Screenplay Writing:
Before You Fade In: Structuring & Outlining Your Screenplay
with Beth Danesco

REGISTRATION:

COST, LENGTH, PREREQUISITES:

No prerequisites.

Standard course: $150 / 6 weeks. Click here to register

Extended course: $188 / 12 weeks. Click here to register
Extended course gives you two weeks to do each lesson but contains NO additional material.

For questions about this COURSE, e-mail Beth Danesco at

This class is designed to help beginning screenwriters navigate the important pre-writing work of organizing the story of their potential screenplay into the time-tested structure almost all screenplays follow.

We will examine the specifics of this structure and see it at work in some great films, act by act. At the same time, students will begin to lay out their own script ideas using various pre-writing techniques including paradigms, informal outlines, sequences, and finally, detailed step-outlines.

By the end of the class, students will have a blueprint for their first drafts. Better yet, they will have a method for planning any script projects they may work on in the future.

Needed: access to various films on DVD or VHS. Optional reference: Syd Field’s Screenplay; Robert McKee’s Story.

WEEK ONE: Topics will involve defining what a screenplay is (and isn’t) and an examination of the basic elements of the three-act structure. In other words, we’ll look at what goes where and why. We’ll also look at the “big 4” questions: who is this story about? What does this main character want? What stands in this character’s way? What is at stake for the character?

WEEK TWO: We’ll focus on Act One: why it’s important and how it’s put together. Students will be given a few 1st Act “do’s & don’ts”

WEEK THREE: We’ll turn our attention to the heart of the script: the 2nd Act where the majority of the story takes place. We’ll look at how 2nd acts are built and how to handle the difficulties any writer faces trying to keep a character jumping through hoops for 50-60 pages.

WEEK FOUR: We’ll deal with “the end” – the 3rd act, its function, its structure, and some grand finale mistakes you should try to avoid.

WEEK FIVE : At this point, you will have a rough outline of your own script in 3-acts. We will spend this lesson defining and examining “the scene” – as you are almost ready to start writing them.

WEEK SIX: The final class with explain two important pre-writing tools, “sequencing” and the “step outline”.

PLANNED HOMEWORK ASSIGNMENTS BY WEEK:
Week 1:
      A) Watch a film from the list and (generally) map it out the story plot points according to the three act structure paradigm discussed in class and using the outline I’ve sent you.
      B) Write a one line summary of your script incorporating your answers to the “three big
questions
      C) In a brainstorming session of no more than 20 minutes: come up with approx 10-15 traits that for your main character. It doesn’t have to be stuff that will ever appear in your script. However, pick out 3-5 traits which you feel might be crucial to the film. Be sure to include what is at stake for your character. Decide – for right now at least – if the characters achieves his/her goal or not.
       D) Brainstorm again for about the same amount of time: write out 10-15 potential obstacles – of all sizes and levels of importance – which may keep your character from achieving his or her goal. Don’t try to figure out what goes where- just come up with the obstacles.

Week 2:
      A) Watch Act 1 of a movie off the given list. (Aha! You will have to determine where the act ends…) Answer the questions on the note sheet provided.
      B) Do “Act 1 Questions & Answers” sheet for your own script idea.
      C) Put together a rough draft outline (informal list) for your own script’s first act- leading up to and including your plot points.

Week 3:
      A) Watch Act 2 of a movie off the given list. It can be the same one as last week or if you want to switch, go ahead, it’s up to you. Again, you will have to determine where the act ends – and where the midpoint is. Answer the questions on the note sheet provided.
      B) Do “Act 2 Questions & Answers” sheet for your own script idea.
      C) Put together a rough outline (informal list) for your script’s 2nd act including a midpoint and plot point #2.

Week 4:
      A) All right, watch a 3rd Act of a film off the given list. Answer the questions on the note sheet provided.
      B) Do “Act 3 Questions & Answers” sheet for your own script idea.
      C) Put together your third act outline.

Week 5:
      A) In any movie off the list, identify the scenes in one “sequence”.
      B) Take a look at the notes you’ve received on all the pieces of your basic outline. Revise according to the notes and more importantly, according to your own instincts. Following that revision, arrange your acts into sequences as discussed in class.

Week 6: Opportunity
All students are welcome to submit a step-outline for
suggestions/final evaluation after we discuss step-outlines
in class six. Chances are, it will take you some time to complete a
good step outline, even with your basic scenes mapped out. Take
your time. Hold on to my email address.

• What a screenplay is and what it’s meant to do
• The “starting point questions” writers must answer before writing or even outlining
• What the 3-act structure is in a screenplay and the function of its components
• How to create and use paradigms, sequences and step outlines

• Detailed answers to those “starting point questions” for their script idea.
• Their current story idea put into three act structure
• Their current story arranged into sequences
• The beginnings of a detailed step outline they can use to create their first draft

Beth Danesco is a Massachusetts-based writer and editor. She earned an MFA in motion pictures/scriptwriting from the University of Miami in 1999. Her scripts have been named as finalists in various categories of screenplay competitions including: The 1st Annual Find The Funny Comedy Screenplay Contest, (2005); The PAGE/International Screenwriting Contest,(2005, 2004); The NYC Midnight MovieMaking Madness Screenwriting Contest, (2004); The ABC/Disney Fellowship Program, (Top 25, 2001); and The Kay Snow Writing Awards, (3rd place, 2004). She was also named a semi-finalist in the 2004 Writers Network Screenplay & Fiction Competition and in the Acclaim TV Writing Contest (2003, 2004).

This year, Beth received her first onscreen film credits, editing the English language subtitles of the recent Norwegian releases Le Regard (dir: Nour-Eddine Lakhmari) and Import/Export (dir: Khalid Hussain).

Currently, Beth runs All Stories Critique Services, a script analysis service for screenwriters. For the last five years, she has also worked as a writer & editorial coordinator for N-Zone Magazine, an entertainment e-zine where she has published around a hundred articles including features, reviews, recaps and opinion pieces. Her work has also appeared in Chronicle Careers, Family Digest, and local newspapers in the suburban Boston area.

Beth has previously worked as a teacher, most recently serving for three years as an adjunct English instructor at Dean College in Franklin, MA.