Week 15: Kent Hall (Yahoo! Video) Visit

Today we had a visit from Kent Hall, who has the best job title(s) ever: Content Producer, Community Manager/Chief Blogger, Entertainments & Curiosities at Yahoo! Video.

Here's a list of links to stuff Kent showed in class:

• Yahoo! Video home
• Kent's favorite child, the Yahoo! Animation Network
  
• Viral Video Chart (note the RSS feed — handy!)
• Jumpcut online video editing/sharing site\
• TubeMogul uploading tool (multiple-site video distribution and stat-tracking)
  

Did I forget anything? If I did, remind me and I'll get the link.

I shall miss all of you — and I hope to start seeing lots and lots of your excellent videos showing up on the etherwebs. Have a fabulous summer, and if I won't be seeing you next semester, please keep in touch!

HOMEWORK (OPTIONAL ASSIGNMENT)
Write another piece between 3 and 10 minutes in length. This can be another episode of your series, a new series, or a completely different type of piece — up to you. Please proofread, spell-check and format meticulously! Turn in to my BECA Office mailbox (check for hours) by Friday 5/23, along with a self-addressed, stamped envelope if you want your work back (or you can drop by next semester and pick it up from me).

Week 14: "Break a Leg" Guys Visit!

Today we had a visit from Vlad Baranovsky (writer) and and Dashiell Reinhart (editing, visual effects) of Break a Leg, who bravely fielded questions and shared their experiences in producing an online show — and promoting it, and pitching it to cable/TV execs, and keeping their day jobs. You can reach them at info@breakaleg.tv if you'd like to talk with them more.

Next week is our last week together, and we've got another great guest coming in: Kent Hall from Yahoo! TV will be here to talk about new media and user-generated video from a programming point of view.

Also, we'll do class evaluations next week — very important!

HOMEWORK:

1. Check out the Webby Awards, especially the Film & Video and Interactive Advertising categories. Nothing to write; this is purely for your enlightenment and edification.
   
2. Check out the Yahoo!Video site. Post a comment to today's class blog discussing a) the overall design and function of the site, and b) three videos featured on the site (any category). Come in next week with good questions for our guest.
   
3. If you didn't do last week's blog-comment assignment, go back to last week's post and get it done!
   

Week 13: Workshops and "Break a Leg"

Good workshopping today, writers!

Next week, Yuri Baranovsky (writer/director/actor, "Break a Leg") will be visiting us, possibly with more writers, cast and crew, to talk about the realities of making online media.

Please continue to watch more episodes of the show; Yuri suggested Episode 3 and Episodes 4-10 as best eps and also good examples of how they transitioned from longer to shorter installments.

I'd also like everyone to take a thorough tour of the show's home site and its YouTube page to see how the creators have built an environment to deliver and promote the show. Notice what interactive features are included in each site, how aesthetics and writing style are used, and how the show "presents itself" to the world.

SPECIAL NOTE: Extras (and other forms of help) needed on a shoot this Saturday at 1:00 in Sebastopol. If you're interested, contact Yuri at Yuri@breakaleg.tv.

HOMEWORK:

1. Finish, proofread and polish your scripts. Next week, you'll turn in the first version, the final version, and a piece of reader feedback (with both names!).
2. Watch a lot of TV! But not just any TV. Watch "Break a Leg" and watch a lot of it!
   
3. Post a comment to today's Class Blog in which you discuss writing elements of two different episodes. (Writing elements can be story structure, character development, dialogue — don't get too distracted by production/camera/acting stuff. You can talk with Yuri about those things, but for this assignment I want you to think about writing.)
   
4. Come in next week with good questions for Yuri and his comrades.
   

Week 12: Political Video Extravaganza

Today we plowed through most of the videos you all posted on the class wiki. For future reference, please note that Flash sites don't always let me pre-load (and therefore might not be watchable in class) — but it's perfectly OK to post them on the wiki for other people to watch on their own.

Next week we're going to be watching some episodes of Break a Leg, a popular and pretty long-running online sitcom by some former SFSU Cinema folks (who are also going to visit us in a couple of weeks). We'll also workshop your scripts, which you'll turn in next week.

The format example and template for 2-column scripts is downloadable in the sidebar now. Don't be afraid to try it out — it really does work better for short spots and videos where the story isn't exactly linear as your pilots were.

HOMEWORK:
Write a short (1-2 page, 1 page is fine) treatment and full script (no absolute minimum, keep it under 10 minutes) for workshopping next class. The script doesn't have to be "finished" (polished) but it must be complete (beginning, middle, end).

Week 11: So What Really Was the Greatest Joke?

Congratulations to Ryan, Sean, Andrew, Danielle and Katie — your scripts were chosen by the TV Directing class to be produced. Well done! Jen Vaughn came to class today to thank everyone for submitting great scripts.

Today my laptop went on the fritz, so we didn't watch the videos you've been posting to the wiki. We'll watch those next week, so if you haven't posted yet, please do! Instead, we watched The History of the Joke (originally broadcast on The History Channel).

We also talked a little bit about the next writing assignment. For next week, all you need to do is decide what kind of thing you'd like to write next. Then we'll have a workshop on 4/29 and you'll turn in a final version on 5/6. NOTE: People interested in collaborating on a script together should post ideas to the the Team Writing page on the class wiki.

Have a good week; see you next Tuesday.

Week 10: Freestylin'

Everyone noticed the use of the apostrophe in the post title, right? How 'bout that for an effective contraction? (And how 'bout that "'bout"? Pretty cool, I know.)

Today we'll be watching the videos that you all posted on the Class Wiki and talking about the writing techniques on display. Hopefully, we'll see some things that inspire you for your next script project.

HOMEWORK:

1. If you haven't yet posted any videos to the Class Wiki, please find at least one political video (related to the 2008 presidential campaign or a current political candidate in another race; local and regional politics count, too!) and post it to the Wiki. Those of you who have already posted videos are also welcome to post political videos as well. Next week, we'll have a Political Video Extravaganza!
2. Write 5 ideas for your next script project. This is just brainstorming; you're not stuck with anything, so feel free to experiment. No special formatting required — just 12-point font, double spaced.
   

Week 9: Writing Mechanics Intensive

Welcome back from spring break! And thank you for writing such wonderful scripts. I sincerely enjoyed reading each and every one and would love to see all of them on-screen.

Today we did not watch The History of the Joke as planned (the DVD has not shipped yet, I'm afraid; I'll show it as soon as it arrives).

Instead, we had a long heart-to-heart conversation about writing mechanics. (Check out that hyphenated compound modifier! Pretty fancy, eh?) My hope and belief is that every person in here can and should get an A on every paper for the rest of the semester. In support of that goal, I invite you all to use my office hours (Mon. 4-5 and Tues. 4-6), the BECA Writing Lab, and the L.A.C. to get extra help with mechanics. And remember to do your proofreading a) separately from the writing, and b) on paper, not on the computer screen.

Those of you who were absent today MUST retrieve your graded work from the BECA Office receptionist (ask her to get it out of the green folder behind the front desk). Your final script will be considered incomplete if you have not incorporated my format/mechanics corrections. You don't have to incorporate my story/content suggestions if you choose not to, but I do expect you to see them before finalizing your script. I will put them in the office tonight, so they will be available starting Wednesday morning.

HOMEWORK:

1. Finish your script for handoff to Jen Vaugn's class; due 9:15 a.m. next Tuesday!
2. Find some fun online video for us to talk about (focus on writing); post links to class wiki so I can download and show in class.
   

Week 8: Production Overview

Today we watched all the new primetime shows and the top failed pilot for this month on Channel 102 (now called Channel 101 NY), as well as Fenecia's short-format soap opera, which she produced for the Mobile Medium class last semester.

We also had a visit from Jule Selbo, a professional screenwriter and coordinator of the screenwriting track in the Summer Arts Program. This is a fantastic program — check it out online!

I've been consulting with Jen Vaughn about the scripts for her production class, and gave a lot of info today; if you missed today, please get in touch with a few people from class to get filled in (there's more than I can summarize here).

Please note a few changes to the homework listed on the Class Schedule Update:

1. Today everyone turned in the Episode 2 treatment, script, and Reader Feedback sheets. We did not have a workshop today, so if you were absent, you don't need to make one up.
2. Everyone will e-mail me a .pdf file of whichever script will be submitted to Jen's class for production (choose your most producible script). I need these by Monday 3/24 so I can put them online and Jen and her class can "sneak preview". This needs to be a complete script, but not a final draft; the final handoff date will be Tuesday 4/8.
3. Nothing due April 1! Just keep polishing those scripts for Jen's class — let's make it a really hard decision for her teams. : )

Have a great break; you've all earned it! Remember to watch lots of new-media stuff (and post interesting links to the Class Wiki). See you in April --

Marie

Week 7: Episode 2 Treatment Workshop

Today we did two rounds of workshopping on the Episode 2 treatments, focusing on:

• how hero and crisis are designed to generate a strong dramatic need
• rising action and increasing obstacles
• resolution (whether it "feels" like a self-contained episode)
  

If you missed today, you need to arrange to get Reader Feedback #4 and #5 from a classmate (must be someone from this class) and turn them in next week.

I noticed, while reading the scripts this week, that most of you are writing shows that could never in a million years be produced in Studio 2 by Jen Vaughn's production class. What's up with that, people? Your assignment is to write a script — to be turned in April 8 or 15, which isn't too far off — that her class can produce. If you plan to produce your script yourself, that's fine, but for this class, your assignment is to turn in a producible script. I'll have specific details next week (and hopefully we'll get a visit from Jen or an authorized representative to answer questions).

HOMEWORK:

1. Write the script for Ep. 2 (see Class Schedule Update for full instructions).
2. If you missed today, please come get your work back from me — it has feedback, including format and mechanics corrections.

Week 6: More Pilot Workshopping

Today I gave out a new Class Schedule, which is available for download in the sidebar. Please look at it carefully, as the homework is different from what is on the original syllabus.

I also cancelled the Syllabus policy of requiring late work by Thursday. You can turn in late work at the next class meeting, for one grade down. No work will be accepted more than one week late. If you are able to get late work to my BECA Office mailbox by 4 p.m. Thursday (instead of waiting until the next class), I can grade it and give it back to you along with everyone else's, but it will still be counted late.

We did two rounds of workshopping, with a focus on dialogue: identifying wordy or repetetive passages, using dialogue to express individual personalities, making lines do "double duty" of moving plot and revealing character. If you missed today, please read the following very carefully:

• Any time you miss a workshop, YOU MUST make it up outside of class. Please use your Class Contact Sheet to arrange meetings (most days we'll do two rounds, so you need two different readers). Please make sure that the feedback includes discussion of the day's topics (consult with people from class to get thoroughly filled in).
  
• Each reader should write feedback on a sheet of paper clearly labeled with their name (not yours), the date, and Reader Feedback #____ . Today we did #2 and #3.
  
• If you can get your script (and the workshop feedback from last week) to my BECA Office mailbox by 4 p.m. Thursday, I can still grade it and give it back to you next time. Otherwise, bring it to class next week.
  

In class, we watched three failed pilots from Channel 101 videos: Vamped, Drop Dead Bruce, and Trainer Trainer. We talked about reasons why these pilots didn't do as well with audiences: weak hero/character definition, unclear or unconvincing dramatic need, lack of specific motivations for action. We also talked about things these shows did well: preventing "running gag" syndrome by mixing genres and providing a strong episode storyline; making full ironic, humorous use of pop-cultural material; playing with genre-mixing and conventions.

HOMEWORK:

1. Write a treatment for another episode of your series — could be Episode 2, or the Final Episode, or somewhere in between. Aim for a 5-minute episode, described in a 2-page, double-spaced treatment focusing on the story that unfolds in this episode only.
   
2. Attach a separate, brief (paragraph/half-page) description of your series (this can be the same one you turned in before, or you can rewrite it if you wish). This is for workshopping next week; I will collect it along with the scripts on 3/20.
3. Elise, Jesse and Nicole will present videos (approximately 5-minute episodes) that facilitate discussion of character individuation and using dialogue to both move story and reveal character. (Please post links on the Class Wiki.)
   

Week 5: Workshop

Today we did some good, thorough workshopping (and graphing, lots of graphing) of the pilot episode treatments and scripts. If you weren't here for that, don't forget that you need to make up workshops in order for your writing assignment to be complete (see Attendance section of syllabus). Use that Class Contact sheet and get your work read — you'll be glad you did!

Next week everyone will turn in scripts, which I'm very excited to read. Meanwhile, have courage! And I don't just mean the liquid kind.

See you (and your fantastic scripts) next week.

P.S. Check out the new class wiki!

Week 4: Treatment Workshop

Today we did a close reading of an episode of The Simpsons, "Lisa the Vegetarian". We looked at:

• How the hero and the situation are designed for maximum suffering
• How every character is positioned "against" the hero, so we get literally the whole world, from family to school to community to institutional power to spiritual and moral authority amassed against the struggling protagonist
• How the hero's dramatic need serves as the emotional energy that drives her action throughout the story
• How the hero's travails (obstacles) increase in intensity as the episode progresses (rising action)

Several of you mentioned that you are writing a series that isn't exactly a linear narrative. I suggested that everyone watch a few episodes of these Channel 101/102 shows:

• American Cookbook
• The Forgotten Classics
• Return to Supermans
• The John and Jess Variety Hour
• Welcome to Our House
  

I have a feeling there were more on the list — if anyone remembers, let me know and I'll put the links up! I'll bring in some more examples for us to watch and talk about next week.

Hey, did anyone notice Channel 102 is now Channel 101NY? Hmm...

The treatments I'm reading look great! Very original and creative stuff happening — be proud, be brave, and write like the wind.

HOMEWORK:

• If you're satisfied with your treatment and feel ready to script, go for it — start writing! Bring in a first draft next week.
• If you're still hashing out your story/structure/treatment, bravo and keep going — bring in the final draft next week.
• Watch a few episodes of the shows listed above.
• Download and print out the Script Format handout so we can go over it together in class.

Week 3: Treatment Time!

Today we watched Episodes #1 and #7 of Clark and Michael — and I strongly urge all of you to watch the rest of the episodes. There's a lot to notice about the development of the series arc as well as individual episode structure, and about avoiding the "running gag" danger.

I didn't collect your 5 ideas today, but don't throw them away — I want them next week! For now, they're mainly to help you weigh some options and think about which ideas are most likely to generate good story and character material.

Also consider what will be producible in Studio 2. This means a 3-camera shoot, some props and set dressing but nothing too expensive or difficult, a manageable cast size, etc. This is not to say that you can't write an animated or sci-fi series in this class, but for this assignment keep it in the realm of what can be made with department resources.

For those of you already starting to panic a little, stay calm. There are lots of things to think about, but no writer covers everything in one draft — different layers will develop at different rates and at different stages in the writing process. We've got lots of time to workshop and change things around, so if you feel yourself getting stuck or overwhelmed, just hang in there and get something on the page. Even if it gets radically changed later, at least you have something solid to go on in the meantime.

Feel free to check in with me any time.

HOMEWORK:

1. Write a short blurb (length up to you) describing the premise, characters, look/tone/feel, or whatever else I should know about, of your series.
2. Write a 2-page treatment for the pilot episode. Double space, 12-point font, 1-inch margins, don't go over 2 pages. Remember the treatment is to help the reader imagine what your episode looks and sounds like, as well as giving the basic storyline. Don't worry about getting lots of specific lines of dialogue and jokes and stuff in — that'll be in the script. Treatments are written in present tense (like film reviews are) and in the order that we see it on screen (so even if your story jumps around in time, you write the treatment to match the way you'll write the script, with scenes in the order they'll be seen by the audience).
3. Proofread and spell-check! I don't want to see any sentences without the correct end punctuation, or contractions without apostrophes, or plurals masquerading as possessives — or any other stuff covered in the Writing Mechanics handout (see link in sidebar).
4. I insist that you have some fun writing. I'll know if you don't.
   

Week 2: Generating Ideas for Short -Format Series

Seeing as you all took this class to do some writing, let's do some writing!

Last week I asked everyone to write up five ideas for short-format series (the kind of thing that might show on Channel 101 or 102) — and make them easy to read, please (12 point font, double space). We'll take some time in class on Tuesday to talk about premises and sustainable story/character arcs vs. running gags.

Also, please check out Channel 102's fresh crop of winners (hooray, Defenders of Stan made it up to Episode 12) and losers so we can talk about them on Tuesday.

Sorry about the lateness of this post; I'm a little discombobulated being out of town and without reliable internet access — it's like a crazy parallel universe where there's this thing called a "TV" in my room, but it won't let me check e-mail or do my blog. Somebody get me out of here!

Week 1: Intro to Short-Format "TV"

It was good to meet you all today; I can see our class has an impressive range of interests and experiences to bring to the table. Should make for some excellent writing!

This week I'd like you to check out Channel 101. Every month, people like you and me send five-minute pilot episodes to be screened before a live audience, which votes 5 shows into Prime Time. Shows that make it get to enter subsequent episodes in the next screening. Thus, every month has a new lineup: some shows that were popular suddenly get cancelled, and new shows crop up all the time. Everything is archived on the site, so you can catch up on any shows you missed episodes of.

We'll talk about the shows and about short-format narrative next week in class. Enjoy!

HOMEWORK:

1. Watch Channel 101 Prime Time winners, Cancelled This Month, and Month's Top Failed Pilot (total of seven episodes).
2. Read Story Structure Tutorials 101, 103, 104, 105, 106, and 108 Million. Print these out and bring them to class so we can go over them in detail. (Copy and paste the articles into a text document rather than trying to print out the website — it just gets messy.)