(1)Syllabus and Writing Schedule (1)

ONE-YEAR CERTIFICATE COURSE IN SCREENPLAY WRITING The aim is to impart comprehensive e !cation an trainin" in screen #ritin" #ithin $$ #ee%s& The one-'ear pro"ramme #i(( concentrate on compact in- epth trainin" in )eat!re-)i(m screen #ritin" (ea *' in-ho!se )ac!(t'+ #ith a itiona( inp!ts )rom eminent "!est (ect!rers& Or inari('+ each #ee% is ivi e into ,- sessions o) three ho!rs each .,/ A0 1 , P0 an --2 P0+ ever' a'3& A samp(e )ortni"ht on an avera"e #i(( inc(! e $ sessions #ith the 4O5 .theor' (ect!res p(!s c(ass #or%shops+ #hen necessar'3 $ #or%shop sessions #ith the Co!rse Coor inator on st! ents6 #or%+ - sessions o) script ana('sis+ - sessions o) *oo% ana('sis+ an , G!est Lect!re& Apart )rom this+ st! ents #i(( have one-on-one cons!(tations #ith the Coor inator #henever necessar'& The rest o) the time st! ents #i(( *e #ritin" their stories an scripts& 7' the en o) the $$-#ee% pro"ramme+ each st! ent #i(( emer"e #ith ,& A )!((-(en"th )eat!re )i(m script -& One treatment note o) ,2 pa"es 8& Five pitches ., a aptation+ , vocation-*ase + 8 ori"ina( stories3

Writin" sche !(e First Semester Wee%s ,+ -9 I eation+ propose premise+ #rite ,-pa"e pitch Wee%s 89 Revise pitch an premise Wee%s $+ 2+ :9 Fo!r pa"e s'nopsis .stor'3 Wee% ;9 Con)irm premise an re#rite pitch Wee%s <+ =9 Revise an con)irm )o!r-pa"e s'nopsis S!*mit premise+ ,-pa"e pitch+ $-pa"e s'nopsis Wee%s ,/+ ,,+ ,-9 Write ,st ra)t o) ,2 pa"e treatment Wee%s ,8+ ,$9 Write -n ra)t o) ,2-pa"e treatment

Wee% ,/9 I eation+ propose -n premise Wee% ,89 S!*mit ,st ra)t o) -n pitch Wee%s ,2-,;9 For secon stor' - Write $-pa"e s'nopsis+ con)irm ,-pa"e pitch Wee%s ,<+ ,=9 IFFI+ Goa Wee% -/---9 Write Treatment )or -n stor' Wee% --9 S!*mit ,st ra)t o) Treatment )or -n stor' Wee% -$9 S!*mit -n ra)t o) Treatment )or -n stor' Choose treatment to *e ta%en to script sta"e Wee% -2+ -:9 Revise chosen treatment Wee% -;9 S!*mit )ina( ra)t o) chosen treatment Wee% 8,9 S!*mit ,st 5ra)t o) Step-O!t(ine

Wee% 8$9 S!*mit -n

ra)t o) Step-O!t(ine

Wee% 8=9 S!*mit ,st ra)t o) Script Wee% $-9 S!*mit -n ra)t o) Script

Wee% $8+ $$9 Five pitches Wee% $$9 S!*mit entire ossier o) script #or%

S'((a*!s STORY-TELLING (3 hours)

The importance o) stories 1 since the *irth o) civi(i>ation& Stories as a means o) "ivin" meanin" to (i)e& The ora( tra itions& 0'ths+ )o(%-ta(es an )a*(es& The contin!in" importance o) te((in" stories in mo ern societ'& Stor'-te((in" thro!"h i))erent me ia& Te((in" stories !sin" cinema& The po#er o) the me i!m&

I.

ELEMENTS OF THE SCREENPLAY (3 hours) An essentia( revision o) #hat ma%es a screenp(a'& I ea+ theme+ premise+ characters+ str!ct!re+ scene esi"n an ia(o"!e& The process o) screen#ritin"&

II.

THEME, PREMISE (3 hours) Form!(atin" the premise& I enti)'in" the theme& Assessin" the premise )or its ramatic po#er& The omnipresence o) the theme an the premise in the screenp(a'&

III. STORY (3 hours) 5eve(opin" premise into stor'& Settin" the stor' in mi(ie!+ time an space& Creatin" the main p(ot+ the important s!*-p(ots an the *ac%stor'& The va(!e o) research& Str!ct!rin" the stor'& Its reso(!tion& The importance o) con)(ict as the rivin" )orce o) the stor' an the screenp(a'& T'pes o) con)(ict 1 inner+ e?terna(+ mora(+ i eo(o"ica(+ etc& Risin" con)(ict&

IV.

CHARACTER (6 hours) Creatin" cre i*(e+ m!(ti- imensiona(+ !ni@!e characters #ith

!niversa( resonances& Character *io"raphies 1 their ph'sio(o"'+ socio(o"'+ ps'cho(o"'& Gettin" to the core o) the characters& 5esire+ stren"th+ #ea%nesses+ motivation+ "ro#th& S'mpath' an empath'& Character arcs& Un erstan in" archet'pes& Avoi in" stereot'pes& P(ot vs character& I enti)'in" the prota"onist6s nee & Character trans)ormation& Constr!ctin" the anta"onist+ secon ar' characters& Fi(ms #ith m!(tip(e prota"onists&

V.

NARRATIVE TRADITIONS ( ! hours) A t#o- a' (ect!re c!m #or%shop pro"ramme on )o(%-ta(es+ m'ths an other tra itiona( narrative arts+ ana('>in" their str!ct!re+ )ormat an character arcs 1 #ith specia( emphasis on In ia& Their app(ication to mo ern narratives+ especia((' screenp(a's& E?amp(es o) screenp(a's that have !se )o(% narratives as the %erne( o) their stor' sit!ation&

VI.

STR"CT"RE (6 hours) Importance o) str!ct!re& Str!ct!rin" the stor' to prepare )or its screenp(a'& T'pes o) str!ct!re9 c(assica( 8-act str!ct!re .Set-!p 1 Con)rontation 1 Reso(!tion3+ its i))erent interpretationsA screenp(a's #itho!t a c(ear-c!t str!ct!re& Linear an non-(inear stor'te((in"& P(ot pro"ression 1 the nee to %eep 'o!r stor' movin" in the screenp(a'& Usin" i))erent evices 1 set-!pBpa'o))+ co-inci ence+ mac"!))ins+ re herrin"s+ settin" !p s!rprises+ etc& Usin" )(ash*ac%s+ )(ash )or#ar s an ream se@!ences&

Usin" princip(es o) str!ct!re to con ense vast materia( into via*(e

screenp(a's& Act I& Settin" !p 'o!r stor'& 5is"!isin" e?position 1 "ivin" in)ormation #itho!t ha(tin" the stor' pro"ress& The #or( o) 'o!r prota"onist+ the #or( o) 'o!r stor'& Intro !cin" 'o!r prota"onist an the main characters& Revea(in" the main aspects o) 'o!r centra( con)(ict& Point o) attac% 1 #here o 'o! *e"in 'o!r stor'C I enti)'in" the incitin" inci ent& Intro !cin" the other important s!*-p(ots& 4o# i))erent is Act I in 4o(('#oo an in pop!(ar In ian )i(msC En o) Act I& Act -& The spine o) the stor'& The premise comes into p(a'& Revea(in"+ eve(opin" an esca(atin" the centra( con)(ict& Forcin" the prota"onist to p(!m* eeper interna( (eve(s& The emons *e"in risin"& 5e)ence mechanisms to the )ore& Tria( an error pro"ressin" to#ar s the *etter *!t more i))ic!(t path#a's& T#o steps )or#ar + one *ac%#ar & The thesis+ anti-thesis+ s'nthesis para i"m& S!*-p(ots "et into "ear& Some *e"in in Act II+ others "et reso(ve near the en o) Act II& The importance o) re(ie)& P(ottin" the mi -point& The *roa stro%es o) p(ot pro"ression in ACT II+ *e)ore an a)ter mi -point& Settin" !p the en o) Act II& D!e((in" the *i" monster on(' to iscover the *i""er one&

Reachin" the point-o)-no-ret!rn& En o) Act II& Act 8& Risin" )rom the ashes& The o or ie phase& Comp(ications+ reversa(s an )ata( )(a#s& The pre-c(ima?& Crisis+ c(ima? an reso(!tion& The eno!ement& 5ivine intervention& 5e!s e? machina& The E)a(se6 c(ima?& The e)inite or satis)'in" en in"& The ironic en in"& The open en in"& Am*i"!o!s en in"& Is 'o!r en in" Einevita*(e6C Prota"onist6s arc& What e(se has chan"e C Se@!ences& Their "raph+ )!nction+ interna( !nit'&

VII. #RITING THE TREATMENT (

hour)

The pre-screenp(a' oc!ment& Encompassin" a(( the essentia( e(ements o) the propose screenp(a'& Inc(! in" 1 main p(ot+ important s!*-p(ots+ a(( important characters+ the character arc o) the prota"onist+ a str!ct!re p(ot-pro"ression #ith c(ear(' emarcate act *rea%s& A #e((- e)ine *e"innin" an a c(ear reso(!tion& The importance o) emotiona( s!*-te?t in the treatment& The treatment as the e)initive *(!eprint )or the screenp(a'&

VIII. GENRE (3 hours) The pop!(arit' o) "enre )i(ms&

I$.

MYTHOLOGY, HERO%S &O"RNEY, ARCHETYPES (6 hours) Un erstan in" Foseph Camp*e((6s approach an o*servations& The !niversa(it' o) m'thic patterns across time an c!(t!res& E?aminin" the str!ct!re o) m'ths+ #ith etai(e an specia( emphasis on the sta"es o) the G4ero6s Fo!rne'H+ #ith an e'e on the interna(

cha((en"es an trans)ormation o) the prota"onist& Re(atin" this pattern to the c(assica( 8-Act str!ct!re& A *rie) isc!ssion on Christopher Io"(er6s interpretation o) Camp*e((6s para i"m )or a aptation to the screenp(a'+ in GThe Writer6s Fo!rne'H& Archet'pes&

$.

"SE OF SONG, DANCE AND M"SIC IN INDIAN MAINSTREAM FILM SCRIPTS (3 hours) The p!rpose o) son"s in the )i(m narrative& T'pes o) son"s& Son" sit!ations& P(acement o) son"s in the screenp(a'& Evo(!tion o) the In ian )i(m son"&

$I.

#RITING THE STEP-O"TLINE (! hours) 7rea%in" !p the treatmentBse@!ences into in ivi !a( scenes& 5iscoverin" the rh'thms o) the screenp(a'+ e?p(orin" the !nit' in se@!ences+ )orm!(atin" E*eats6+ an #ritin" the step-o!t(ine in a pro)essiona( )ormat&

$II. EVOL"TION OF THE INDIAN SCREENPLAY FORM (3 hours) Un(i%e it6s 4o(('#oo or E!ropean co!nterpart+ the In ian screenp(a' )orm evo(ve as a Econtin!!m6 o) other o( er per)ormin" art )orm narratives& A *rie) overvie# o) these )orms #ith an e'e on the e(ements )rom there #hich #ere inc(! e in the In ian screenp(a'& 4o# has that evo(ve )!rther over the eca es )rom ,=,8--//<C

$III. SCENE DESIGN (' hours) The scene& 5esi"nin" a scene& Its str!ct!re& 7eats& The *e"innin"+ mi (e an en o) a scene& Con)(ict+ t!rnin" points #ithin a scene& F!nctions o) the scene& P(ot movement thro!"h ever' scene& Lea in 1 (ea o!t scenes& Enterin" (ate+ "ettin" o!t ear('& Scene transitions& Reversa(s& 5!ration&

$IV. DIALOG"E (6 hours) Ro(e an )!nctions o) ia(o"!e& 5ia(o"!e vs& conversation& The E(essis-more6 princip(e& 5ia(o"!e as actionBreaction& S!*-te?t& Fin in" a istinct voice )or each character& The In ian ia(o"!e tra ition& Its !ni@!eness an evo(!tion&

$V.

THE ART OF ADAPTATION (3 hours) C!((in" an shapin" )rom the ori"ina( #or% )or cinematic presentation& I enti)'in" %e' characters an their stor'(ines& Usin" screenp(a' techni@!es to e?terna(i>e their inner voices in ia(o"!e an action& Con ensin"+ se(ectin"+ omittin"& A aptin" the screen stor' )rom that 1 (ocatin" e(ements (i%e premise+ prota"onist+ POI+ str!ct!re& The cha((en"e o) )aith)!(ness to the ori"ina( #or%& Cop'ri"ht an (e"a( iss!es&

$VI. #RITING THE (IOPIC (3 hours) Choosin" the s!*Ject& Un erstan in" the e)inin" characteristics o) the s!*Ject 1 the essence o) the *iopic& E?tractin" a ramatica((' str!ct!re stor'(ine )rom the *io"raph'& Research an research metho o(o"'& 5iscoverin" the s!*Ject6s inner #or( & Interpretin" that )or e?terna(i>ation& Inventiveness in creatin" )ictitio!s characters+ #itho!t eviatin" )rom the spirit o) the *io"raph'& A!thenticit' a*ove a((&

$VII.#RITING FOR TELEVISION (6 hours) F!n amenta(s o) #ritin" )or te(evision& Te(evision #ritin" as istinct )rom #ritin" )or )eat!re )i(ms& Writin" the ha()-ho!r soap+ the one-ho!r thri((er+ the one-ho!r rama+ the ha()-ho!r sitcom& Writin" )or "ame sho#s+ chat sho#s+

trave(o"!es an te(evision events& Writin" %eepin" commercia( *rea%s in min & Episo e en in"s& The TI script )ormat& Preparin" a proposa( )or a TI series& Writin" the Concept Note+ the Treatment Note+ the Character S%etch+ the episo e s'nopsis& Pitchin" a proposa(& The Po#erPoint pitch&

$VIII.

#RITING THE ANIMATION FILM (3 hours)

Un erstan in" the techno(o"ica( parameters o) the animation )i(m& Characterisin" non-h!man characters !sin" h!man re)erence pointers& $I$. #RITING THE DOC"MENTARY (6 hours)

$$.

#RITING AD AND CORPORATE FILMS (3 hours)

$$I. IND"STRIAL ASPECTS - HINDI CINEMA (3 hours) An overvie# o) the esta*(ishment an its practices& The chan"in" stat!s o) the pro)essiona( screen#riter& 5i))erent %in s o) emp(o'ment 1 in-ho!se sa(arie Bnon-sa(arie + the associate #riter+ the re-#riter+ the script- octor+ the script cons!(tant+ the )ree(ancer& The ro!te to the irectorBpro !cer o) 'o!r choice& 4o# to s!rvive the chaos an the (ac% o) script (iterac'&

$$II.PITCHING YO"R SCRIPT (THE ART OF NARRATION) ( ! hours) Learnin" to tai(or 'o!r stor' to a )i?e - !ration narration - )ivemin!te+ ,/-min!te+ 8/-min!te an )!(( (en"th& 4an"in" 'o!r con ense version on the rama o) the premise an the centra( con)(ict o) the prota"onist& Po#erin" 'o!r (on"er narrations #ith the !ni@!eness o) the characters+ the !niversa( emotiona(it' o) their i(emmas+ an the s!rprise e(ements in the p(ot& The in ispensa*i(it' o) s!*te?t&

$$III. MANAGING YO"R CAREER (3 hours) Wor%in" the ropes to sho#case 'o!r #ritin" ta(ent& Keepin" a*reast o) rei"nin" tren s& Interpretin" a *rie)& Writin" spec scripts& Creatin" emp(o'ment opport!nities )or 'o!rse()& Enhancin" one6s pro)essiona( s%i((s+ inc(! in" the )ine art o) ne"otiation& 7e(on"in" to the )raternit'& Reassessin" one6s position an re e)inin" pro)essiona( "oa(s& 5i""in" eeper contin!o!s(' )or storiesA %eepin" the h!n"er a(ive& Avoi in" *!rno!t& Watchin"+ rea in"+ st! 'in"+ isc!ssin" cinema an (iterat!re& Up atin" techno(o"ica( s%i((s&

$$IV. #RITING METHODS, MAINTAINING SELF-DISCIPLINE (3 hours) 5iscoverin" one6s o#n process& 7rea%in" the r!(es& Research metho s& 5oc!mentation& 5ea(in" #ith #riter6s *(oc%& O*Jectivit'& Re#ritin"& Too(s o) #ritin"& So)t#are& Gettin" )ee *ac% )rom others& Wor%in" #ith the irector+ pro !cer or star& 0aintainin" se()- iscip(ine&