For more information contact: Jennifer Williams, Author/Retreat Director e-mail:info@jamaicawritersretreat.org jennifer@jamaicawritersretreat.org web: http://www.jamaicawritersretreat.org/ http://www.lawriterscenter.com/ Telephone: 310.339.5515 169 N. Holliston Ave., #10 – Pasadena, CA 91106-1919 info@lawriterscenter.com Che’Rae Adams-Producing Artistic Director |
Workshops
2007 WRITERS' RETREAT - JAMAICA
August 15 - 20, 2007
WORKSHOP DESCRIPTIONS
Track I – Novel-Fiction Writing:
Instructor: Venise Berry, Associate Professor
Journalism and Mass Communication at the University of Iowa in Iowa City
Powerful Plots: A Blueprint for Popular Novel Writing: This session will be a useful experience in your writing
life. It will give you a better understanding of the basic plot structure for a popular novel and why it
sells. It will also provide helpful hints and strategies about dialogue, characterization, description, visual
style, conflict, motivation and marketability.
The workshops will critique a number of exercises written by each participant based on a novel idea of
their choice, taking time to offer constructive suggestions. The amount of time spent on each
assignment will depend on the number of participants and the total amount of time allotted.
For the opening workshop, participants should come with the attached Novel Premise Worksheet
completed and brings a copy for everyone (8 copies). Participants will also be expected to write (or
pull out of an existing manuscript) additional assignments focused on areas like narrative,
characterization, and dialogue for further critique in classes.
This workshop is designed to be helpful to writers at all stages whether you just have an idea in your head
or if your manuscript is complete and you’d like to strengthen the plot structure.
Novel Premise Worksheet (Please Type)
1. What is the working title of your novel?
2. What is the basic premise statement of your story?
(One or two sentences explaining the essence of your story)
3. Briefly explain how your story begins (set up).
4. What is your transformation 1?
(An event that twists the story and creates conflict)
5. What is the primary goal of your main character and two
major obstacles that will impede his/her efforts?
6. What is your transformation 2?
(A second event that twists story and creates more conflict)
7. Briefly describe the climax of your story?
8. How will your story end (resolution, tie up loose ends)?
9. Identify two subplots and briefly explain how they connect
to the main plot.
10. How is your story unique and original?
Track II – Stage/Screen Writing:
Instructor: Che’Rae Adams
Founder/Director and Dramaturge – LA Writer’s Center, Hollywood, CA
Workshop is designed to ready scripts for production using in-class exercises, the reading and discussing
of participants' scripts in a supportive setting, and a complete critique of each script in detail. The
instructor will introduce proven formulas and exercises, which can be applied to the writing process. The
workshops will discuss Exploring Author Intent and examine inspirations and processes relating to story,
theme and characters. Additionally, workshop is designed to illuminate the development process which
includes giving productive notes to each other and utilizing your relationship to get the most out of the
script to ensure a successful production. You can bring your own project, or you will be paired with a
writer to work with. Participants are welcome to bring projects-in-progress, play scripts (including solo
shows) and screenplays.
Track III – Non-Fiction/Memoir:
Instructor: Jenoyne Adams & Michael Datcher
Author/ Literary Agent & Associate Professor, Loyola Marymont University/Author
An intensive writing workshop in fiction, poetry, drama, creative non-fiction, or some combination of
these genres. An intensive 5-Day course of study designed to develop an appreciation of the meaning,
forms, techniques, and impact of poetry; non-fiction prose, with practice in both creating and analyzing
non-fiction. Also covers the basic components of both features and news stories, interview strategies,
and legal and ethical concerns; an examination of prose styles and theories of style to help participants
develop their own writing styles.
BONUS TRACKS:
Track IV – Film Production:
Three-Day Intensive MiniDV Production Workshop
Instructor: S. Torriano Berry, Assoc. Professor
Howard University, Department of Radio, Television & Film
OBJECTIVES:
Provide participants with the basic technical, procedural, and Conceptual foundations to begin training
in the art of story telling through the use of digital video technology. Participants will become familiar
with the essential terminology, standard production practices, basic equipment operation and the
fundamentals of production design, organization and implementation.
DAY 1 - SCRIPT WRITING AND STORY DEVELOPMENT
Script Overview: Master Scene, Sitcom, and Documentary Formats.
Writing Techniques: Story Cards, The Paradigm, and Scene Outlines.
Writing Exercises: Sell or Not Sell, Kill the Self-Editor in You,
Create a Character in 5 minutes or less.
Story Development: Manipulate Character Interactions and Plot Analysis for an actual 3-5 minute
workshop production.
DAY 2 - PRODUCTION AND MAKING IT HAPPEN
Pre-production: Script Review, Casting, Talent Releases, Story Boards, Call Sheets, Location
Scouting, Crew Positions and Equipment Lists.
Production: Directing Techniques: Blocking for the Camera, Working with Actors, Shooting for
Dramatic Coverage vs. Long Takes, Continuity, Basic Camera & Audio Operation, and Production
Problems.
DAY 3 - CUTING THE FINAL OUTCOME
Post-Production: Log Footage, Review and Discuss, Pick-Up Shots (if any).
The Editing Process: Non-Linear Cutting, Scoring, Titles and Credits.
Teaching methods include lectures, examples, demonstrations, hands-on production exercises and
shooting a 2-5 minute dramatic video project. Informational handouts, study sheets and production
equipment will be provided. The bringing of your own personal video camera is encouraged for
familiarization purposes, practical use and behind-the-scenes shooting.
Track V – Business of Writing:
Instructor: Jenoyne Adams & Sylvia Franklin
Author/ Literary Agent & Writer/Producer & President, Organization of Black Screenwriters – Los Angeles,
CA
You've submitted your manuscript everywhere, but no one seems interested. New to the business of
writing, you're intimidated by the massive idea of a publishing industry. Or you've broken in, but you still
don't understand what's going on. Basically, you could use a little help understanding how the publishing
business works.
This workshop is intended to help break down the publishing process on the level of agents and book or
acquisitions editors. After all, most writers begin their quest for publication by seeking out these
professionals in the industry.
Track VI – Writing for Television & Cable:
Instructor: Sylvia Franklin
Writer/Producer & President, Organization of Black Screenwriters – Los Angeles, CA
Inside the Writers Room
Exploration of the dynamic of a TV Writers’ Room -- what goes on, how it functions; and for feature film
writers -- what it's like to brainstorm/conceptualize notes -- story, character, beats with your
development executive -- the buyer.
The Business of TV
This workshop will focus on the changing landscape of television -- how networks/studios are producing
less television (traditional media) and putting more money into emerging media (Internet, cell phones).
The business model and how it will affect what you watch, and what you create.
August 15 - 20, 2007
WORKSHOP DESCRIPTIONS
Track I – Novel-Fiction Writing:
Instructor: Venise Berry, Associate Professor
Journalism and Mass Communication at the University of Iowa in Iowa City
Powerful Plots: A Blueprint for Popular Novel Writing: This session will be a useful experience in your writing
life. It will give you a better understanding of the basic plot structure for a popular novel and why it
sells. It will also provide helpful hints and strategies about dialogue, characterization, description, visual
style, conflict, motivation and marketability.
The workshops will critique a number of exercises written by each participant based on a novel idea of
their choice, taking time to offer constructive suggestions. The amount of time spent on each
assignment will depend on the number of participants and the total amount of time allotted.
For the opening workshop, participants should come with the attached Novel Premise Worksheet
completed and brings a copy for everyone (8 copies). Participants will also be expected to write (or
pull out of an existing manuscript) additional assignments focused on areas like narrative,
characterization, and dialogue for further critique in classes.
This workshop is designed to be helpful to writers at all stages whether you just have an idea in your head
or if your manuscript is complete and you’d like to strengthen the plot structure.
Novel Premise Worksheet (Please Type)
1. What is the working title of your novel?
2. What is the basic premise statement of your story?
(One or two sentences explaining the essence of your story)
3. Briefly explain how your story begins (set up).
4. What is your transformation 1?
(An event that twists the story and creates conflict)
5. What is the primary goal of your main character and two
major obstacles that will impede his/her efforts?
6. What is your transformation 2?
(A second event that twists story and creates more conflict)
7. Briefly describe the climax of your story?
8. How will your story end (resolution, tie up loose ends)?
9. Identify two subplots and briefly explain how they connect
to the main plot.
10. How is your story unique and original?
Track II – Stage/Screen Writing:
Instructor: Che’Rae Adams
Founder/Director and Dramaturge – LA Writer’s Center, Hollywood, CA
Workshop is designed to ready scripts for production using in-class exercises, the reading and discussing
of participants' scripts in a supportive setting, and a complete critique of each script in detail. The
instructor will introduce proven formulas and exercises, which can be applied to the writing process. The
workshops will discuss Exploring Author Intent and examine inspirations and processes relating to story,
theme and characters. Additionally, workshop is designed to illuminate the development process which
includes giving productive notes to each other and utilizing your relationship to get the most out of the
script to ensure a successful production. You can bring your own project, or you will be paired with a
writer to work with. Participants are welcome to bring projects-in-progress, play scripts (including solo
shows) and screenplays.
Track III – Non-Fiction/Memoir:
Instructor: Jenoyne Adams & Michael Datcher
Author/ Literary Agent & Associate Professor, Loyola Marymont University/Author
An intensive writing workshop in fiction, poetry, drama, creative non-fiction, or some combination of
these genres. An intensive 5-Day course of study designed to develop an appreciation of the meaning,
forms, techniques, and impact of poetry; non-fiction prose, with practice in both creating and analyzing
non-fiction. Also covers the basic components of both features and news stories, interview strategies,
and legal and ethical concerns; an examination of prose styles and theories of style to help participants
develop their own writing styles.
BONUS TRACKS:
Track IV – Film Production:
Three-Day Intensive MiniDV Production Workshop
Instructor: S. Torriano Berry, Assoc. Professor
Howard University, Department of Radio, Television & Film
OBJECTIVES:
Provide participants with the basic technical, procedural, and Conceptual foundations to begin training
in the art of story telling through the use of digital video technology. Participants will become familiar
with the essential terminology, standard production practices, basic equipment operation and the
fundamentals of production design, organization and implementation.
DAY 1 - SCRIPT WRITING AND STORY DEVELOPMENT
Script Overview: Master Scene, Sitcom, and Documentary Formats.
Writing Techniques: Story Cards, The Paradigm, and Scene Outlines.
Writing Exercises: Sell or Not Sell, Kill the Self-Editor in You,
Create a Character in 5 minutes or less.
Story Development: Manipulate Character Interactions and Plot Analysis for an actual 3-5 minute
workshop production.
DAY 2 - PRODUCTION AND MAKING IT HAPPEN
Pre-production: Script Review, Casting, Talent Releases, Story Boards, Call Sheets, Location
Scouting, Crew Positions and Equipment Lists.
Production: Directing Techniques: Blocking for the Camera, Working with Actors, Shooting for
Dramatic Coverage vs. Long Takes, Continuity, Basic Camera & Audio Operation, and Production
Problems.
DAY 3 - CUTING THE FINAL OUTCOME
Post-Production: Log Footage, Review and Discuss, Pick-Up Shots (if any).
The Editing Process: Non-Linear Cutting, Scoring, Titles and Credits.
Teaching methods include lectures, examples, demonstrations, hands-on production exercises and
shooting a 2-5 minute dramatic video project. Informational handouts, study sheets and production
equipment will be provided. The bringing of your own personal video camera is encouraged for
familiarization purposes, practical use and behind-the-scenes shooting.
Track V – Business of Writing:
Instructor: Jenoyne Adams & Sylvia Franklin
Author/ Literary Agent & Writer/Producer & President, Organization of Black Screenwriters – Los Angeles,
CA
You've submitted your manuscript everywhere, but no one seems interested. New to the business of
writing, you're intimidated by the massive idea of a publishing industry. Or you've broken in, but you still
don't understand what's going on. Basically, you could use a little help understanding how the publishing
business works.
This workshop is intended to help break down the publishing process on the level of agents and book or
acquisitions editors. After all, most writers begin their quest for publication by seeking out these
professionals in the industry.
Track VI – Writing for Television & Cable:
Instructor: Sylvia Franklin
Writer/Producer & President, Organization of Black Screenwriters – Los Angeles, CA
Inside the Writers Room
Exploration of the dynamic of a TV Writers’ Room -- what goes on, how it functions; and for feature film
writers -- what it's like to brainstorm/conceptualize notes -- story, character, beats with your
development executive -- the buyer.
The Business of TV
This workshop will focus on the changing landscape of television -- how networks/studios are producing
less television (traditional media) and putting more money into emerging media (Internet, cell phones).
The business model and how it will affect what you watch, and what you create.
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