Because of snow, class last week was cancelled. But I did send lecture notes via email to the students.  I've included those notes in this blog post.

                                          “Characters and Scenes”

Characters…

Must possess these two things: WANT and NEED. Also known as a: GOAL. To create conflict, the life-blood of drama, the character’s wants and needs must encounter a PROBLEM, someone or something standing in between what the character is chasing, and the main character must solve the problem; this requires THOUGHT, and, most importantly in cinema: ACTION.

During our third week, of the eight week screenwriting mini course at Concord University, we examined Act One in the three act paradigm, by watching the first act of the film The Matrix (1999).
The students had already submitted their choices for the major beats in the movie (e.g. Opening Image, Inciting Incident, Plot Point 1, etc.), and with their work done, it was my turn to walk them through each key moment, explaining where and when the major beats occurred.

We finished the task.
I asked for questions.
The first one was a stunner: "Is leather that much more comfortable than other material?"
I didn't know what to say.
Another student chimed in: "No, leather is hot and noisy."
One students confessed to having owned a pair of leather pants.
The rest of the class added their comments as to the practicality of leather in everyday life. It was a fun turn of events. I was expecting some further investigation into how character arc is stronger when it's connected to the key story beats. We got to that, eventually, but not before we took a detour on the leather road less traveled.

You don't have a ton of time to tell a movie. How do you give the best information in the least amount of time? Images and Actions.

Films exist in a world that hinges on the visual. Dialogue is important, and we all have our favorite movie quotes: "Unite us. Unite the clans," is one of mine. But films are meant to be visual: When William Wallace, his back to the camera, turns to face his cheering band of Scotsmen because he successfully led an attack against the English that killed his wife, I had an epiphany. It became the chief cornerstone for me wanting to enter the arts. In that moment, I knew I wanted to be involved, in someway, with making movies.

The master filmmakers know how to visually tell their stories. They know how to reveal character and plot and theme primarily through image/action and secondly through dialogue. And the master screenwriters do just the same. One of my favorite screenwriters is Wes Anderson. Yes, he also directs his work, and that makes him better than the rest of us, but so what. His voice is unique. His stories are profound, honest art.

For the first time in the school's history, Concord University (Athens, WV) is offering a class on Screenwriting.

And I, Mark Botts, am teaching it.

The Dean of Concord's English Department is a film aficionado - it's ridiculous the number of movies that man has seen. He chairs the Film Society, too, and is very proud of the institution's film library, a project he has steadfastly led for many years.

When he and I first met, in the fall 2013, we discussed my teaching (as an adjunct) a World Literature class. I was thrilled for that opportunity.

Our second meeting focused on movies - films - cinema.