# which MFA has the strongest screenwriting program?



## c-kat (Jun 21, 2008)

Hi,

I just finished a one year grad certificate in scritwriting here in Canada and now want to take an MFA in screenwriting.  I have two goals: 1) to continue learning the writing craft and 2) to make contacts - the school I went to is in a province with absolutely no film center whatsoever.

I have seen lots of discussions on her as to which schools are best.  They all seem to have different strengths.  Which MFA's are best for focusing on screenwriting rather than directing or producing?

Thanks,

C


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## Bandar Albuliwi (Jun 23, 2008)

Screenwriting programs @ AFI, UCLA and USC are good.


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## HypergraphicJared (Jun 23, 2008)

Chapman's screenwriting program is excellent as well!


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## LoopholeDa (Jun 24, 2008)

The screenwriting program at USC is not very good.  There are relatively few screenwriting classes and most of the production and technical aspects of filmmaking classes are not available to screenwriting majors.   As a result screenwriting majors wind up taking a lot of critical study courses.   The school doesn't do much to promote their screenwriting students.  The students do much of their own work in pitching their screenplays to the industry, unlike the production side.  The Stark and Production departments host lectures by visiting filmmakers, while the screenwriting program rarely sees visits by top screenwriters.


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## Jayimess (Jun 24, 2008)

Loophole DA, I think you must have USC confused with another program.

As someone who's just finished the first year of the MFA, perhaps I can offer some accurate assessments.

*Few Screenwriting Classes: *

False.  

You're taking at least two, no more than three writing classes every semester.  There are also scene seminars and re-writing classes, as well.  They're all very intense courses, so they don't want you taking too many at once.

*Few Filmmaking Classes Are Available, So Screenwriters Take a Lot of Critical Studies Courses:*

False.

It's a two year program.  Personally, I'm stretching it out to three in order to focus on my film portfolio under the Writer Director track, because I want nothing to affect my focus on my thesis script this year.  All Screenwriting students take 507, which is Production 1, editing, and directing actors.  The rest go under electives, and aren't required nor impossible.

As for critical studies, we are required to take 6 credits (two classes).  Nobody, and I mean NOBODY, "winds up" taking any more than is required of them.

*The School Doesn't Promote Its Students, So They're On Their Own With The Industry:* 

False.

Just as Production has First Look, USC's writing program has First Pitch and the Script List.  

Yes, the writer has to pitch their scripts all alone, like in the real world, but the university packs the industry people in at the First Pitch events so they'll have a chance to pitch to someone who will actually listen.  The script list and First Pitch result in sales, meetings, representation, and new gigs every year.    The school also trains students on pitching and the industry in general.

*Rarely Host Lectures By Top Screenwriters: * 

False.

It's at this point I must ask you where you're getting your information.  The "Conversations with..." series, almost every Friday, provides an intimate discussion period with top screenwriters.  

This year included Mark Fergis (Children of Men), Julie Traymor (Across the Universe), Jerry Staahl (CSI, and Permanent Midnight is based on him), the dudes who did 3:10 to Yuma, and those are the ones that spring to mind.  You can find the podcasts of them on the writing department's website.

Also, a new series was endowed by the Jackie Oakie foundation this year, call "Master Screenwriters."  The first guest was James L. Brooks.  It was a five hour event, where he chatted with our department chair (who wrote Top Gun and Dick Tracy, among other films), screened some of his favorite work, and answered a ton of questions.

Also, our events are open to the rest of the cinema school.  The majority of the Stark and PR speakers are within class times, and not open to the SCA public.

Some other great advantages of USC's program (beyond the obvious) are the fact that the writing program isn't just about writing a feature screenplay...if that's what you want to do, you are more than welcome to run with it, but you can also focus on television- one hour drama, half-hour comedy, sketch comedy-, animation, video games, or interactive media such as mobisodes or web content.  

Also, you get myriad opportunities to collaborate with both producing and production students to see your work produced from script to screen, where several other programs either isolate you from the other disciplines completely, or make you work for them, instead of with them.


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## Icarus Ascending (Jun 24, 2008)

Excepting the first sentence, I believe Loophole's post is a series of quotes from "Film School Confidential." I remember reading those same things. I assume they must have been true at one time.

What struck me as most peculiar about FSC's depiction of USC screenwriting was that those qualities it identified as weaknesses--promotional failures, a lack of production classes, crit studies overload--were the exact weaknesses I'd seen in OTHER screenwriting programs which were, uniquely, NON-problems at USC.

One thing I *have* noticed about USC's SW program is that it's in constant flux--more so than similar programs at UCLA or AFI. My class, for instance, is in for an unpleasant surprise: we will have watered-down screenwriter-only 507 classes. This was allegedly due to "popular demand." Maybe it's for the best. We'll see.

In other news, Columbia should be on any "best-of" screenwriting list.

--IA


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## LoopholeDa (Jun 24, 2008)

Mea Culpa.   My post was based on information from a good friend who obtained a Screenwriting MFA from USC a few years ago.   Looks like things have changed for the better.

I totally agree with Icarus that Columbia should be on the "best of" screenwriting list.


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## Gregory D. Goyins (Jun 25, 2008)

Columbia University should be at the top of everyone's Screenwriting MFA list. Give unto Caesar what is Caesar's...just my opinion...I'm biased...I wanna go there!

Hey so you wanna read my undergraduate personal essay? I could use some feedback.


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## Winterreverie (Jun 25, 2008)

This topic might have been better served if asked which SW program should I NOT go to. Everyone here will be biased towards their school's.

The programs I've heard or experieinced good things about are "Columbia, Chapman, and USC.

Though, yes USC and Chapman's programs are generally a little biased towards production SW also have access to work on other areas and this DEFINATELY does not mean the SW faculty are any less stellar than the production faculty. It also means more likely to have shorts produced. At Chapman, at least 1 film you write will be produced your second year. In both cases the writing faculty and students are tops as well. If you want a more industry focus on writing-- go there.

Columbia is very story driven, but not known for their access to equipment. If you are only writing driven, this may in fact be a better school. They do do production, but not on the same scale as the previous two, and they tend to focus on a more independent style.

The school's not listed I haven't heard much about that makes me feel the need to suggest them. Mainly that comes from SW being separated from the rest of their film students. But, again, everything here is a generalization and not true for every individual experiencing the program.

My advice: Visit the schools and email the faculty and current students. You'll know that way where you fit in! Good luck!


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## c-kat (Jun 25, 2008)

Thank you for the replies.

What about Boston?  I noticed that no one has mentioned that school?

What about Cal Northridge?  Is it crappy because it is an MA as opposed to an MFA?


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## Bandar Albuliwi (Jun 25, 2008)

> Originally posted by Winterreverie:
> The programs I've heard or experieinced good things about are "Columbia, Chapman, and USC.



Three schools?  Hmmm.... I'm sure there are more than that...

AFI, UCLA...

but I guess those aren't worth mentioning?

(P.S. You spelled experienced wrong)


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## Winterreverie (Jun 26, 2008)

Why do you always want to cause fights? Seriously? You're like the student films terrorist.

No, I don't endorse AFI or UCLA screenwriting programs-- I haven't been a part of them, nor know anyone I trust who is. And it would be ridiculous of me to endorse something I don't have experience with.

You also posted three schools so get off your damn high horse and stop trying to stalk me on this site.


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## LoopholeDa (Jun 26, 2008)

I totally agree with Winter.   Bandar thinks he knows everything.   If someone doesn't agree with his narrow vision of the world, he comes out with his flame thrower.

Why point out that someone misspelled a word, when it's an obvious typo?   That's so immature.


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## Bandar Albuliwi (Jun 26, 2008)

Winter,

I simply stated that you left out two of the best Screenwriting programs in the world, and you go ahead and call me a Student films terrorist?  Thanks for that stereotypical and racist comment.  You represent Chapman extremely well.  And sorry to burst your bubble, but nobody is stalking you.  

Loophole, narrow vision of the world?  This is a public forum, and people respond to others posts.  If you're offended, then maybe you shouldn't be on this site.  

Back to c-kat's post.  I haven't really heard anything about Cal Northridge, but I heard good things about Northwestern's screenwriting program as well.  Check it out along with the others that were mentioned on this post.


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## Chris W (Jun 26, 2008)

Please people - stop flaming.

We can all have civil discussions and agree to disagree can't we?


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## Jayimess (Jun 26, 2008)

I must say, folks, the "ignore all posts by this user" feature is pretty darn cool on this site, y'all...it works on pesky, vitriolic, and unhelpful posts.

I've been using it for awhile now; it works well, and I'm a fan.


PS...Loophole, no worries...when did your friend graduate?  I only ask because First Pitch is in its seventh year and the script list has been around since the early nineties...the first-ever issue resulted in John Singleton selling "Boyz In The Hood."  

I'm curious about such things, what can I say?


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## Bandar Albuliwi (Jun 26, 2008)

Never knew that "ignore all posts by this user" feature was available.

I'll be sure to use it to its fullest extent.


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## Jayimess (Jun 26, 2008)

PS, Icarus...

Stark students will be in your 507 with you, and that's one of the most significant cross discipline networks to make.

I think our class is a big part of why they're changing things...we apparently took 507 more seriously than other writing classes, some at the detriment of our writing classes.

The writers usually just phone it in because it's pass-fail, but we were all crazy intense with it.  I know of people skipping writing classes to edit or shoot, and the professors got fed up with it...I remember getting a mass email that said, "YOU CAME HERE TO WRITE!"

You can take other PR electives if you want...I know I'll be taking another 16mm and another digital class.


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## Maseiya (Jun 26, 2008)

> Originally posted by LoopholeDa:
> I totally agree with Winter.   Bandar thinks he knows everything.   If someone doesn't agree with his narrow vision of the world, he comes out with his flame thrower.



You're right, Loophole. Bandar thinks he knows everything, and god it is so freaking annoying. 'Cause after all he's only been signed up to direct a movie next summer with a seven-digit budget, with actors you've only ever dreamed of meeting. His view of the world certainly is narrow, having only been to Ireland, France, U.K., Scotland, Spain, Italy, Finland, Greece, Germany, and Portugal, to name but a few places. He certainly doesn't know much about filmmaking, either, not with his meager acting and directing experiences--I mean, come on, his latest short film's only been accepted to the Vegas and Cannes film festivals recently! That's nothing! Not even worth mentioning. It's the dirt beneath your toes, isn't it? Yeah. I mean, it's pretty obvious from your condescension that you're generally a much better and well-rounded person than Bandar. That's why you're going to Chapman, right?


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## Icarus Ascending (Jun 26, 2008)

Please, all moderators, do not try to shut down this flame war. This is Act II of studentfilms.com! All relevant information about film school has been thoroughly exposited over the last several years (Act I), and now Complications Are Ensuing. 

Act III, of course, will be the Final Showdown, so you might want to up your insurance.

--IA


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## Chris W (Jun 26, 2008)

???


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## Icarus Ascending (Jun 26, 2008)

> ???



I meant that in a spirit of puckish jocularity.

But seriously: pass the popcorn.

--IA


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## Jerry Prokosch (Jun 26, 2008)

As some other people have noted, Columbia University is known for having a strong focus on writing -- maybe at the expense of some other things in the first year, or so I've heard.  But they definitely produce nice work, and looking at their films you can tell writing is a priority.  The stories feel polished.

Has NYU been mentioned yet?  The teachers at NYU will punch you in the face if you don't show up for writing class.  Sometimes they will punch you in the face even if you do show up.  But all in all it's pretty good.


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## Jayimess (Jun 26, 2008)

Why do so many of the AFI cats...there's three now, that I've seen...feel the need to hate on Chapman again and again?  It paints such an ugly picture of arrogance within your incoming class, guys...

I don't go to Chapman, didn't apply there, and I can't endorse it firsthand, but that statement applies to a LOT of schools discussed on this forum.  I don't feel the need to put down those schools just because I chose to go to USC, nor do I need to pick on the programs I got into and turned down...

It's a new program, just twelve years running, that's true.  But there is no disputing the facts:  the facilities are amazing, and the faculty are obviously bad-ass, since the vast majority of them taught, or STILL teach, at AFI.  

Recent graduates I've met are working in the biz, the industry is aware of the program, and they've had two Kodak winners, I believe...sure, Lucas and Lynch and Mangold and Scorcese might not have gone there, but maybe they would've if it existed before 1996.  Who knows?

Either way, people are EXCITED- just as excited as I was to get into film school, just as you all were- to go there.

Why would anyone try to take that away from them by insulting the school on a internet forum?

Why do people need to diminish ANY other programs or schools, or people, for that matter?  (well, except for Full Sail, maybe, LOL)  What is there to gain?

And let it be said that there is a difference between being knowledgeable and being a know it all; being helpful and being condescending; being steadfast in your opinions and being opinionated.

Let's all try to err on the former, and remember the reason we all landed on this site, because that's the same reason new people land here every day.

Don't scare them away with such silliness.  This isn't high school, it's graduate school.  Catfights are for the playground.


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## Jayimess (Jun 26, 2008)

> Originally posted by Jerry Prokosch:
> The teachers at NYU will punch you in the face if you don't show up for writing class.  Sometimes they will punch you in the face even if you do show up.



LOL, Jerry...good to see you.  How's Singapore treating you pioneers?  No regrets, I'm sure.

And that's why they changed things...to keep the face punching at a minimum.

(and for the record, I certainly never skipped writing class for a 507!    )


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## Maseiya (Jun 26, 2008)

> Originally posted by Jayimess:
> Why do so many of the AFI cats...there's three now, that I've seen...feel the need to hate on Chapman again and again?  It paints such an ugly picture of arrogance within your incoming class, guys...
> 
> I don't go to Chapman, didn't apply there, and I can't endorse it firsthand, but that statement applies to a LOT of schools discussed on this forum.  I don't feel the need to put down those schools just because I chose to go to USC, nor do I need to pick on the programs I got into and turned down...
> ...




I was waiting for you to respond, Jayimess. I thought you might miss the fact that there's been some unforgivable wording in respect to my friend and future classmate, Bandar. To call someone a "terrorist", even if it's slightly veiled by being a "studentfilms terrorist", is beyond low. I'm sure you remember me, Jayimess; I've responded before to this flamewar going on between Winter and Bandar before: I called for peace. You responded by saying "This is real life, it doesn't bother me (so therefore it shouldn't bother you either--that's what you were really saying)". I took that to heart. You're being a hypocrite right now by telling me I shouldn't take offense at my future classmate being labeled against in such a rude manner. If you really didn't care, you would stop paying so much attention to it, and making thinly veiled criticisms against AFI Fellows. So I suggest you follow your own advice and be neutral again, or just step plainly into Winter's corner. I dislike dealing with people who say they're one thing and are quite obviously another.

Does this make me the Studentfilms Communist, now?


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## Bandar Albuliwi (Jun 26, 2008)

Maseiya, 

There is no point in trying to explain anything. Obviously there is a little power trip going on here when it comes to this site.  I'll give Winter the benefit of the doubt and let her continue on with her goddess status on this site, it seems it's all she has going for her. 

This will be my last post on this forum.  Not going to waste my time with pettiness.  You can spend years talking about which school is better, but at the end of the day it all comes down to the people you will be working with.  

With Winter's small minded perception of people, I'm certainly glad I won't be in her company for the next two and a half years.


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## Winterreverie (Jun 26, 2008)

Are you presuming that without knowledge of this man as a person I assume I know his racial origin? I don't. As far as his profile says, he's from California. He's a terrorist because he terrorizes Chapman boards. Don't be so pedestrian in your thought that everything is race based. 

definition of terrorism: it is violence or threats against people in order to achieve political or ideological objectives by creating fear.

He bashes Chapman students so that they are afraid to post on these boards. So that new students view AFI as the alpha program. That is political coercion by fear if I've ever heard it.

It's actually awful racist of people here to assume that terrorism, which existed long before the more recent "War on Terrorism," revolves only around one particular group. Am I to assume he's French since that is where the word originated?

If you don't know me personally, do I assume you know MY ethnicity? No.

And to restate my prior opinions-- I will not endorse any program I don't personally believe in because of harassment by another member on this board.


and IA-- I actually find it pretty funny too... =P


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## Winterreverie (Jun 26, 2008)

Jayimess-- I appreciate you as the voice of reason. And definitely respect what you have to offer.

Is anyone a part of NYU's screenwriting program? Again, it's one I can't comment on, but would love to hear more of how that program is coming along? Secretly, I'd be interested in going to school there, but unfortunately personal situations kept me from applying to anywhere but West Coast Schools.

Also, UT has not been addressed. Do they have a specific SW program?


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## Jerry Prokosch (Jun 26, 2008)

Can I just kind of get the lay-of-the-land here, for clarity.  Bandar and Maseiya... you're both AFI people?  Winterreverie, Jayimess... are you both USC?  Or is one of you representing Chapman?


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## Winterreverie (Jun 26, 2008)

I'm from Chapman. Jayimess if from USC


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## Jayimess (Jun 26, 2008)

You know, Maseiya, my roommate will be joining you at AFI this fall, and I have friends both currently enrolled and who recently graduated as well.  I would never judge the American Film Institute by the behavior of its students, especially on the internet.  

However, you all need to realize that many people do and will do that, and to those people, the cocky, rude behavior of several of you fellows on this site paints an ugly picture of your school...even as you strive together to diminish another program.   

We should be here to inform, not infuriate.

I don't care what people do, nor do I have a side in this, but I'm concerned about the climate on this forum.  

It means a lot to me to help people, and so it bothers me that now this thread, once about screenwriting programs, has slipped into some sort of AFI vs. Chapman battleground, all because of a petty, catty and unnecessary post, in this case, a spelling correction, and the reactions to it.  

It keeps happening, and it always starts the same way...so it's hard not to think it's intentional at this point, Steph.

If you have issues with members of this site, so be it.  That's why Chris installed the "ignore" function.  I've been using it on some of you for longer than you'd know, LOL!


By the way, you went off on Loophole and Chapman, Maseiya...not Winter, and you claim that you were reacting to low racial attacks.  Did Loophole call your friend a terrorist??  

Nope.  Loophole called your friend a know it all...which is how he often comes off on this site.

And what's so hilarious is that you attempted to justify such behavior by listing his credentials like some sycophant.  Playing at Cannes doesn't give ANYONE carte blanche to crap on people, and neither does getting in to AFI.

Hey...is "terrorist" a racial slur?  Against what race?  

I know the basics, I'm not up on the bigoted terms all the cool kids are using these days, I suppose.

I'm inclined to think that's a good thing...but...

Maybe I should watch more movies to bone up on current racism.



Anyway, I'm done with this negative silliness, entertaining as it is, and I sincerely hope that the rest of the studentfilms community will get over themselves and enjoy the summer, and the fun of helping people along the journey you suffered through yourself...no matter what school you go to, or those asking for help would like to go to.

Because that's what this site's about, y'all.


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## Jayimess (Jun 26, 2008)

UT does have a screenwriting program...methinks it's the second most exclusive...seven admissions each year, second only to FSU's SW program, which admits six each year...both programs, like the schools themselves, are considered quite good.

I obviously have the most experience with USC, but I researched several before applying to USC, UCLA, and AFI.  

My reasons for choosing USC over the other programs might be the same reasons others might choose a different program over USC, but in the interest of getting this thread back on track, here goes:

I'm a director as well, and USC's program allows flexibility with taking production classes, and in fact has a film writer/director track, and a TV writer/showrunner track.  At AFI, you come in a screenwriter and are only a screenwriter.  At UCLA, I was told that I wouldn't be able to take any production classes.

I wanted to collaborate with other disciplines, and USC has several opportunities each semester to see your work produced.  At UCLA, I was told that collaboration is not fostered by the school...kind of isolating.  At AFI, it felt as though it was less collaboration (read: working WITH others) then writer for hire (read: working FOR others).  At this point, enthusiastic collaboration is what I seek.

Finally, USC has writing instruction across all media, instead of a simple focus on the feature film.


Like I said, these reasons are why USC was perfect for me...and could be the exact reasons why it's not for you.  We're all so different.

A quickie about some others...

NYU's dramatic writing program crosses both screen and stage, and was a quick drop from my list.

My screenwriting prof back home is still mad at me for not applying to Columbia since she went there...their program is awesome, too.

I should mention that I didn't want to be in New York as a factor.

The hard thing about SW programs is that there aren't enough of them...there are usually only classes, not an actual discipline at the smaller and/or newer programs.


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## Maseiya (Jun 27, 2008)

> Originally posted by andinofilms:
> I believe EGO is an important weapon to make it into this industry.  Unfortunately, ego could easily destroy our careers if we don't know how to control it.
> 
> It's been a while since I've been to this site and I have to say that what I read nowadays is very sad compared to the cheerful and encouraging posts that helped me go through this intense MFA film admission process.  Back in March, we all were friends; now, look at us. It seems like the only fact of being admitted into one of these big institutions has gotten into some people's heads.  I feel like we will have pretty much the same opportunities to make it into the film industry after graduation regardless where we ended up going; and I hope everyone realizes this now and not after graduation, otherwise, this is going to hurt A LOT.
> ...



Y'know how people are like mirrors? You reflect what you receive from other people. And it's really difficult to remain true to yourself when you feel as though other people are attacking you all the time. Well, I definitely regret having lost my temper online, but I am not sorry for what I said (I thought long and hard about diving into something I knew would make people dislike me)--but some things remain unforgivably low-class and rude. People should really stop being surprised when an action is taken, and a reaction springs up... and it doesn't stop until someone is willing to say "All right, this is silly, I'm giving up this game of who's right and who's wrong. I'm out--peace." Sometimes our views don't agree. Oh well. Life goes on.

Please think about what you go around saying, what opinions you care to air out in the public. What you or I say is not going to be The Gospel Truth; people can take your opinion or leave it as they please. Jayimess woke me up to this: it's not a perfect world, it's not made solely for idealists (which I used to be, sadly). People are going to disagree over things, they're going to get defensive, they're going to say some pretty mean things--whether they're true or not. But to overlook the small details behind a person's facade, whether IRL or online, to not even try and look beyond the surface, and read between the lines--to pass over someone and say in an extremely roundabout manner, "That person is bad, and is not worth my forgiveness"--do you not see how this can be equally as damaging as slinging outright insults? It's labeling others without giving them any kind of a chance. It's choosing your words to bash the people you disagree with and making yourself seem ever more saintly. But there is venom behind such words.

Artists should use their medium to lead the way to truth, no matter through what straight or twisted paths. This is what I have always thought and believed. This is why I have come to see that I do not respect Winter or Jayimess anymore, as I did--like all other admirers--last year. Anyone who disagrees with them, they make fun of. They use their power over words to hurt, and not heal. They can be fun, and intelligent, like many people. But they are far from perfect. And they have repeatedly tried to hurt my friend. I stayed away from it because I tried to be neutral, and keep in mind that I represent AFI to a lot of people on here. But once that line was crossed--and it was definitely crossed--I apologize for being immature, but I also felt like I had to wedge my insignificant opinion in. Screw it, there are some things that are more important than what school you represent.

A person can't call themselves free of prejudice and bias and all that negative stuff, until they apply such generosity to everyone, without leaning one way or another. You can't uphold a non-innocent's behavior, lambast another person, and then call yourself a better person.

The thing is, I accept this about myself. I know I am imperfect. And I apologize for my rudeness yesterday, to Loophole, to Winter, and to Jayimess. I just seriously dislike it when people keep pushing the idea that they're better than others, by pushing others down. And if you think neither Winter nor Jayimess have never done this, as they did yesterday, then by all means, keep living in a perfect online world.

What you call collaboration--of course, this is important in filmmaking. And I'm glad you found your school in UCLA. But there is another thing that is important, at least to me--and that is sticking up for your friends and family, and to your ideals, and pointing out hypocrisy and rudeness after it has passed a certain level.

I do not define myself as an AFI Fellow. That can come and go as fate pleases, and I have not started school yet. And just to clarify, I do not hate Chapman nor its students--in fact I have quite a few friends at Chapman, currently.

Last thing: All right, this is silly, I'm giving up this game of who's right and who's wrong. I'm out--peace.


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## Crackery (Jun 27, 2008)

This thread is incredible.

I am a current AFI Screenwriter.  

I understand that Jayimess and Winterreverie are the two most prolific posters here, since one goes to USC and the other to Chapman, one would expect that they have nice things to say about their programs.  There's no reason that they should say nice things about AFI.

Since they seem to be two of very few posters that are actually in school, they are looked to as resident experts, which is valid.  They know more about their programs than you could possibly get from Film School Confidential.  Unfortunately for AFI, nobody offers the same level of promotion here.  Still, I think that everyone knows that AFI is a pretty good school.

Don't be hurt that a Chapman student and a USC student aren't pimping AFI. 

As for the topic of the post...

- nobody can answer your question as nobody has gone through more than one program.

I will list a few pros and cons of AFI:

PROS:
- You get to see your own work produced, which can offer a great learning experience.
- You get to focus on writing, not getting permits, not renting lenses.  
- You work alongside people in the other disciplines and have a chance to learn their perspective on storytelling and can integrate their tools.
- Some great professors are available to you and actually analyze your work, offering their expert advice on ways to improve it.
- You have the OPTION to focus your second year on a thesis short and a feature, a TV spec and a feature, or two features.
- School is very small and focused, you will know everyone.
- Top notch guest speakers.

CONS:
- The school can feel like it is too deferential to students in the directing track.
- School is very small and focused, facilities are limited.
- If you want to be a writer-director, you would be better off applying to the AFI Directing program... 
- If you don't have a good work ethic, you can easily get off track.


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## Jerry Prokosch (Jun 28, 2008)

Crackery -- very reasonable.  Do you feel personally that the system at AFI works... meaning, in your own assessment, have you seen development and improvement in yourself and your classmates as writers over the time you've been there?  

I'm interested to hear how other people respond to this question also.  Jayimess, Winter, Bandar...?  I imagine that everybody's answer will be in the affirmative -- mine, representing Tisch Asia (though not specifically the screenwriting program, which will have its first class this next year), is in the affirmative -- but I think a discussion involving personal observation and assessment would be interesting.


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## Jerry Prokosch (Jun 30, 2008)

No takers?

Anyway, Winter, a funny thing... we have a writing professor at Tisch Asia this coming year who recently taught at Chapman.  Barbara Schock.  Do you know her?


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## Jayimess (Jun 30, 2008)

I have nothing against AFI, Crackery...I almost went there...and I'm very happy that my roommate will be attending this fall.

Jerry, I feel that I have grown as a screenwriter, but I feel the program is almost over already, which is a little fast for me.  The coolest thing to me is that I discovered an unknown passion and talent for television writing.  It's exciting.

I definitely have seen vast improvements among the few classmates I've had in courses from the first to the last days of the first year, and though I'm my own worst critic, I think I've made leaps myself.

The best part of the program has been learning how to share your work with others, and to take criticism properly...as in, accept it, and learn from it, but don't necessarily conform to it.  I've done a terrible job conveying it, but I know what I mean.

Ooh, and I've gotten much quicker with Avid.


*Jerry...I only noticed this post because in the "Graduate forum" it said you were the last poster...maybe this should be a new topic entirely due to past drama which has led folks like myself to stop paying attention to new fuel on the fire.


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## Winterreverie (Jun 30, 2008)

I do know of Barbara shock, but I never had her personally. She actually only taught production here... at least that I know of.

As far as your question goes. I will tackle that when I get a few minutes to really dig into it. Its been a busy  summer here!

And crackery, I took no offense to your comment. I actually heartily agree as that has been my point since the whole war with whats his face started. I don't think its fair to endorse or bash a program unless you have personal experience with it or someone close to you, whom you trust, does.


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## c-kat (Jul 1, 2008)

Wow.  When I asked the question I did not think the result would be people bashing each others schools.  Lets face it.  All of these schools are in the top ten and have their pros and cons.  I was just wondering which ones were regarded more as writing programs as opposed to directing or producing.

I'm also curious how you would rate the MFA at Boston?


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## Jayimess (Jul 1, 2008)

Yeah...got a bit out of hand back there.  It does happen occasionally, and always in the same way, and for the worst.  It's unfortunate.

Most people don't bash the schools, c-kat...don't let a few bad apples ruin it for you.

If you manage to sift through all that BS there's plenty of info on several top writing programs in there.  The gist is that most of the more established film schools have SW programs/disciplines/divisions, to which you apply directly, and that they all offer various benefits and cons.

Good luck!


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## Icarus Ascending (Jul 1, 2008)

C-kat, for whatever it's worth, your post contains the first mention of the BU screenwriting program that I've ever seen. Not that I know everything.

(C'mon, BU flamewar!)

--IA

P.S. One other observation which might be apropos to the discussion: I'm increasingly convinced that NYU Dramatic Writing really isn't intended for screenwriters. I know of virtually no SW applicants who have ever been admitted to the program, while nearly every playwright I've known who applied was easily accepted. Just sayin'.


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## c-kat (Jul 2, 2008)

> Originally posted by Icarus Ascending:
> C-kat, for whatever it's worth, your post contains the first mention of the BU screenwriting program that I've ever seen. Not that I know everything.
> 
> (C'mon, BU flamewar!)
> ...



Interesting.  They only accept eight students a year so I thought it would be a competitive program with lots of opportunity for feedback.  But, what do I know.


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## A Plan Unfurled (Jul 2, 2008)

c-kat,

I went to undergrad in Boston and naturally applied to BU Screenwriting - they've got a solid program, and I especially like the option of spending a fifth semester doing guaranteed work in LA (of course I turned them down to spend all my semesters in LA, but, hey, it seemed like a fun east coast alternative).

And just for the record I'm 90% sure they admit 30 people a year, not 8. Perhaps, you confused that number with UT...?


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## Reach Film Fellowship (Jul 2, 2008)

The Reach Film Fellowship is a Cinereach granting program supporting East Coast undergraduate filmmakers producing socially relevant work. Applicants submit treatments for short narrative or documentary films dealing with an array of diverse issues, from Palestinian land rights to bullying in schools. Four winners are awarded $5000, mentorship, support from Reach Film Fellowship sponsors and are advised by the likes of Albert Maysles and Rachel Grady through the production process. Cinereach will fly winners to New York City for periodic group and mentor meetings. Once completed, the films are premiered in New York and celebrated at the event Reach Out. Last year's event was held at the Gramercy Park Hotel, hosted by Mira Nair, and the filmmakers received coverage from Hollywood Reporter, NYmag.com, Filmmaker Magazine, The Huffington Post, indieWIRE, and more.


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## FarhanAli (Jul 19, 2008)

All this bickering seems incredibly silly. I don't know the history between the two posters, but I sort of felt that Bandar jumped on Winter for no reason. Why correct her spelling? She also never said anything bad about any other schools, she just mentioned the ones that she has heard good things about. So what?

Poor choice of words by Winter though. Bandar is clearly Muslim, however, if she's saying she didn't mean anything racist by it then why not just give her the benefit of the doubt? Let's move on.
-----------------------------------------

To get back to the topic,

Northwestern's Writing for Stage and Screen program is very underrated. This version of the program is new (entering its third year), yet it is strong. The benefit of going to a school with a new program is that the faculty will aggressively promote you as they're looking to improve their reputation. The school itself has a prestigious reputation, it's in the suburbs of a great city, and has experienced professors. 

They also have some famous alumni like David Schwimmer, Stephen Colbert, Zach Braff, and some writer's from The Office that occasionally stop by. Needless to say, it certainly seems like you'll leave this school with tons of connections.

After your first year you have the choice of doing an optional internship in Chicago, LA, or NY. After that you become a TA for a quarter and gain valuable teaching experience. While you're a TA you get free tuition as well as pay. 

The school is very competitive and only accepts twelve students a year (6 screenwriters/6 playwrites). 

I'll be starting my first year there in September so I can't go into great details about the program, but so far I feel very happy, fortunate, and comfortable with everything I know. The professors are also really nice as I'm often getting emails from them asking if I have any questions and things.

http://www.communication.northwestern.edu/programs/mfa_..._screen_stage/intro/


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## Deuces (Oct 1, 2008)

The widespread and prevailing belief among the entertainment industry is that USC has the strongest and most diverse Screen and Television writing program. 

There was a post by Loop earlier apparently based on some inaccurate information from Film School Confidential and it actually brings up a god point: You can't really trust that, or any, really, book.  The slow pace of even "quickie update" publications like that is far too slow to be relevant and is often based on inaccurate information. 

The people that now produce that book have no first hand experience with the majority of the Programs they're discussing and, more importantly, they're not industry professional actively earning their living by writing or producing films, television or new media. 

Think of it this way: books like that are like travel guides.  They're based largely off of scant second hand accounts and the information that RA's can glean off of websites and periodicals. 

If you look at the 2007 update of Film School Confidential it's description of the Tish Dramatic Writing Program is inaccurate when compared to the curriculum and course information currently on Tish's own website. 

Columbia has an excellent program -- Enough good things can't be said about it and they produce many filmmakers who are very successful in the festival and indie circuit.  Columbia is also extremely focused on gearing their student's Thesis films for the Student Academy Awards and they absolutely dominate it. The program is exclusive, they run about a 6-9% acceptance rate -- so you're into rarified territory and the fiction and nonfiction writing program is also renowned in the world of literature, producing many fine authors.  

The writing program is generally intimate, and you get a broad core curriculum of directing, producing, critical studies, etc built in to you degree but there's less writing course variety -- particularly in rapidly burgeoning fields of New Media and Game Writing.  What goes hand in hand with Columbia's success in the festival and indie critic market can also be a be a drawback in that the school as a whole and the film and creative writing programs in particular have a reputation for being self-satisfied, elitist, and smugly erudite and purposefully derisive of more "populist" entertainment.  It's not that you have to be a McSweeny's subscriber, so much as you can't be a McSweeny's subscriber who also watches Heroes and likes Bon Jovi in anything but an ironic way.  

NYU is also very good. The only caveat being that their program benefits from the "Halo Effect" of the absolutely fantastic Acting Program and the excellent instruction and study in playwriting.  The quality of the specific screen and television writing isn't considered near as strong. Charlie Rubin has had a great career in television, writing for Seinfeld, but the Dept. Chair Richard Wesley had a far better and more extensive career as a playwright and David Ranghelli, their program director has very very limited studio experience. Playwriting courses are built into the curriculum which can be very nice -- especially if you're interested in both, at USC for example you can take playwriting courses but they aren't built in and the Dept. of Theatre at USC isn't as strong as NYU.  Though, if you're focused  exclusively on Film and TV writing it could also feel like taking up space that you would prefer to be used on additional film and television.

In general, the perception is that it's a top 5 program, but that it gains more of it's prestige and legitimacy by association than necessarily internal merit. 

The Screen and Television Writing Program at The USC School of Cinematic Arts (How's that for a pretentiously long-winded program title?) is considered about as close as you can come to a stamped and approved screenwriting pedigree. 

Part of this is based solely off of the numbers.  Like Harvard Law it's been considered number 1 so widely and so long that everyone with a fighting chance applies for acceptance.  So effectively the school gets to cherry pick the cream of the crop.  The website says they accept 32 candidates every year, but that's more of a ballpark figure.  Similar to some vinyards, They occasionally trumpet that only "qualified candidates" are accepted or  wait-listed so if one year they don't find 32 people they like, they don't extend 32 offers.   In 2005 they only took 28 candidates. In 2007 31.  However in 2008 they took 36.  When you consider that the writing division alone gets 1100-1400 yearly applicants, it puts their 2008 acceptance rate in the 2.5-3.5% range -- lower than Harvard Law. Statistically, that makes it one of the most exclusive programs in the world and naturally stacks the deck in their favor. 

Also, similar to Tish at NYU they have very deep pockets and top of the line facilities.  The close relationship to the Production Program and the "Skull and Bones Society of Film" Peter Stark Program means the Writing Division gets to offer more relationship and production opportunities to its students.  

The program's length is stated at 2 years, but like the stated 3 years of most production programs -- USC, NYU -- it can easily be stretched and filled to 3. The instruction quality and diversity is also pretty much a pinnacle. Jack Epps, Jr. teaches as well as being Dept. Chair.  Howard Rodman and John Furia are former chairs, full time faculty also hold active position in WGA leadership.  David Howard -- who wrote the 'Tools for Screenwriting' books most commonly referred to is faculty and one of the program architects. Danny Bilson -- Rachel Bilson's father -- is on staff, also teaches Game Writing for video games and is the President of THQ. Trey Callaway -- a producer and writer on CSI: NY who's also show-running his 2nd pilot -- teaches the dedicated Pitching class, the list of professional and currently working faculty goes on and on...

The drawback to all this is that the instructor's availability is subject to change. Students can plan on taking an intensive rewrite course with Richard Kletter in their next semester only to find he's writing a feature and reduced his course load. 

USC also gives you a more rounded course load -- with more dedicated scene construction classes and intensive classes devoted entirely to rewriting features.  There's courses for writing web series, games, adaption and genre specific options like scifi/fantasy, horror, historical adaptation.

Again, the knock here is that not all of them are offered every semester -- so you can wind up having to forgo the Scifi feature class because it conflicts with your Thesis only to find it's not offered the next semester. 

The Networking contacts are also something that's always going to be a natural ace in the hole for USC simply by benefit how many successful past alumni they've turned out.  Aside from all the relationship opportunities from instructors and classmates, every graduate student gets to name an industry professional EX: (Josh Schwartz, John Singlton, Tara Butters, Steve Zallian, Rob Thomas, etc) and the writing division will contact them and get them to mentor the student for his/her first few years out.

Jayimess, made mention of the "First Pitch" thing, and that's also something that's exclusive to USC.  30-40 reps from the major studios, production companies, the big 5 agencies and others attend a giant pitch event. Every year there's multiple sales, development deals and students who get agents as a result.  

Once again, there's drawbacks -- if you want to write a script that will change the function, conventions and expectations of what an audience considers a theatrical experience, the program is rather implicit that this is not really for you. People will often say that the school is very "studio friendly" and that is born out of an educational philosophy -- across all schools -- that focuses more on story craft, character arc, emotional construction, and equipping students with tools to write strong and effectively in the professional world than it does on auteur or indie sensibilities.  Your craft and unique narrative voice are paramount -- compared to other programs that favor people wishing to focus more on exploring avant-garde story telling directions or their deeply personal autobiographical story.

The reason USC is number one is that, it's easier for them to stay on top than it is for a growing school, like Chapman, or an also credible stalwart like NYU from ever overtaking them -- they've already got the machinery moving. 

And the reason why working professionals in the industry favor USC so strongly is that the school's "pick of the litter" candidate pool, instruction level, and focus on craft, story, and character over art and experimentation creates more successful outgoing alumni.  The Writing Program effectively does that same thing as the Football team -- they turn out Pro style quarterbacks ready to easily transition into the NFL.  That can come across to some as slightly mercenary and potentially stifling, but it's also the reason the program is so effective and producing writers who go on to earn their living writing. 

The fundamental question of "Strongest" program will always get refracted through the lens of "what constitutes strongest to you?" and, like a lot of things, that depends on the user. 

In generic terms, Graduate Programs tend to be geared towards either continued study, research and exploration of the subject or preparing students to apply their subject in the professional world.

Since screenwriting more a craft that's practiced and employed amidst and in collaboration with other professionals in an industry dedicated to creating a product to be viewed by an audience and not a subject that's built upon through scientifically controlled experiments and peer-reviewed research I would personally posit that that strongest program is the one that's most effective at consistently turning out graduates who then practice their craft in a successful professional career.

Your milage may vary.


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