# USC writing creative challenge--between two people..



## sophiedog (Oct 19, 2008)

Hey guys, 
So now turning to USC's creative challenges--both scenarios involve writing scenes between two people. Does this mean we can't bring in ANY other characters other than the two people? Say we have another character with like one line of dialogue, is that alright or do you think they mean solely between two people? Thanks!


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## Jayimess (Oct 19, 2008)

It's between two people and only between two people.  The scenes are set in closed containers for that exact reason.  I bet if you think about it, you'll realize you don't need that third person with their one line of dialogue...it just seems the easiest way right now.  Work with it...find a way to do what you want to do without that extra baggage.

They want to see you rise to the parameters they've given you...I strongly suggest you do not deviate from what they ask for, by length or premise...this is one of the few opportunities to show them that you can control your brilliance.


BEST OF LUCK!!


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## sophiedog (Oct 19, 2008)

Thanks Jayimess, I know they must have some tricky reasons for setting it up like this lol. I'm assuming having someone talk on the phone counts as a third person (the person on the phone) so that is probably out too! Should be able to play around with it to remove them, anyway.


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## Jayimess (Oct 20, 2008)

I had a one-sided phone convo in my "wants to leave/stay" scene, but you never heard the person on the other end...the person who wanted to leave was having the conversation in front of the one who wanted them to stay, and it was more about learning why she wanted to leave as a result of the eavesdrop, and watching the other to see that she wanted her to stay.

But no other dialogue.


BTW, I was looking thru my materials this weekend and I realized in the elevator, I did have a third character/one liner in my scene...the elevator speaker crackles and says "we'll get you out soon, folks," or something like that.

But we never see the speaker or hear from them again, otherwise, seen or unseen, they'd become another character in the scene.

Wow, that's a lot of seen/scene.

Anyway, yeah, just stick to those parameters, don't try to read between the lines for wiggle room, etc.  Just do what it says the best way you can.

Good luck, and you know exactly how to get hold of me if you need to.


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## sophiedog (Oct 20, 2008)

Ok great, that helps! I was working some more on the leaving scene yesterday and I also have it so that only one person actually speaks, changed it up so that I shouldn't need the phone call. And I may not use the full 5 pages, which I don't think they mind since it says 3-5.. Still have more time though, might end up redoing the whole thing!


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## Jayimess (Oct 20, 2008)

Ha, that's funny, I worked and reworked and reworked my scenes a jillion times over eleven months, only to throw EVERYTHING, including my emo and PS, the day before the postmark date.

I often wonder...one, if I had used my original stuff, if I'd have gotten in straight up instead of off waitlist, and two, if I'd have gotten rejected.

Those what ifs don't matter though, do they?

Things like this remind me why writers should always follow their instincts.


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## A Plan Unfurled (Oct 20, 2008)

Not to throw a monkey wrench into things, but I definitely had a third person in my elevator scene - Seen and Heard. In fact that character dominated the first page or so, and then made a prompt, albeit dramatic exit. I also had a fourth character (similar to Jayimess' third if we're counting that) that speaks through a television.

So I guess what I'm saying is, don't feel like it's the end of the world if you have more than two characters. They might prefer two - I don't know - but I think at the end of the day they really just prefer interesting stories.

Good Luck.


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## sophiedog (Oct 21, 2008)

Lol thanks Plan. I'll keep working at them and see what happens!


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## Suzako (Oct 21, 2008)

Its funny to think of how many elevator scenes probably have the speakerphone play a role.  I'm writing mine and the speakerphone "speaks" also.  It'd be fun to write one and have another criteria be: the speaker phone doesn't work.


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## Jayimess (Oct 21, 2008)

Plan, I am so glad you've been coming back and offering a different perspective...your experiences, approaches, etc, are different from mine and illustrate that no applications are the same, both in what we send or how it's interpreted.

I guess that seals it...the only rule to applying to USC (and film school in general) is that there are no rules.


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## A Plan Unfurled (Oct 22, 2008)

No problem, Jayimess - the way I see it I still owe you (and the rest of the studentfilms community) for getting into grad school in the first place.


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## Zumbi (Oct 24, 2008)

Hi all.

Well, almost in the deadline, I'm STILL having problems with my TREATMENT FOR USC.

DO I HAVE to start with a paragraph inclusing some topics like a DESCRIPTION (SYNOPSIS), the TITLE, CHARACTERS, etc...

Or, DO I HAVE to start with a TITLE and go directly to the story?

I don't remember if I'm supposed to insert my NAME o the pages...? Do I?

My history is a very short movie. Let's say, 10 minutes.. So, the treatment is almost a screenplay. There is no feelings, concerns of the character(s). It's a continuous history, that at the end, returns to the beggining.

Doubts, doubts...


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## Jayimess (Oct 24, 2008)

Zumbi, this is a screenwriting applicant thread, so you might get more replies if you put this post in a production applicant thread...none of the writers have to write treatments.

And as for what you don't remember, just check the website and application materials.

Good luck.


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## taraberyl (Aug 3, 2009)

Here's a question about the creative challenge.  I write sketch comedy as well as screenplays.  Would a sketch that fits the parameters of one of the creative challenges be a good idea or a bad idea for the application?  On the one hand, I gravitate towards it because the maximum 2-4 pages is a great length to be able to execute a complete sketch, while a scene from a film would probably feel more like a snippet and less complete.  A good sketch might also be a fun read for the admissions people.  HOWEVER, the down side is that sketches are inherently less cinematic - for example, it says to emphasize visuals, which is not something one sees in sketches as much as in screenwriting.
Advice highly appreciated.


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## scribble.jones (Aug 6, 2009)

Sophiedog -- I was in precisely your boat at this time last year, and I did end up using a third character in my scene. I needed an outside voice to highlight the subtextual argument that was going on between my characters. The key word there, however, is needed. I suspect the SCA PTB are interested in your ability to restrain yourself and follow directions. So, to make a long story short, if you absolutely must have the third, do it. If not, I'd cut your risk and keep it to two.

Taraberyl -- Again, I'm going off my application package from last year, but if I were you, I'd write the scenes. No one is expecting you to write a "complete" short. They are, however, expecting you to demonstrate that you are a visual thinker and an evocative writer. I (mentally) pitched my argument scene as a flashback - a seemingly unimportant encounter that was a crucial piece of a larger 'one-that-got-away' story. Not only did this approach allow me to feel like it was a complete scene, the nostalgia factor also let me emphasize its hyperreality with visual detail. I knew I'd gotten it right when my proof-readers wanted to know more about the history between my characters; the admissions people are going to remember scenes that leave them intrigued.


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## Icarus Ascending (Aug 9, 2009)

Taraberyl, I would urge you in the strongest possible terms not to write a sketch for your USC app. I know a decent percentage of the screenwriting admissions committee, and I can say with 90% confidence that a not a one of them would want to see a sketch.

Here's why: USC Writing For Screen & Television thinks of itself as a character-centered program (whether it is or not constitutes a fair subject for debate). The overwhelming majority of the faculty is interested in grounded, three-dimensional characters in believable situations. Manifestly, those aren't the values of sketch comedy.

FWIW, the only person I know here who wrote a sketch for an application scene got in off the waitlist -- and under abnormal circumstances at that. After a year of USC, I am confident that he would full-throatedly second this advice.

--IA


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## taraberyl (Aug 9, 2009)

scribble jones and IA,
thanks so much!  very helpful, you both make perfect sense.  scenes it is.


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