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!1
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
10 MinutesStorytelling is a language with its own
syntax, grammar, and passion. Learning to tell stories is about understanding
humanity.
1
!2
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
9 MinutesThe visible story of a successful movie
may be fiction, but the inner story connects because it is infused with
visceral reality.
2
!3
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
8 MinutesSuccessful stories while the product of a deliberate process and a natural-law
structure, they are truly the consequence of perseverance.
3
!4
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
7 MinutesA movie poorly structured for the screen
becomes insignificant. A well-structured story of something
insignificant can be masterful.
4
!5
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
6 MinutesA great story results when all of the
plots and subplots -- different in their own way -- form a single composition
around one true moral premise.
5
!6
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
5 MinutesLike lines on an architectural sketch, a
story line must have a convincing beginning and end. Attach an anchor at
both ends. Make it strong.
6
!7
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
4 MinutesA line is to dialogue is to action is to a
scene is to a sequence is to an act is to the story is to the setting is to the
human condition.
7
!8
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
3 MinutesMoral decisions of characters result in physical consequences which, in turn, are metaphors for the moral mindset
that made the decision.
8
!9
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
2 MinutesBelievable fictional characters are like real humans in that they can make any choice they want, but they can never
choose the consequence.
9
!10
We will begin again with a movie in...
!THE MORAL PREMISE
Harnessing Virtue & Vice for Box Office Success
Stanley D. Williams, Ph.D. !
www.MoralPremise.com
1 MinutesGreat stories are important b/c they
examine the natural consequences of human values and conflict and thus
inform us how better to live.
10
!11
Office Linebacker
11
9:00-10:30 Critical Story Elements10:30-10:45 Break10:45-12:15 Structural Elements12:15-1:00 Lunch & Awards1:00 - 2:30 Plots, Goals & Irony2:30 - 2:45 Break2:45 - 4:30 Analysis & Examples4:30 - 5:00 Q&A
!12
Secrets of Successful Story Writing for films and novels
18+
12
Act 1 Act 2 Act 3
Life Before
1 2 3 4 5 6 7 8 9 10 11 12 13
Three-Act Structural Parts and the 13-18 Turning Point Beats
* *P
Prol
ogue
Firs
t Im
age
Copyright 2013!Stanley D. Williams, All Rights Reserved.
B
RInciting Incident
25% 50%12.5% 75% 82.5
11
13
Inciting Incident Harry Pottery and the Sorcerer’s Stone
!1414
Act 1 Act 2 Act 3
A1 Climax Accepts
Opportunity
Life Before
Rejects Opportunity
1 2 3 4 5 6 7 8 9 10 11 12 13
Three-Act Structural Parts and the 13-18 Turning Point Beats
* *P
Prol
ogue
Firs
t Im
age
Copyright 2013!Stanley D. Williams, All Rights Reserved.
B
RInciting Incident
25% 50%12.5% 75% 82.5
11
15
!16
Crossing Threshold to Act 2 Harry Pottery and the Sorcerer’s Stone
16
Act 1 Act 2 Act 3
A1 Climax Accepts
Opportunity
Life Before
Rejects Opportunity
1 2 3 4 5 6 7 8 9 10 11 12 13
* *P
Prol
ogue
Firs
t Im
age
Copyright 2013!Stanley D. Williams, All Rights Reserved.
B
RInciting Incident
25% 50%12.5% 75% 82.5
11 Act 1X + B-Story Begins
17
!18
LOTR: Fellowship of the RingAct 1X + B-Story Begins
Avoiding the divine call leads to a disturbed and contentious life; but Embracing the divine call leads to a resolute and focused purpose.
18
Act 1 Act 2 Act 3
A1 Climax Accepts
Opportunity
Life Before
Tries NEG. side of MP Lack of Progress Approach to TruthRejects
Opportunity
Moment Of Grace
Accepts TMP Changes Method
1 2 3 4 5 6 7 8 9 10 11 12 13
Three-Act Structural Parts and the 13-18 Turning Point Beats
* *P
Prol
ogue
Firs
t Im
age
Copyright 2013!Stanley D. Williams, All Rights Reserved.
B
RInciting Incident
25% 50%12.5% 75% 82.5
11
19
1. Imperfect Protagonist 2. Confronts Problem 3. Chooses a Solution 4. Succeeds or Fails
1 2 3
4
Act 1 Act 2 Act 3
Protagonist near 50% Accepts or Rejects The Moral Premise
4
12
MOMENT OF GRACE
!20
20
3Act 1 Act 2 Act 3
Other Characters Same Mid-Point Scene
or Earlier or Later
Introducing the MOMENT OF GRACE
!21
33
12
1. Imperfect Protagonist 2. Confronts Problem 3. Chooses a Solution 4. Succeeds or Fails
1 2
4
4
21
1 2 3
4
Act 1 Act 2Act 3
It’s built into our spiritual DNA - Natural Law. 1. We start imperfect 2. We are given trials and grace. 3. We choose. 4. We end up better or worse off.
4
Why This Story Structure Always Works
!22
12
22
Vice Virtue
Moment of Grace
!23
Vice Virtue
Tr a g i c E n d i n g
Redemptive Ending
12
23
A Beautiful Mind John Nash accepts personal
responsibility and the Grace that the Moral Premise offers.
88 min./132 min.
Depending only on others for our well-being leads to impotency; but Taking responsibility for our well-being leads to productivity.
Ron Howard’s
A Beautiful Mind
Moment of Grace
!24
12
24
A Beautiful Mind MOG
Depending only on others for our well-being leads to impotency; but Taking responsibility four our well-being leads to productivity.
Play Clip Beautiful Mind MOG
!2525
Telling lies leads to rejection; but Telling the truth leads to acceptance.
Liar! Liar! MOG
Play Clip LIAR! LIAR! MOG
!2626
What Women Want MOG
!
Arrogantly Listening to self leads to superficial relationships (disrespect); but Humbly listening to others leads to super "real" relationships (respect).
Play Clip WWWant MOG1
!2727
LOTR: Fellowship of the Ring MOG
!28
Avoiding the divine call leads to a disturbed and contentious life; but Embracing the divine call leads to a resolute and focused purpose.
28
Act 1 Act 2 Act 3
A1 Climax Accepts
Opportunity
Life Before
Tries NEG. side of MP Lack of Progress Approach to Truth
Tries POS. side of MP Makes Progress but Bad Guys Close InRejects
Opportunity
Moment Of Grace
Accepts TMP Changes Method
1 2 3 4 5 6 7 8 9 10 11 12 13
Three-Act Structural Parts and the 13-18 Turning Point Beats
A2 ClimaxBurns BridgeNear Death Faux End
Dark Night of the Soul...
All or Nothing Remove Mask
* *P
Prol
ogue
Firs
t Im
age
Copyright 2013!Stanley D. Williams, All Rights Reserved.
Inciting Incident
25% 50%12.5% 75% 82.5
11
B
R
29
LOTR: Fellowship of the Ring Act 2X (Near Death) + Dark Night of the Soul
!30
Avoiding the divine call leads to a disturbed and contentious life; but Embracing the divine call leads to a resolute and focused purpose.
30
Act 1 Act 2 Act 3
A1 Climax Accepts
Opportunity
Life Before
Tries NEG. side of MP Lack of Progress Approach to Truth
Tries POS. side of MP Makes Progress but Bad Guys Close InRejects
Opportunity
Moment Of Grace
Accepts TMP Changes Method
1 2 3 4 5 6 7 8 9 10 11 12 13
A2 ClimaxBurns BridgeNear Death Faux End
Dark Night of the Soul...
All or Nothing Remove Mask
* *P
Prol
ogue
Firs
t Im
age
Copyright 2013!Stanley D. Williams, All Rights Reserved.
B
RInciting Incident
Pinch Point A
Pinch Point B
25% 50%12.5% 75% 82.5
11 Resurrection Beat
31
DIE HARD: Resurrection Beat follows Dark Night of the Soul & Near Death
!32
Arrogance & Self-preservation lead to Separation and Defeat; but Humility & Sacrifice lead to Victory and Marriage.
32
Fight-To-Death Hand-to-Hand
Act 1 Act 2 Act 3
A1 Climax Accepts
Opportunity
Life Before
Tries NEG. side of MP Lack of Progress Approach to Truth
Tries POS. side of MP Makes Progress but Bad Guys Close InRejects
Opportunity Denouement
Moment Of Grace
Accepts TMP Changes Method
A3 ClimaxVictory
or Defeat
Final Incident
1 2 3 4 5 6 7 8 9 10 11 12 13
Three-Act Structural Parts and the 13-18 Turning Point Beats
A2 ClimaxBurns BridgeNear Death Faux End
Dark Night of the Soul...
All or Nothing Remove Mask
* *P
Prol
ogue
Firs
t Im
age
Last
Imag
e
Copyright 2013!Stanley D. Williams, All Rights Reserved.
B
RInciting Incident
Pinch Point A
Pinch Point B
25% 50%12.5% 75% 82.5
11
33
Act 1 Act 2 Act 3
Final Incident
1 2 3 4 5 6 7 8 9 10 11 12 13
Inciting Incident
Pinch Point A
Pinch Point B
Turning Point Instigation13
Moment Of Grace
Accepts TMP Changes Method
A2 ClimaxBurns BridgeNear Death Faux End
A3 ClimaxVictory
or Defeat
A1 Climax Accepts
Opportunity
Antagonist Action
Protagonist Action
B
R
34
RATATOUILLE
Remy
Colette - Linguini - Skinner
Anton Ego
Living as if only the elite can “cook” leads to despair; but Living as if anyone can “cook;” lead to hope.
35
RATATOUILLE Antagonist Action at I.I.
!36
13
Living as if only the elite can “cook” leads to despair; but Living as if anyone can “cook;” lead to hope.
36
!37
Co-Protagonists don’t need a B-Story friend. They are each other’s B-Story.
37
Both make moral decisions to embrace the conflict & test the MP promised in Act 2
!38
Act 1 Climax 13
Living as if only the elite can “cook” leads to despair; but Living as if anyone can “cook;” lead to hope.
38
!39
RATATOUILLE Moments of Grace13
39
!40
13
40
Will PROTAGONISTS accept or reject the moral premise and is it CLEAR to the audience? Heart of the drama.
!41
Make Clear That It’s the Protagonist That Chooses Visually (and if necessary use words –– SPEECHES!)
RATATOUILLE Act 3 Climax - Near Death13
41
Inciting Incident
!42
Make Clear that It’s CHARACTERS that Choose
Moment Of Grace
Accepts TMP Changes Method
RATATOUILLE Colette’s MOG in Act 3
All Main Characters have a Moment of Grace
13
42
RATATOUILLE Act 3 Colette’s MOG
Play Clip Rat-Colette’s MOG
!43
Make Clear that It’s CHARACTERS that Choose here VISUALLY
13
43
!44
14 All Major Characters Pursue Individual Goals
in Multiple Storylines (subplots)
44
!45
Protagonist Spine (plot) Minimum 13 beats. 15
Inciting Incident
Journey Begins
MOG
Near Death
Final Incident
Victory
12
3
45
67
89
1011
12
13
The Protagonist
45
!46
Protagonist Spine (plot) Minimum 13 beats.
All others use fewer. All have MOG.15
The Protagonist
Other Characters
1 23 4 5 6 7 8 9
1011 12 13
9
5
3
7
MORE LATER
46
16Act 1 Act 2 Act 3
Final IncidentInciting
IncidentPinch
Point APinch
Point B
Moment Of Grace
Accepts TMP Changes Method
A2 ClimaxBurns BridgeNear Death Faux End
A3 ClimaxVictory
or Defeat
A1 Climax Accepts
Opportunity
B
R
Main TPs Create Macro Roller Coaster… Goal / Expectation Reversals
1 2 3 4 5 6 7 8 9 10 11 12 13
47
16Act 1 Act 2 Act 3
Final IncidentInciting
IncidentPinch
Point APinch
Point B
Moment Of Grace
Accepts TMP Changes Method
A2 ClimaxBurns BridgeNear Death Faux End
A3 ClimaxVictory
or Defeat
A1 Climax Accepts
Opportunity
B
R
Main TPs Create Macro Roller Coaster… …upon which the Micro Roller Coaster is built.
+ - - - - - - - - - - - - - -+ + + + + + + + + + + + +-+ + -+1 2 3 4 5 6 7 8 9 10 11 12 13
48
16Act 1 Act 2 Act 3
+ - - - - - - - - - - - - - -+ + + + + + + + + + + + +-+ + -+1 2 3 4 5 6 7 8 9 10 11 12 13
It’s true... it’s not true... it’s true... it’s not true... Emotional UP.... Emotional DOWN... Emotional UP... Emotional DOWN.
Hero will... Hero will not... Yes he will... No he won't... Emotional UP.... Emotional DOWN... Emotional UP... Emotional DOWN.
The Moral Premise Test
The Physical Premise Test
Beat-by-Beat, Test the Truth of the Moral Premise and the Success of the Protagonist with an Emotional Roller Coaster
49
Emotional Plotting Testing the M&PPS at Every Turn
Will she or won't she return to Inida?
First 16 scenes of “Return to India”
!5050
Emotional Plotting Testing the M&PPS & Goal Achieval at Every Turn
“Return to India” (132 scenes)
!5151
IDENTIFICATION (Suturing = becoming one with characters)
17 The Filmmakers must create
PHYSICAL Suturing EMOTIONAL Suturing MORAL Suturing
!5252
IDENTIFICATION (Suturing = becoming one with characters)
The Filmmakers must create
PHYSICAL Suturing POV and NEAR POV shots Long Take / ECU Hearing Character’s thoughts Visual Gaps Narrative Gaps Dark and Silent Theater
EMOTIONAL Suturing MORAL Suturing
!53
17
53
IDENTIFICATION (Suturing = becoming one with characters)
The Filmmakers must create
PHYSICAL Suturing EMOTIONAL Suturing
Keep Secrets Attractive Characters
MORAL Suturing
!54
17
54
IDENTIFICATION (Suturing = becoming one with characters)
The Filmmakers must create
PHYSICAL Suturing EMOTIONAL Suturing
Keep Secrets (Intrigue/Suspense) Antagonist and Audience KNOW, but not Protagonist Protagonist and Audience KNOW, but not Antagonist Audience KNOWS, but not Protagonist or Antagonist Protagonist KNOWS, but not Audience or Antagonist Antagonist KNOWS, but not Audience or Protagonist etc.
Attractive Characters MORAL Suturing
!55
17
55
IDENTIFICATION (Suturing = becoming one with characters)
The Filmmakers must create
PHYSICAL Suturing EMOTIONAL Suturing
Keep Secrets Create attractive characters that are:*
Sympathetic Exposed to jeopardy Relatable Funny Powerful Skilled
MORAL Suturing
* Michael Hauge’s & Chris Vogler’s, “The Hero’s Two Journeys.” !56
17
56
PHYSICAL Suturing EMOTIONAL Suturing MORAL Suturing
True Moral & Physical Premise Statement Consistently Applied M&PPS 3 Patterns of Moral Identification....
IDENTIFICATION (Suturing = becoming one with characters)
The Filmmakers must create
!57
17
57
1. Audiences recognize that natural law contains a system of moral absolutes that exist outside a government's laws.
James Bond
Jack Bauer
Ethan Hunt Axel Foley
IDENTIFICATION (Suturing = becoming one with characters)
The Filmmakers must create
PHYSICAL Suturing EMOTIONAL Suturing MORAL Suturing
!58
17
3 Patterns of Moral Identification....
58
2. Moral choices have consequences consistent with natural law.
Dumb & Dumber
In the Bedroom
Braveheart
PHYSICAL Suturing EMOTIONAL Suturing MORAL Suturing
Something About Mary
IDENTIFICATION (Suturing = becoming one with characters)
The Filmmakers must create
!59
17
3 Patterns of Moral Identification....
59
IDENTIFICATION (Suturing = becoming one with characters)
3. Suffering, which is a consequence of natural law, can lead to purpose and hope.
The Filmmakers must create
PHYSICAL Suturing EMOTIONAL Suturing MORAL Suturing
!60
17
3 Patterns of Moral Identification....
60
Narrative Didactic •Shows……….. Tells •Emotional........ Factual •Simulates........ Describes •Involving & ..... Passive & Personal Detached
•Identification... Opinion •Enters In......... Bounces Off •Trains.............. Informs
!61
18Two Communication Types
Do we TELL her or SHOW her?
ENTERTAINMENT PAROCHIAL
Do Entertain. Don’t be Parochial.
61
19
Successful Writers Plan Writing Tools
62
Critical Story Development Steps
!63
19 Successful Writers Plan
1.Hook (Physical Impossibility) 2.Log Line (Physical Plot) 3.Conflict of Values (Psychological Plot) 4.Character Arcs (Premise Statements) 5.Beat Sheets (Major Turning Points)
6.Synopsis (450 words) 7.Treatment / Scene Outline 8.Script / Manuscript
63
Critical Story Development Steps1.Hook (Physical Impossibility) 2.Log Line (Physical Plot) 3.Conflict of Values (Psychological Plot) 4.Character Arcs (Premise Statements) 5.Beat Sheets (Major Turning Points)
!64
6.Synopsis (450 words) 7.Treatment / Scene Outline 8.Script / Manuscript
19 Successful Writers Plan
64
Prologue (First Image)
Life BeforeInciting Incident
“The Call”
Card Plot ALL Main Characters
Rejection of the
Opportunity
Act 1 Clx Accept
Opportunity
Pursue Goal - Neg.
M&PPS
Moment of
Grace
Pursue Goal - Pos.
M&PPSAct 2 Clx All is Lost
Dark Night of the Soul Hand-2-Hand
Final Incident Life or Death
Act 3 Clx Victory or
DefeatLife After
Final Image
1
2
3
!65
19 Successful Writers PlanMORE LATER
65
Cards (83) for Major Scenes (plus transitions, montages, or series of shots denoted on cards)
Act 1Act 2
Act 3
Software: “Keynote” on a Mac
Result: A properly structured first draft
!66
19 Successful Writers Plan
66
Act 1 Climax Act 2 Climax
Moment of Grace
www.moralpremise.com/storyaids.php The Story Diamond Key
This is a graphic way to look at the traditional (major) structural beats of a story and ensure that they are all supportive of the true moral premise, and create an emotional roller coaster effect, (minor) beat-to-beat, as the truth of the moral premise is tested. (It’s true, no it’s not, it’s true, no it’s not, etc.) The diamond was conceived by Chris Vogler and Will Smith, and used by screenwriters Marianne & Cormac Wibberley. Added are Campbell/Vogler’s 12 Stages of the Hero’s Journey, Alison Fisher’s 5 Act Purchase Funnel for Romantic Comedy, Michael Hauge’s 13 Steps, and Blake Snyder’s 15 Beat Sheet, and Jeffrey Schechter’s four archetypes (via Carol Pearson), and the Kübler-Ross 5 Stages of Grief, and Larry Brook’s Pinch Points, all as interpreted by Stan Williams in regard to the unifying concept of the Moral Premise Statement and the Moment of Grace. For plotting your story, use a blank version of this diagram on a 4-ft x 8-ft sheet of masonite. More info at www.moralpremise.com/storyaids.php. Parts Copyright © 2014 Stanley D. Williams. All Rights Reserved.
ACT 1
A
MORAL&PREMISE&&STATEMENT&(MPS):&_________________"�
leads"to"__________________"
but…"__________________�
leads"to"__________________
Act 3 Climax
Inciting Incident
ACT 2A ACT 2
B
ACT 3A
1. Aw
arene
ss - n
eeds
defin
ition
3. Co
nside
ration
——
——
——
narro
w alt
ernati
ves
4. Trial - tries out
2. Familiarity ——
——
-— more additional info
1 Ordinary World (Vogler)
2 Call to Adventure
4 Meeting Mentor
5 Accepts Journey
6 Tests, Allies & Enemies
7 Approach to Inmost Cave
8 The Ordeal
9Reward/Seizing the Sword
Near Death - Faux Ending
12Return with the Elixir
3 Refusal of the Call
REJE
CTS O
PPOR
TUNI
TY
LIFE B
EFOR
E
TRIES NEGATIVE… …
SIDE OF MPS
TRIES
POSIT
IVE…
…SID
E OF M
PS
DARK NIGHT OF SOUL
BACK AGAINST WALL
HAND-TO-HAND
DEATH FIGHT
DENOUEMENT[PROLOGUE]
Final Incident
5. Purchase commitment
Act 1
: Orp
han
Act 2
B:
Warr
ior
Act 3: Martyr
Act 2A: Wanderer
Stag
e 1: D
enial
(Küb
ler-R
oss)
Stag
e 2: A
nger
Stage 3: Bargaining and Losing
Stage 5: Acceptance
Stage 4: Depression
Stag
e 3: B
argain
ing an
d Winn
ing
(Aliso
n Fish
er Pu
rchas
e Pyra
mid)
(Sch
echt
er’s
4 A
rche
type
s)
10Road BackDark Night of the Soul 12
All Is Lost 11
Break into 3 13
Bad Guys Close In 10
Midpoint9
Finale 14
Final Image 15
Victor or Defeat
Fun and Games8
B Story Begins7Break into 26
Debate5
Catalyst4
Set-Up3
Theme Stated2
First Image (Snyder)1
11Resurrection
11Resurrection
ACT 1
B
ACT 3B
Transform characters gradually not suddenly.
Bully
Tease
KillerNuisa
nce
OR
Protagonist Initiates Turning Point Antagonist Initiates Turning Point
CheckConfrontation
5 Crossing Threshold
19Successful Writers Plan
67
!68
19Successful Writers Plan
68
!69
19 SCRIVENER
69
Story Sequence: Lockstep Cause & Effect
!70
20
!Physical Realm !Psychological Realm
CAUSE and EFFECT relationship that never changes
Scene - Sequel - Scene - Sequel - Scene - Sequel
Value - Decision - Action - Consequence
Cause - Effect - Cause - Effect
70
Motivation External & Objective
Reaction Internal & Subjective
Universal POV What POV Character
ExperiencesPure
EmotionAutomatic Reflexive
ActionRational Action or Speech
Scene Sequel
Goal Conflict Disaster Decision & 1st Step
Reference: Dwight Swain, Randy Ingermason, Jack M. Bickham, WastedPoet.com
MRU
… …… …
Emotional Reaction
Motivation External & Objective
Reaction Internal & Subjective
Universal POV What POV Character
ExperiencesPure
EmotionAutomatic Reflexive
Action
Rational Action or Speech
Motivation Reaction Unit
……MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
MRU
Novel Scene-Sequel Structure
Thought Dilemma
Screenplays? No. !!Movies? Yes
20
71
Cause & Effect / Scene & Sequel!The Pillars of the Earth (Ken Follett) Scene-Sequel first 41 pages.
!Scene
GOAL/ACTION: Bob Builder will build Nobleman's house for son & financée. CONFLICT/OBSTACLE: Financée rejects the Nobleman’s son. Work stops. DISASTER: Bob Builder out of work with very little money. His family is in trouble.
Sequel EMOTIONAL REACTION: Distraught. DILEMMA: Doesn't know which way to turn. Must find work DECISION/FIRST STEPS: Goes on road (walking in winter) with family to find work
Scene GOAL/ACTION: While on road thief steals family’s pig. Catch thief CONFLICT/OBSTACLES: Chase and fight thieves and protect daughter DISASTER: Thief gets away. Family is now not only poor but very hungry.
Sequel EMOTIONAL REACTION: Depression. His family depends on him and he's let them down. DILEMMA: His daughter is hurt and his wife is pregnant. Where to go? DECISION.FIRST STEPS: He'll walk family to Salisbury.
Scene GOAL/ACTION: At Salisbury he'll get a job at the Cathedral they're remodeling. CONFLICT/OBSTACLE: Finding the Master Builder is not easy. DISASTER: Master to Bob Builder: “I have no work for you although you seem well-qualified.”
Sequel EMOTIONAL REACTION: Dread. Options running out. DILEMMA: Sees the pig that the thief has just sold to a butcher, but no one will believe him. DECISION. FIRST STEPS: Builder will catch the thief and take his money.
Scene GOAL/ACTION: Search for the thief. CONFLICT/OBSTACLE: Deploys family to find the thief. Lies in wait for him outside the city. DISASTER: Builder kills the thief, but he has no money; thief spent it on whores and food.
20
72
!73
Exercise (10 min)
Cause and Effect Chain !
For your Protagonist Complete this list: !
1. Effect/Action: __________ 2. Causes/Consequence: ___________ 3. Effect/Action: __________ 4. Causes/Consequence: ___________ 5. Effect/Action: __________ 6. Causes/Consequence: ___________
73
LUNCH & AWARDS - 45 MINUTES
!74
Next Up !
PLOTS GOALS
& IRONY
74
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