Day 2 – What I learned …

[Mi Lock]

There’s so much you can tell about a character without having to say it!

+ the opposition with one knowing and one having doubts brings an interesting conflict in a scene. The one having doubts might go through a rollercoaster of emotions.

Insights: I absolutely need to know where my character’s destination is so I can start with the opposite traits/ situation => makes the journey more impactful. I chose to work on a scene that is key to my main character’s transformational journey: she’s been a struggling actress full of doubts, who’s now facing a director who sees through her and already knows she’ll be a movie star.

• This reply was modified 2 years, 5 months ago by  Mi Lock.
• This reply was modified 2 years, 5 months ago by  Mi Lock.

[Lynn Vincentnathan]

WHAT I LEARNED FROM REWRITING MY SCENE/CHARACTER

I was worried that my heroine Ellie was too weak and ineffective in the first few scenes. That’s okay. She’s like Sarah, with good, relatable traits like compassion and a willingness, a bit reluctant though it may be (due to her wrong self-assessment, like Sarah’s), to get into things new and frightening to her. I actually didn’t have to rewrite these scenes much, but if I had not had this breakthrough insight, I might have rewritten it based on that worry and made her too competent. I did make a few changes to make her a bit more compassionate and concerned about the future.

In a way Jim, the male protag, is sort of like Kyle in that he falls in love with Ellie right away. She doesn’t see it, and even the audience dithers between knowing that and wondering if he’s just trying to trick her into bed, but later he confesses he loved her right from the beginning. His future is aligned with Ellie’s, to save the earth, but his future right from the beginning is Ellie, to marry her, though he doesn’t totally understand that.

[Robert Kerr]

Bob Kerr

What I learned from rethinking my scene and character:

As I looked at a key interaction in my script, I see strategic ways to infuse the dialogue with more conflict and controversy. The way I have written it it is very surface. The breakthrough I experienced is the scene can be charged with emotion and signal the transformational journey my lead character (Fran) must make to go from a desperate woman being divorced by her husband to a take charge leader of the first rowing crew in the history of the university.

[Wilton Blake]

My main character has a clear future as the leader of a rebellion that he doesn’t yet believe he could ever be a part of. Now I know how important that future is. I feel validated.