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Day 2: What I learned
Post the answer to the question, “What I learned rewriting my scene/character…?” and post
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20 Replies
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What I learned is that sometimes silence can imply a question without it being asked.
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Assignment Week 1 – Day 2 Part 2
What I learned from this Assignment is that we, the writer, are like Kyle Reese. We know what will happen to our protagonist, but he/she doesn’t.
The subject of the Lesson was not clear to me at the start – “Living into their future.” What does that mean?
My understanding now, is that we, the writer, we know where our character is going (we’ve prepared the structure) and where they will end up. But the character doesn’t know. So, a character “living into their future” means that we give them words and actions that lead to that already existing (in our structure) future. We have to make sure everything the character says and does, leads to that future, and is done and said in the light of that future.
I have been working on a screenplay for three months and still don’t know if my Protagonist will come out alive or not. That simple fact explains why I might still be working on this script in another 3 months! So, back to my structure!
I’ve got to become like Kyle. At the moment, I’m still Sarah!
END
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Paul, I hear you, I also had to reread the lesson because the phrase captures something in the beginning of lesson, something my brain didn’t catch until I figured I am missing something just because I am not catching the phrase. Will living it into the future connect? (“it” being the transformation and resistance to it, every moment.) I don’t know if I am right, just that’s my understanding of it.
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Hello Sandeep, (Hope I pronounced the ‘d’ softly enough!) Yes, “living into their future” required some thought. I just worked with what I thought it meant and ran with it.
Enjoyed that Bagger Vance scene immensely. The lessons can apply to writing. We can be negative: “I lost my swing.” Or proactive: “You lost your swing – we have to go find it.”
Onwards and upwards!
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ha ha, scared ya! in real life i tell people to feel free to call me anything including hey you, it’s good as long as i know they are talking to me.
seriously Paul, yes, i agree. at the risk of being an apple-polisher, the selection is not just excellent entertainment, also inspiring characters.
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Paul, so well said, and in simple language even I can understand, about this scene (living into the future) is a pattern for creating our characters, who don’t know where they’re going. Usually, though, when I think I know their future, they surprise me by taking paths I couldn’t see in the beginning.
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Yes, Lawrence. And one of the most fascinating exercises I have found in Hal’s classes is when he asks us to “interview” our protagonist, antagonist etc. That seemed so crazy, at first. It is as though those people exist outside of our mind. But Hal is right. They do! And, as you say, “they surprise us” by taking paths we never expected them to take. It makes for a fascinating experience for the writer. Good luck!
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I agree, Larry! When our characters surprise us and take the story in a different direction, this opens up all kinds of interesting possibilities. It makes writing more fun too!
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LESSON 2, WEEK 1 – CHARACTER-ASSIGN
What I learned rewriting my/character is that I still love the Terminator movie, admire the writers and the actors who pull it off… they give it Life! The insights of others was enlightening. Thanks to all who shared
1. Insights and Breakthroughs: Living into Their Future – Terminator
a. Insights: The darkness is scary, as is the water tunnel. It provides a space to be honest and frank. Sarah naturally resists this demented man “from her future” but the discussion about her son resonates with her, as does Kyle’s serious demeanor and language…he’s not messing around with politeness or distance. He needs to deliver his important message and try to break through Sarah’s disbelief. Of course Sarah is astounding and barely able to understand the import of Kyle’s words. On some level, she does trust what he says because of his manner and her inability to distract him from his purpose. She doesn’t know him. I wish you would expand more on the silence, David. Good insight though. I’m going backto listen to that again…thanks. Paul McGregor= what an awesome connection you made from this lesson to your screenplay. I loved your last comment! and as of this moment, I’m going to go back and take another look on how to apply it. I for sure don’t know everything about the scene I’m reconfiguring. Living into Their Future will be fun and exciting to find out what more there might be! Thanks for the jump!
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What I learned from this scene: It helped me understand the subtleties of transformation and setting up the need and motivation for characters to evolve into a formidable “Action” opponent. The underdog rises to the challenge.
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What I learned from this assignment is discernment about how to use each character’s dialogue without wasting a word. Every word is important to create chaos or peace, expound truth or falsehoods, hide or expose, build or collapse – depending on our structure, characters and story. When we write a script, we should know the outcome desired, like Kyle, but not always the how, when and why until we write the layers into characters and the various scene experiences. The script’s future is changeable, and can lead in many directions. If well-written, our audience experiences many emotions and is surprised, pleased, etc. However, like Sarah, the reader/audience is being led without knowing the future, the ending. It’s up to the writer to create belief, trust (Come with me on this adventure…) and provide an experience that satisfies and gives more than expected.
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JR, you said it all about the script’s future being changeable. Sometimes I have to remind myself the outline is not set in stone. I spend too much time trying to make things fit into my outline instead of letting the plot and characters determine the outline. When I outline, I wil have to let myself get more flexible. I appreciate your insights!
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I am still not prepared to rewrite a scene before the end of the week even though I am part convinced it may be procrastination or laziness. Seems wiser though as these lessons are fairly integral.
In any case I did have two big lessons from this one, to help me rethink stiffer scenes. One is the IBV model to plan a characters’ emotional journeys, and the other was the slow reveal of a character’s traits that late into the story that make us like them even more. And keep it interesting.
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What I learned:
Upon further reflection – “What does it mean for a character to live into their future?” – I think it implies that something in that scene – what they are currently engaging in and talking about – is a glimpse of what they will be doing in the future.
This was implicit in “The Devil Wears Prada” scene where we see Miranda expressing and living in her “disappointment” – because later, Andy will be her “greatest disappointment”.
In “Good Will Hunting” – Will is living in his future because he’s “wicked smart” and uses his intelligence as a weapon. Will is always fighting – keeping his guard up and resisting. We know in the end that he will finally give up fighting and allow love into his life.
In “The Terminator” – Sarah is bandaging a wound – she’s living into her future as someone who will contribute to the wellbeing of humanity (binding up their wounds – so to speak). Her ability to do this well is surprising to her (and to us.) But it tells her future.
Reese is injured and receives care. He’s living into his future by being the one who is wounded. He will later die for the cause.
How I applied this to my work:
1) Every scene needs to be settled into some sort of inherent drama. A physical or emotional space that is challenging.
2) My characters need to Live into their future with their ACTIONS. They must be doing something physically that expresses who they are as a character.
3) In my current script: First I figured out what each character’s future was going to be. Though I had a vague idea for most, this exercise forced me to commit to something. I know I can change it later if I need to – but this was just for this assignment. Then, for each character’s introductory scene, I brainstormed how I could manifest their future in a physical way – in a physical space that challenged them in some way – forcing this trait to manifest itself.
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Deb. “forcing a trait to manifest itself”. That says so much about writing characters that resonate. I’m going to hear that phrase in my mind a long time.
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Week 1 Day 2 LIVING INTO THE FUTURE
The Terminator
What I learned from rewriting my scene/character
To revise my opening scene, I need to drop more hints about the future, build it into the character’s actions and motivations. I need to be more explicit in the opening about what the goals and problems ahead of them, and not quite let them know what they’re headed for. Keep the audience guessing and wanting to see where the characters will go and what they will do to overcome the obstacles in their way.
WATCH 1ST TIME
Sarah is living into a future where her son already exists, and where’s to become a legend, as Kyle put it. She doesn’t know anything about the future, says that she doesn’t want to organize or be a leader. She seems to know she has a son, but nothing about him. She wants to know, but not about his death.
Kyle knows the future of hiding and fighting.
Sarah’s transformation is implied that she will be a leader, a legend, and everything she says she can’t do now and doesn’t want to do.
WATCH 2ND TIME
Drama is built around them being chased and having to ditch their car and hide, so they can be alone and set up her future and her response to that future.
Traits Kyle is without emotion (is he a robot?), yet he bleeds when shot. And it hurts him. He shows courage, having volunteered for this mission to bring her to the future. He’s humble. He doesn’t let his wound hold him back. He’s courageous.
Sarah knows her limitations. She’s got fire, though, fighting her destiny. She pushes through even when she thinks she can’t handle it (dressing Kyle’s wound). She’s emotionally tied to her future through her son. She’s curious about his life, but doesn’t want to hear about his death.
I don’t see much depth in either of these characters, other than the warrior roles they seem to be headed for in the future.
FROM INSIGHTS OF OTHERS
The setting in the safety and darkness of the cave offers a perfect place for Kyle to spell out exposition in dialogue of her asking then dodging the info about her son.
These characters are in a fluid situation where the future isn’t set. I learned from others on the forum that this is a pattern for our own writing, that we know where our characters are headed, but they don’t, and their future changes as we determine when and how they meet their future.
MY SCENE
My protagonist is going to say directly what she intends to do, but she doesn’t know how difficult that’s going to be for her.
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From a character development through conflict POV the conflict between the Terminator, Kyle Reese, and Sarah Connor provides opportunities for character development. Showcasing the characters’ reactions, choices, and growth in the face of adversity can deepen their complexity and make them more relatable to readers.
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What I learned is that as the writer I should have a future mapped out for my character(s) and a scene that reveals that future using character traits and an emotional or thrilling situation
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Great insight, Rita. I like the idea of a future “map” of the character’s changes and character arc. I find the visual aids to be really helpful!
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What I learned rewriting my scene/character…the set-up is so important! Using action and subtext to set up the character’s journey and how they will change is everything! Sarah has never even done a field dressing, yet she does it perfectly, for the first time. This shows she will become a warrior who is expert at handling all kinds of medical emergencies.
The insights I gained are how important the setup is when we’re laying the plot for the how the character will change to meet their destiny. The more subtext through action the better, for example, when Sarah does a field dressing for Kyle’s wounded arm…she does it quickly and proficiently…for the first time! Wow!
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