Day 3 Assignment

[Anita Gomez]

PS 81 Anita Gomez Dramatic Plots 2

What I learned doing this assignment: This exercise had me looking more deeply at the characters that orbit my main character, and gave me some interesting ideas for plot twists.

ORIGINAL CONCEPT:

A woman who can’t access an abortion abandons her baby at birth only to learn years later the child is her only hope for a life-saving transplant — leading her to search for the daughter she never wanted.

Plot #12 “TRANSFORMATION”

A woman who abandoned her baby at birth seeks her out as a grown woman, initially as a transplant donor, but discovering along the way that she actually wants a relationship with her daughter, who herself has grown into a cold loner with abandonment issues.

Plot #19 “ASCENSION”

A woman who once considered aborting her baby now seeks that adopted daughter for medical reasons — realizing she now loves her grown daughter for who she has become.

I believe the “Transformation” plot line gives me the best chance of writing all the deep and nuanced feelings that can emerge from some pretty heartbreaking circumstances. Looking at it this way has also inspired some plot twists that involve the biological father and his complicated role in how these tough decisions came down; as well as the emotional fall-out of the daughter, now grown.

[Lisa Paris Long]

PS81 Lisa Long’s Dramatic Plot – Part Two

What I learned from this assignment is…that I can make the story go in many directions and I must pick one even though other plots may work.

Original Concept: When her ex-husband kidnaps Santa to pay a debt, a Seneca Falls, NY super mom must save him, Santa, and the annual It’s a Wonderful Life festival.

14. Love

The key to a great love story is the obstacle. The characters want the
love, but can’t have it for some reason…at least, not right away. The
lovers are ill-suited in some way — different social classes, aren’t
physically equal, or some other reason they “shouldn’t be
together.” Success doesn’t come easily. Love must be proven by
dedication and stick-to-it-iveness. Your characters should be appealing
and convincing.
Usually, one lover is more aggressive at seeking the love than the
other. The aggressive partner is the seeker, who completes the majority of
the action, while the passive partner (who may want it just as much) waits
for the other to overcome the obstacles.
Take your characters through the full ordeal of love. They must be tested
and prove they deserve the love they seek. Love is earned, not a gift.

Protagonist Mary is having doubts about both of her relationships because of the obstacles. She divorced because of the difficulty with her ex-husband’s past and present unsuccessfulness. And her other suitor is her boss. She wants love but is most protective of her daughter’s feelings and thinks it’s not the right time. As events unfold, both men reveal how they will earn Mary’s love…and she finds love again.

17. Discovery

This plot is more about the character making the discovery than it is about
the discovery itself. This story is often about having to reconcile past
versus the new present for the character. “You were, you are, you will be”
is how the story is delivered. The characters are searching to understand
something fundamental about themselves.
Usually, the character is already on the cusp of change. We get a glimpse
of the main character’s “former life,” but quickly move into the present
and future. A catalyst forces a significant change and the character moves
into the crisis. Revelations are made along the way in proportion to the
events of the story. The character is being forced to look at their life
for real and take stock of who he or she really is. In the end, they
emerge much wiser, although often, they do so only just before dying.

Many events throughout the story force change for the Mary the Protagonist. She must look at her life and make decisions. She discovers what she wants and how she wants to live her life going forward by the end of the story.

4. Then, looking at the four plots (two from yesterday and two from today)
tell us which plot you would like to use throughout the Outlining module.

I will use from yesterday, Rescue.

Thank you,

Lisa Long

[Antonio]

Subject: Antonio’s 10 Dramatic Plots – Part 2

What I learned:

That I may have overseen the relevance of plot in the past. One may go to the movies and even without knowing who the actors are, it is plot that makes your head spin around. In the past 24 hours, I have read so many approaches on plot (Vogler, Campbell, Truby, Snyder, Tobias, Aristotle…) What a trip! Now my head is spinning and I am glad that we are using Tobias’ approach.

1. Looking through the 10 plots above, select two that could possibly work for your story.

— Transformation

— Discovery

2. Tell us your original concept.

A cheerleader-made-MMA-contender fights to find her runaway fiancé, an MMA prizefighter who, unbeknownst to her, hides a weapon of mass destruction, was poisoned, and must battle for the antidote in an underground octagon.

3. Tell the name of the plot selection and write a logline for each one.

• Transformation: A cheerleader-made-MMA-contender fights to find her runaway fiancé, an MMA prizefighter who unbeknownst to her, hides a weapon of mass destruction, was poisoned, and now she must win the antidote in an underground octagon.
• Discovery: When an MMA fighter breaks up with his fiancé, a cheerleader, she pursues him, unknowingly leading criminals to capture and poison him – now she must fight for the antidote in an underground octagon.

4. Then, looking at the four plots (two from yesterday and two from today) tell us which plot you would like to use throughout the Outlining module.

Discovery. Yet, I will integrate some elements from “Riddle” and “Escape”

• This reply was modified 3 years, 3 months ago by  Antonio Flores.
• This reply was modified 3 years, 3 months ago by  Antonio Flores.

[Laura Woodworth]

Laura Woodworth’s Dramatic Plots 2

What I learned doing this lesson: I feel like this is forcing me to think of the strongest way to portray the story. It’s also helping me to start thinking through my main character and chosen character structure.

1. Two possible plots: Maturation, Ascension

2. My original concept: When a Russian student discovers her grandmother’s contraband bible, it sparks a spiritual awakening across a Moscow university, but endangers her babushka’s life and she must evade the KGB to smuggle her out of Russia.

(still needs refining)

3. Maturation plot: Naïve to the true oppressive nature of the Russian government, a Russian college student shuns her babushka as the old, outdated generation, but when she discovers her grandmother’s hidden illegal bible, it sparks a spiritual awaking at a Moscow university. The contraband book puts her grandmother in dangerous peril as the KGB seek her out as the source, and Natalia must come to terms with the grim realities of communism as she tries to evade the KGB to smuggle her grandmother out of Russia to safety.

Ascension plot: Groomed by the communist government as one of their youth leaders, when a Russian college student discovers her grandmother’s contraband bible, it sparks a spiritual awakening in her life, challenging her beliefs as she comes to terms with the realities of communist Russia. When her grandmother becomes hunted by the KGB as the source of the illegal bible, Natalia must fully abandon her loyalty to Russia as she attempts to smuggle herself and her grandmother out of Russia to embrace the concept of a free society.

4. Best choice of plot: I think I’m going to go with the maturation plot as the one that will allow for the best conflict/drama:

Maturation plot: Naïve to the true oppressive nature of the Russian government, a Russian college student shuns her babushka as the old, outdated generation, but when she discovers her grandmother’s hidden illegal bible, it sparks a spiritual awaking at a Moscow university. The contraband book puts her grandmother in dangerous peril as the KGB seek her out as the source, and Natalia must come to terms with the grim realities of communism as she tries to evade the KGB to smuggle her grandmother out of Russia to safety.

• This reply was modified 3 years, 3 months ago by  Laura Woodworth.

[Michael Katz]

Michael Katz Dramatic Plots 1 – Part Two

What I learned doing this is…? Each of the 4 plots I chose focus on different angles of the story, with Revenge and Underdog feeling more action and thriller oriented, and Wretched Excess and Ascension/Descension feeling more psychological. It seems harmonious and fortuitous as I envisioned early on to write this movie as a Psychological Thriller. So even if I pick only one plot to use as my guidelines and guide rails, I think I can borrow the brainstorming from the other plots I used and add some depth to my lead characters. When I was pitching people my 10 concepts, a repeated concern I heard for Megalomaniac was worrying that the main character wouldn’t be “likable” so why would be anyone root for him to succeed. They hoped he would be sympathetic/empathetic enough to garner their support. Audiences love an Underdog, so I am leaning towards making that plot my choice.

ASSIGNMENT – Select two plots that could work for your story and write a logline/paragraph synopsis for each one.

Concept: Think James Bond supervillain…the entire movie from the supervillain’s POV, and it’s his complete story, from origin story to tragedy, so in addition to initial victimhood and need for revenge, we’re witnessing his growth to tycoon and evolution into supervillain, his creation of the masterplan, cat and mouse with a government spy, and the very very real threat of planetary annihilation unless they let him rule the world…oh and the spy fails to stop him this time.

18. Wretched Excess – the psychological decline of a character, based around a character flaw, that evokes sympathy. Every action of the plot relates to character, exposing more and more of who this person is and why this decline is happening.

Traeger has the psychopathological condition megalomania, characterized by his delusions of grandeur, and expressed by his obsession with growing his own power. Playing with his archaeologist father’s magnifying glass as a kid, he plays god smiting ants by concentrating the sunlight with his magnifying lens onto the ants to start a fire (solar ignition) and pretends to be god or superman with x-ray vision (but perhaps he wasn’t really pretending). As a young man, when his research experiment was sabotaged by the government, it triggers the start of successive deterioration of his attachment from reality, with him becoming more and more obsessed with growing his own power and more paranoid that his obstacles are part of a sinister plot to keep him down (which is true). Marking his complete transformation into a supervillain, he is completely enthralled with his own self-importance, conceit, egotism. And when he is playing cat and mouse with the government spy who is interfering with the implementation of his masterplan, the spy calls him out for his delusional fantasies of wealth and power, except Traeger has snarky replies for everything. And when events reach a crisis point – he believes he is as powerful as all the countries in the world combined, and that he has leverage and righteousness on his side. In the end, with nuclear missiles heading in his direction trying to blow him and his space station into smithereens, the gall of the governments so blatantly trying to assassinate him, he gives in completely to his megalomania flaw (how dare they!) – he plays god almighty, with complete omnipotence, he turns his system of space solar magnifiers into a solar ignition laser with the power of god. Adjusting the series of football field size magnifying lenses to concentrate the sunlight into a narrow beam onto the planet, with solar ignition he slices off a polar cap, then scorched earth writes “MINE” on earth as it rotates, then slices the earth in half along the equator, completely annihilating earth. “I’m not fucking crazy, I was right, I am god.” (tragedy)

19. Ascension and 20. Descension – the rise/fall of the protagonist, both if you’re an anti-hero???

This plot revolves around young scientist Traeger, a progressive but rash upstart megalomaniac. He is the Sun, always the center of his own universe. As he becomes a supervillain, he is truly compelling, strong, strong-willed, charismatic, and unique. He believes in himself, he believes his intentions pure, his mission paramount, will stop at nothing, and thus his means justified. At the heart of the story is a moral dilemma of whether he should use his power to save a world not worth saving. While he desires to stop global warming, it frustrates him that the world is controlled by special interests and greedy politicians who betray the welfare of people for their own greed and power. That is why he must take over and rule the world. He needs to ascend to rule like an almighty god. There are rises and falls along the way that test his character, but he has the fortitude and wherewithal to keep overcoming all the various obstacles thrown his way, and his growing power is the foundational support that allows for the transformative change of his character. Of course, when his lair is being bombed and his minions in chaos, he walks around as if he is invisible to harm, impervious to bullets, and inevitable to win. He even forgives Imelyna’s disloyalty because he believes himself a fully evolved human, with the capacity for unlimited love. He loves all of mankind. He will save the world. Of course, fully transformed into a god (in his mind) he will smite all of mankind and destroy earth.

[Kate Hawkes]

Kate Hawkes Dramatic Plots 2 and Final Selection

What I learned doing this is that who is at the center of the story – their journey – seems to define the genre and can shift the writing away from the original idea pretty easily! And each iteration of dift plot structures adds more depth to the initial concept. I want to incorporate elements/details from all of the 4 into the one I have selected.

Original concept.

A small rural community in desperate need of funds for their school, local hospital & food bank fail in their appeal to the arrogant billionaire in their midst, and with the help of an out-of-town theatre group setup the great ‘sting – company’ resulting in a play performed by the group that unveils the truth after it is too late for the Billionaire to get out of his ‘investment’.

13. Maturation

Nia, whose father abandoned her at age 10 after her Mother died, has been protected by her family from the truth of her Father’s selfish life, and so while pursuing a career as an actress has not sought him out believing him to be busy in the world doing good things. Arriving on tour in a small town she discovers who he really is and joins forces with the local community who have their own agenda against him, eventually confronting him which means walking away from the father she has just found who is not at all who she dreamed he was and not capable of being that – even for her.

17. Discovery

Darrough, whose early life had been defined by pursuit of material possessions, married for love and had a daughter( Nia) but when his wife dies 10 years later, he abandons his daughter and returns with a vengeance to his greedy selfish ways. Nia finds him 15 years later, in a state of permeant battle with a local community whom he has all but bought out, and she joins with the town Mayor who had been her Mother’s best friend in college, to devise a ‘sting’ to expose him to the community and himself. He has to deal with his griefs and fears, family history and ultimately his daughter, admitting to his deep need for love even as his time is running out.

The plot to use throughout the Outlining module. (with details from the others to add in)

• Underdog

Darrogh owns most of the land around a small struggling town and also owns a hugely successful business empire but refuses to engage with nor support the mainly ill-educated and impoverished community.

Luciana, an older Latina woman whose family lost the family ranch to Darrogh and is also Mayor of this dying town, determines to get the money they all need from him by setting up a ‘sting’ company in spite of the odds.

Nia, Darrogh’s daughter whom he abandoned after her Mother died when she was 10, is now a theatre professional and arrives in town on a touring gig. On discovering her long lost Father lives here, and meeting Luciana who she finds out was her Mother’s best friend at college, she hatches a plan. The two women have similar goals and pool their resources.

With no capital but with the enthusiastic support of the theatrically inexperienced but desperate community, Nia devises a performance to which Darrogh is invited as a guest of honor. The play reveals the sting, Nia announces herself, and ultimately, he is exposed and humbled, having lost all his fortune with the only option to throw himself on the mercy of his daughter – and /or the community – for his future wellbeing.

• This reply was modified 3 years, 3 months ago by  Kate Hawkes.
• This reply was modified 3 years, 3 months ago by  Kate Hawkes.

[Dev Ross]

What I learned from doing this lesson is how each story plot gives me a perspective that I hadn’t even begun to ponder. The angles from which I can tell my story are a new freedom. I also began to see my main characters from many different perspectives.

CONCEPT: Outshined by the latest hate groups, a fading KKK Grand Dragon plots the murder of a black leader, but when he wakes the next morning, he is that black leader who is suddenly struck with a plan to murder the Grand Dragon.

I plan to use the plot of RIDDLE.

[Matthew Iott]

What I learned from this assignment is that defining plot can be difficult at first but once I started to focus on the character’s emotional need then it was easier to ascribe a plotline to satisfy those needs.

Original concept.

A single mother and chef works to escape out from the shadow of her famous chef father, finding love and a reignition of her passion for food along the way.

1. Tell the name of the plot selection and write a logline for each one

Transformation

Katie’s transformation begins the moment her father fires her from the restaurant. It is at this point that she must come to terms with who she really is and what she really wants. Her confidence in herself and her ability to balance a career/dream and being a mother are struck low. She feels alone and abandoned by the one person she thought she could always count on. A chance encounter with someone from her father’s past becomes the spark that leads to her redemption and ultimate success and happiness.

Love

Although there is an instant attraction between them, Katie and Eamon take awhile to succumb to a relationship as there are so many obstacles in their way; the age difference, she is a single mother with serious issues with the child’s father, the restaurant business itself is taxing and stressful, the domineering nature of her father and most of all, Eamon’s opportunity to open his own restaurant in Ireland. In the end, these two are forced to choose between carrying on together as a couple come what may or split forever.

Plot for Outlining Module

Transformation. (But feels like a combo with Love)

[anna harper]

PS81 Anna Harper Dramatic Plots 2

What I learned doing this is that the subtle change of the lens concept can cause a powerful shift in the nature and focus of a story, and that there really are workable alternatives.

I do not know which plot to use yet. I may have to combine elements of the Original concept, Hero, Underdog, and Metaphorphasis to get the best logline so will continue to work on the final choice until tomorrow. Thanks, Anna

Original Concept

Silent Night

It’s Christmas in a picture-perfect English village where Alfie, a big dirty, hungry Newfoundland stray with telepathic superpowers befriends Dylan a 13-year-old boy, unable to speak since the death of his mother, Alfie rescues Dylan, from bullying, and teacher abuse, helping Dylan to speak saving Dylan from being sent away to a special school, by his Dad’s girlfriend (a Cruella Deville type) exposing the girlfriend’s evil behavior, Alfie and Dylan introduce his Dad to a new love interest just in time for Christmas.

Plot Selection 11 Metamorphosis

It’s Christmas in an English village; a stray Newfoundland dog, Alfie, with telepathic superpowers, befriends (a lonely, bullied mute 13-year-old Dylan), traumatized by his mother’s death, the loving relationship between the dog and Dylan, help the boy to speak again saving him from being sent away to a special school engineered by his Dad’s covertly evil girlfriend; instead, Alfie and Dylan introduce Dad, Steve to a new love interest just in time for Christmas.

Maturation 13

The death of Dylan’s mother has left him traumatized and mute, vulnerable to bullying by schoolmates and covert abuse of his Dad’s girlfriend, Dylan’s school teacher who wants to send Dylan away to a ‘special ‘school when Alfie, a stray Newfoundland dog with telepathic superpowers enters Dylan’s life, and rescues Dylan from a series of unpleasant events, Alfie helps Dylan to understand how his choice to be mute must change in order that Dylan has a happier life and to accept the death of his mother,

[Matthew Frendo]

Matthew Frendo’s Dramatic Plots 2

What I learned doing this assignment was the other 10 plot structures. I learned there are many ways to tell a story but these are methods that work.

CONCEPT: What if the judicial system was switched to social media voting, with those found guilty having to go through livestreamed battles and deadly challenges as people at home vote on their punishment?

The two from this day:

Sacrifice – Alicia could take the place of her wretched father, who is put into the event. Then she goes through the event, changing into the strong, determined person she always was deep down.

Ascension – Alicia is put into the event and forced to survive. She becomes a hero to people as she exhibits heroic qualities and even makes some of her wretched co-players better people in the process. She starts as a quiet, unassuming unknown and becomes a determined, heroic leader.

The one I think I will pick is The Riddle: Alicia
ends up in the game, even though she is an unknown who did nothing wrong. Now,
she has to figure out who put here there…and why…if she plans on making it out
alive.

[Cameron Martin]

Cameron Martin’s Dramatic Plots 2

What I learned doing this assignment is…how easy it is to see your ideas from a different perspective by changing the plot, as well as how hard it can be if you’re too limiting with the constraints of the conventions. There were a couple times with this assignment where I was making it more difficult than it had to be, either by trying to stay too close to the original idea (“No, that doesn’t fit because it strays too far from the seed ideas) or trying too hard to fit my idea into a category that didn’t really match (“No, that idea doesn’t match up with the requirements of this plot structure). I had to just walk away for a bit and come back to it with a fresh perspective, or just pick a different plot format. Sometimes, what I thought would work…really didn’t. And that’s okay! The goal was just to strengthen that creative muscle, and I feel like I did that.

P.S. I’ve included two different concepts in this post. I plan to work with a couple others in the future as time allows.

OPEN WIDE

Plots: Transformation and Discovery

Original Concept:

When a community fails to seek shelter in time, they must band together to ward of an infestation of alien parasites and escape from their government sending exterminators to wipe out any survivors

Transformation:

When a community fails to seek shelter in time, the only way to safety requires them to become monsters to ward off exterminators sent to wipe out survivors.

Discovery:

An old lady discovers in the effort to save herself and her community from an onslaught of alien parasites and government liquidators, that her life and experiences were measures to keep her and the population controlled.

Choice going forward:

While the “Transformation” concept was really cool, it feels more like something that I’d pitch for a video game, not a movie with empathetic characters. With that said, I’ve got to go with “Escape” because it limits the locations (price tag) and keeps the characters interesting and sympathetic.

POSSESSING EDEN

Plots: Forbidden Love and Maturation

Original Concept:

An android in search of redemption for a murder she committed is tested by a copy of herself that represents her own guilt, and she must either kill that side of herself or become one with it.

Forbidden Love:

A programmer tries to resurrect his wife by using his own data, but the version of his wife that he gets reflects more of his own guilt than intended.

Maturation:

An AI splits every time there’s a conflict, eventually resulting in a war between the different variants until the original starts to merge with its varying selves to become a more complete person.

Choice going forward:

“Quest” for the same reasons as above (limited locations means a lower price tag), and I’m too attached to that story anyway. Maybe that’s a mistake, but I’ll roll with it for now.

[Cameron Martin]

Follow up…Finish the thought/idea. No matter how bad it appears at first, finish it. You’d be surprised what your creativity comes up with when you aren’t suppressing it. Editing and polishing the story to a more complete vision can always happen later. In addition, this assignment was useful for looking at my original concepts from different perspectives to find something that was either a better idea, or it felt more natural to my writing style.

GRAND THEFT ROAD TRIP

Plots: Maturation and Discovery

Original Concept:

A driving instructor finds out her son commits grand theft auto on a regular basis during a defensive driving course where her son is behind the wheel and the cops are on their tail.

Maturation:

A call center clerk whose dreamt of racing since he was a child snaps and takes his family across the country to Daytona speedway in order to test his driving skills in the family van against the best of the best Nascar racers, but learns that pursuing your dreams come at a price and that a balance must be struck between supporting others and yourself.

Discovery:

When a conservative parent discovers their teenager, who’s about to go to college to pursue an accounting degree, is wanted for grand theft auto, they’re forced to examine how and where they pushed their child into a life a crime, uncovering their own wounds from childhood that lead them to control every aspect of their life, including their child’s life.

Choice going forward:

While I like “Rivalry,” what I came up with was honestly too dark to be marketable as a new writer. The “Adventure” plot, while a little more cliche, is the safer path, and I’m confident in my ability whittle out the cliches for a more original narrative.

OLD TESTAMENT BAND

Plots: Descension and Sacrifice

Original Concept:

A Christian Rock band snaps and goes full “Old Testament” on the criminal underworld when their founding member is killed by a loan shark.

Descension:

When a band leader see’s the person whom he believes to be his best friend’s murderer take ownership of the band, he tussles with his beliefs of revenge versus forgiveness, eventually choosing to take vengeance against the new band manager and anyone who gets in his way.

Sacrifice:

When a band is unable to pay off the debt they owe to a loan shark, they are captured and forced to decide amongst themselves who will pay the price. But when all of the band members are willing to sacrifice themselves, the loan shark devises a game to test the limits of their belief in sacrificing themselves for someone else.

Choice going forward:

“Descension.” It’s basically Hamlet, and it focuses the story on the actions of one character, which is more my speed anyway.

[Alice Eden]

Alice’s Dramatic Plots 2

What I learned doing this is it really could be told by different ways. I didn’t wanna do this. I thought, I pinned it down. But some of plots fit as if for the story. I’m not sure if I run first plot formats via this plot formats. So that story fits all this formats at the same time. I’m not sure which one to choose, though this ones are better written, more dence. I need more information to decide this. Or maybe I must try both ways for Outline, to see which fits better.

Title: MIROPOLIS SEPARATION

Part 1

In time of Separation, an artificial death protecting Advanced West society of Planet MIROPOLIS, workers of Research Institute get massacred, to create “new weapon”, interests clash, judge sentences wrongdoer at scandalous process, Separates, his subtle image reflected on video, his advice to filter people and expel outcastes is taken into practice…

12. Transformation

This plot deals with the process of change as the protagonist journeys

through one of the many stages of life. It concentrates on the nature of

change and how it affects the protagonist from start to finish on one

specific change.

Usually, it follows this pattern: Transforming incident that propels the

protagonist into a crisis, starting the change. Then, we watch the

protagonist experiencing the effects of transformation, concentrating on

their self-examination. As these effects and self-examination build, there

is a clarifying incident which represents the final stage of the

transformation. Now, the character understands the true nature of the

experience and has experienced a significant change in their life.

Advanced Western Society of Planet Miropolis brings into practice Separation, an artificial death, protecting its bearers from inhuman end. Science is advanced, and there is a huge building of Research Academy, housing indefinite number of labs, occupying with all kinds of subject. Across a length of water there is resort area. Young Scientist comes back with his girlfriend, his lab assistant from weekend, turns to his assignment, as she messages him back, and then cannot find her. A couple of people also, as if resigned. As police refuses to see it suspicious, he tries to warn people of that, as number of those who disappear increases. He continues to search labs, as Director of RI is lost, as well as his friend from nearby lab. He gets contacted by governmental people, who say how they also lost a number of their workers on Institute ground. Labs get desolate, when he meets his doom, also be a part of biological genetically modified, so it lives, monster, constructed from parts of human bodies, done in the lab of Anaupsh. Mystery gets uncovered as she represents her work at symposium. Creation gets destroyed, and she is to face the court, with her brother for judge, to justify her, as she is covered by some from governmental circles. He however on the contrary, asks questions in direction of human victims, refusing to justify her, and even proposes beasts like Anaupsh to be recognized as unacceptable for their society, must to be expelled, to keep from doing much evil. As he SEPARATES, video streaming process to all screens, detects how he walks an aisle in subtle body. This shifts consciousness of society, preparing ground for a huge change of filtering population, and create zones for outcastes.

Part 2

…after reservations for outcastes are created, trained WARDS are to bring qualified back to society,

Born in reservation, AKATA witnesses her Ward’s death, runaways, gets escorted by high rang military, becomes his lover, as anyone around undergo danger of being marked as “outcastes”.

13. Maturation

This plot is about growing from a naive life to a more experienced

life. Often, it is about the process of going from child to adult.

Usually, you start by establishing their naive state. Create an incident

that challenges her beliefs. The character often rejects the

change. But as more evidence / experiences pile up, she is forced to go

through the change in a gradual way. She doesn’t accomplish adulthood all

at once, but each small lesson brings upheaval and then more

understanding. In the end, she makes the change, but pays a price for it.

Akata is born inside of reservation. She is found there by Ward, who recognizes her being good element to bring outside. She also falls in love with him for his personality. But she is too naïve. He keeps her in his apartment, locked from inside, for a couple of days, as long as he can. When they unlock, one of residents kills him. His apartment get robbed, and Akata raped. She recovers, picks up the only object left, as she is guided in a spirit by lost lover. And destroys her opponent, coming after her, with acid in this barrel. As she deposits report, written on her, there is girl newcomer coming down from the roof. She fights her, robs her of the gun, and after deceiving helicopters pilot, is picked up by high rank military, who recognizes her as their caste also. They quickly come together because of her naiveté, and end at a hotel where their relationships are recognized. They get reported, and get via number of risk situations, when Akata continues to manage, no matter her ignorance of life outside of habitation, its rules and implications. Society keeps undergoing process of filtration, where some are afraid of getting into zones, some get dispatched down there, and others enjoy dealing with all this, and military get vague about their leadership’s indications. Wards get sentenced if they use weapon inside of habitation, as that would be on untrained residents. They pay their life to bring qualified back from zones with no rules to outside. Akata marries her lover, but as their marriage comes into terms, he SEPARATES.

[June f]

PS 81 Day 3 Dramatic Plots Part 2

What I learned is: there’s no perfect template, but it’s fun to follow each of the ideas and figure out which aspects of each to incorporate.

1. Select 2 of second five: Transformation and Discovery Two selected from first five: Adventure and Rivalry

Original concept

Charming Roy hates to work, but after his latest girlfriend (aka free ride) dumps him, the clever man will go to any length to find a more permanent person to take care of him- until he meets and eccentric woman who speaks very loudly! to herself! and who plays the same game. Together they crash in the craziest places and he falls in love with the tenderness inside of her that allows him to heal. In the end, they luck into a perfect, permanent pad together.

The second group- 2 of the five

Discovery

Roy is tired, but when you’re running from yourself, you can’t slow down. he knows that he has to change, until he meets KIm, a woman who’s as much of a moocher as he is and also crashes free places to live. Both of them are wounded spirits. For once, there’s someone who he can relate to- and someone who understands him. Together they have a blast of adventures- together they’re much smarter, and eventually, as the past reveals itself for both of them- they learn to trust- they learn to heal and that’s when they luck into the most incredibly perfect pad.

Transformation

Roy has never been thanked, only kicked in the ass and shoved aside and so he’ll do as little as possible for anyone because they don’t notice or acknowledge his gifts anyway- until he meets Kim- who’s as much of a moocher as he is. This woman who’s been shafted so many times, too, appreciates the things that he does and who he is. She KNOWS him. Little by little, it becomes fun and Roy wants to look out fo rKim as well as for himself. Because, suddenly Kim is part of him, and so, after all, he’s just protecting himself, right?

Comparing all four plots- pick one

Adventure with bits of Rivalry, Transformation and Discovery

When crazy ass, super moocher Roy gets dumped again (aka his latest free ride), he’s got to figure out a more permanent solution and maybe even straighten out his life- until he meets KIm, a woman who plays exactly the same game. Together, they crash in the craziest places- often clash and separate only to seek each other out- and being crazy together- they’ve never had so much fun. Can’t stand each other, can’t be apart they both come to a crisis and decide to find a way together when Kim lands the perfect, permanent home for them.

[Arthur Anderson]

Arthur’s Dramatic Plots 2

What I learned doing this assignment: Using the 20 film plots allows you to look at your story and characters from different perspectives, allowing you to choose the plot you think will work best for your film.

Original Concept:

When a coronal mass ejection (CMJ) from the sun destroys all electronic technology on earth, casting civilization back to the 1800s, six astronauts and one reporter on the international research spacecraft Reliant must adapt the experimental Tesla technology that saved their station to shield humanity from a larger earth-destroying CMJ just days away.

12. Transformation

When a coronal mass ejection from the sun destroys most of the earth’s electronics, casting civilization back to the 1800s, the international research spacecraft Reliant is earth’s only hope against the next larger CMJ approaching in 48 hours. The crew must make an all-in or all-out decision: use the shuttle to save themselves and head back to earth or risk their lives by adapting and super-size the electromagnetic Tesla shield that saved their craft to protect the earth from the next earth-destroying solar storm. An upgrade that will force them to undertake a journey to the unmanned moon base to get the supplies they need. With their decision made, the crew uses the untested near-light-speed engine to travel to the moon base to acquire an anti-matter generator. A CMJ, that misses earth, hits the moon just as their shuttle lifts off from the base to dock with the Reliant. The Reliant’s shield protects both crafts but not without damage and the loss of one astronaut. Arriving back in earth orbit just moments before the next CMJ strikes, the crew activates the Tesla Shield averting disaster for humanity.

16. Sacrifice

When a coronal mass ejection from the sun destroys most of the earth’s electronics, casting civilization back to the 1800s, the international research spacecraft Reliant is earth’s only hope against the next larger CMJ approaching in 48 hours. The crew must make an all-in or all-out decision: use the shuttle to save themselves and head back to earth or risk their lives by adapting and super-size the electromagnetic Tesla shield that saved their craft to protect the earth from the next earth-destroying solar storm. An upgrade that will force them to undertake a journey to the unmanned moon base to get the supplies they need. Four years prior, Captain Reilly Ryan was the only survivor of a failed launch and is reticent to endanger another crew. The crew makes their decision; they use the untested near-light-speed engine to travel to the moon base to acquire an anti-matter generator. A CMJ, that misses earth, hits the moon just as their shuttle lifts off from the base to dock with the Reliant. The Reliant’s shield protects both craft but not without damage and the loss of one astronaut. Arriving back in earth orbit just moments before the next CMJ strikes, one astronaut is going to have to use the shuttle to extend the shield in front of the Reliant to cover it and the earth. With the CMJ approaching this is a suicide mission. Captain Reilly Ryan takes on the task, sacrificing herself for her crew and humanity.

I’ll be using the “Underdog” plot for my screenplay.

[Nancy Kates]

Nancy Kates Plots #2

What I learned from this assignment: the second set of plots doesn’t exactly map onto my concept, at least not without tweaking or combining them. I didn’t realize we were supposed to write them as loglines, either.

Metamorphosis: The body-switching that Marilyn and Zoe go through is slightly different than a curse, but operates the same way. Instead of a love interest that serves as an antagonist to the main character, the two protagonists serve as antagonists to each other, teaching the other person about what they lack and need, as a prerequisite for working together to solve their mutual problem, ie finding the key that will return them to their own lives.

Transformation: This feels like the closest to my concept: each of the two protagonists must learn and grow in order to overcome the emergency she finds herself in,hopefully becoming a better and more self-aware person in the process, as well as a better friend. The friendship will be deeply challenged by the events of the story, but remain intact by the end, albeit somewhat tattered and frayed.

[Dana Abbott]

Dana’s Dramatic Plots 2

What I learned from this assignment:

Applying different plots to my original concept forced me to explore the motivations for my protagonist in ways that I hadn’t considered. This exercise has added several intriguing layers to my character that I will implement into my script.

Original Concept:

A schizophrenic with multiple personality disorder calls a radio psychiatrist and warns that his more dominant and violent personality will kill one member of the psychiatrist’s kidnapped family every hour on air unless the psychiatrist can excise the personality before the end of the show.

Sacrifice:

A schizophrenic with multiple personality disorder calls a radio psychiatrist and threatens that she will be forced to select one member of her kidnapped family to be killed every hour on air unless she can excise the man’s more dominant and violent personality before the end of the show.

Transformation:

A radio psychiatrist, considered a fame-oriented charlatan by her peers more concerned with ratings than patients, receives a call from a schizophrenic suffering from multiple personality disorder who threatens to kill one member of her kidnapped family every hour on air unless she can excise the man’s dominant and violent personality by the end of the show.

Chosen Plot – Sacrifice

I believe sacrifice creates greater dilemma for my protagonist, but I will also implement other aspects to heighten the tension between my protagonist and my antagonist.

[Dana Abbott]

Dana’s Dramatic Plots 2

What I learned from this assignment:

Applying different plots to my original concept forced me to explore the motivations for my protagonist in ways that I hadn’t considered. This exercise has added several intriguing layers to my character that I will implement into my script.

Original Concept:

A schizophrenic with multiple personality disorder calls a radio psychiatrist and warns that his more dominant and violent personality will kill one member of the psychiatrist’s kidnapped family every hour on air unless the psychiatrist can excise the personality before the end of the show.

Sacrifice:

A schizophrenic with multiple personality disorder calls a radio psychiatrist and threatens that she will be forced to select one member of her kidnapped family to be killed every hour on air unless she can excise the man’s more dominant and violent personality before the end of the show.

Transformation:

A radio psychiatrist, considered a fame-oriented charlatan by her peers more concerned with ratings than patients, receives a call from a schizophrenic suffering from multiple personality disorder who threatens to kill one member of her kidnapped family every hour on air unless she can excise the man’s dominant and violent personality by the end of the show.

Chosen Plot – Sacrifice

I intend to keep my original concept, but I will add aspects of sacrifice to create greater dilemma for my protagonist.

[Ramon Espinoza]

I learned not to stay with the first way to telling a story.

1. Looking through the 10 plots above, select two that could possibly work for your story.

17. Discovery-This plot is more about the character making the discovery than it is about

the discovery itself. This story is often about having to reconcile past

versus the new present for the character. “You were, you are, you will be”

is how the story is delivered. The characters are searching to understand something fundamental about themselves.

Usually, the character is already on the cusp of change. We get a glimpse of the main character’s “former life,” but quickly move into the present and future. A catalyst forces a significant change and the character moves

into the crisis. Revelations are made along the way in proportion to the

events of the story. The character is being forced to look at their life

for real and take stock of who he or she really is. In the end, they emerge much wiser, although often, they do so only just before dying.

16. Sacrifice-This plot has a strong moral dilemma at its center. The protagonist is playing for high stakes and a sacrifice must be made at a great personal cost. They should undergo a major transformation during the course of the story, moving from a lower moral state to a higher one, with events forcing their decisions throughout the story.

1. Tell us your original concept.

When a school gossip comes to light about his daughter having an only fans account, a government official embarks on an in-depth investigation to find out where the word came from and force the culprit to repair his daughter’s reputation, even if she has already taken her own life. But everything changes when he finds out her daughter was not only guilty but was the leader of a prostitution ring of college girls serving high government officials, and that she didn’t kill herself, she was murdered for finding out a conspiration to rob millions of dollars from the public pensions. And now, the same men who killed her are trying to kill him.

2. Tell the name of the plot selection and write a logline for each one.

Discovery- After the death of his daughter, Robert insists on discovering what he did wrong as a father, in the process, he must assume his lousy work as a father because he did not realize that his daughter was being abused by his best friend, and This prompted her to commit suicide. However, he finds a way to redeem himself by clearing his name.

Sacrifice- After discovering that his daughter died because he discovered a conspiracy to rob millions of citizens of their pension money, Robert, a government official, must sacrifice his reputation and that of his daughter, to expose the crime.

3. Then, looking at the four plots (two from yesterday and two from today) tell us which plot you would like to use throughout the Outlining module.

I think THE RIDDLE WITH A POINT ON REVENGE and a little sacrifice at the end is the one.

Riddle: Robert, a government official, has to figure out why his daughter killed herself. First, he learns that it was due to gossip about her being a slut in college and some photos running around. Then, trying to find out who leaked the images, he finds out the photos are genuine, and the rumors go beyond that. His daughter was the leader of a prostitution ring on campus. She provided the service to higher government officials. Then he discovers that she did not kill herself; she was murdered.

The next piece on the puzzle is that Robert finds out that her daughter discovered a conspiracy to steal pension money from government members. Then he finds out His best friend and daughter’s godfather, Thomas, is the leader of this conspiracy, and not only he was involved with her daughter, but he has been abusing her since she was 14. And wants him dead for asking too many questions.

When he finds out everything, he wants vengeance and does everything in his hands to achieve this goal. Still, in the end, he finds himself between letting the crime being committed survive and letting his daughter’s reputation be clean or trashing her daughter’s reputation and dying himself by exposing the corruption.

[Justina Mitchell]

Justina’s Dramatic Plots 2

What I learned doing this assignment is that it is very difficult to decide which plot structure you want to work with. Two structures battled it out, but in the end I realized one was the greater portion; mostly because I like it better, and I think it will be easier to write. I chose the Quest.

Concept: A very wealthy man who has no heirs considers leaving his money to one of three distant, unfamiliar cousins, but to find out how they will handle a fortune, he decides to give each of them a small fortune while he lives among them incognito and observes their handling of it.

Plot Selection:

11 – Metamorphosis:

Stanley has “all the money in the world” but no love in his life, nor does he see a need for it. As he lives among his cousins incognito, he sees a side of love he never saw before, and finds he is much wealthier when he embraces it.

12 – Transformation:

Stanley feels he is nearing the end of his life and needs to find an heir, but when he goes in search of one, he finds his youth as well.

Plot Selection from Day 2:

1 – Quest: This is the plot I’ll be using in this Outlining module.

Stanley, who keeps to himself, goes incognito to find who should be the heir to his wealth. As he observes the different way his distant relatives handle money, he begins to question his own way of handling money. He is also reminded that the best people aren’t always the richest, including himself. In the end, he finds love with one of those best people which notion he was diametrically opposed to at the outset.

2 – Adventure:

Big city Stanley travels to a small, quaint town to live incognito for a time among his distant cousins as he searches for an heir. He experiences new things that his posh city life would never afford him. He also sees how different kinds of people handle money in a far different way than he is use to seeing among his social set. In the end, love finds him which wasn’t on his agenda at all.

[Michael O’Keefe]

Assignment – Day Two Dramatic Plots – Part 2

Proseries – Mike O – Dramatic Plots 2

1. Looking through the 10 plots above, select two that could possibly work for your story.

For Christmas Trimmings, my script, possible plots are: #12 Transformation & #17 Discovery

2. Tell us your original concept.

Family-friendly feature-length Christmas romance script. Indecisive, naïve, a dreamer and closet romantic, recovering from the death of her mother, Brooklyn’s world is turned upside as tragedy arrives in the form of a certified letter. Her life is now on a collision course with the harsh realities of tragedy. Choices and decisions force her to change her view of the world, of people and give purpose to her actions.

3. Tell the name of the plot selection and write a logline for each one.

#12 Transformation Brooklyn, a painter on the cusp of making it big, learns her estranged father has passed. Having lost her mother earlier in the year, she realizes she is an orphan. As executor of her father’s estate, Brooklyn must set aside her compulsion to paint, give up her routine, and travel from Chicago to a small mountain town in Colorado. This transforming incident forces Brooklyn to see people living life in a far more relaxed and open manner. While going through her father’s belongings, she discovers the truth about her parent’s divorce: learns how her mother’s deception kept her and her father apart. Seeing her parents in a new light forces Brooklyn to accept the posthumous love of a man she dearly loved as a little girl. At a crossroad, Brooklyn reevaluates her life and the priorities she’s been hiding behind. Brooklyn finds love standing on her father’s porch step. In for the holidays, a handsome stranger with two, young, sons comes bearing Christmas gifts, unaware his friend, Brooklyn’s father, has died.

#17 Discovery – Brooklyn, a painter on the cusp of making it big, has her life and well-established routine turned upside down. She learns her estranged father has passed and as the executor of his estate, she must travel from Chicago to a small mountain town in Colorado. The crisis forces Brooklyn to interact with people who view life and live it far differently that she did. The revelation is followed up with a painful discovery that forces Brooklyn to take stock of who her parents were. The discovery forces her to reconcile her feelings for a man whom she thought abandoned her. Brooklyn sets aside her regret as she discovers her father was well-loved, that his art gallery and love of art is the bridge from what they had when she was a little girl loving her daddy to what she feels for him as assumes his legacy.

4. Then, looking at the four plots (two from yesterday and two from today) tell us which plot you would like to use throughout the Outlining module.

#12 Transformation