Day 5 Assignments

[Gerry Cousins]

Gerry Cousins – 4-Act Transformational Structure

What I learned doing this assignment: I never did an outline prior to signing up for this course and what I did now came after the play was a fact. Nevertheless, working this way (with the outline) made most issues with which I had been struggling much clearer and easier to handle. I found myself knowing the characters better and their relationships to one another. The last two scenes of ACT II have always been an issue for me and now I believe I know how to solve what has always bothered me, i.e., the end of the play with credit going entirely to the outline. But as yet, while it is more or less rectified in my mind, it is still not on paper, so work remains to be done.

MARFA LIGHTS – Outline

ACT I – Stage play and Screenplay (19 pages)

1. Create premise of two independent almost out-of-work team writers investigating their possibility of writing a straight play. Protagonist leads the way; antagonist, while intrigued by discussion of lead character, is negative on idea but tentatively agrees to the project. Establish personalities of each writer/character, emotional issues, their relationship, and work habits. Discuss lead character in sub play, including her name, MOLLY, appearance, state of mind, personality, issues, and what leads to the opening of the play. Writer, JENNA and SID begin sub play/play-within-a-play.

2. Establish sub play with scene already in progress between MOLLY and TODD at peak moment in the break-up of their marriage and with it revealing portraits of both characters’ outward and inward attitudes including who did what to whom. TODD is cold and calculating, despite his so-called concern for MOLLY, while she is completely surprised and shaken. Nevertheless, Molly proves herself a worthy opponent.

ACT II – Screenplay (21 pages)

3. Further involve main characters in each other and in their relationship to the sub play and their main character. Learn about TODD’s changing attitude toward women after suffering a whirlwind recent divorce and an impromptu failed date. Uncover idea of Marfa Lights. JENNA and SID discuss the how and why of MOLLY’s character going there, and investigate visiting the place themselves, in the name of research. The principals introduce the name of Molly’s psychic and BFF, SIMON, with its complicated connection and his influence on her…

4. Delve into the combined world of a gay healer/clairaudient, SIMON and MOLLY, and their incongruous platonic/love/nonsexual joining. Steeped in fascination and friendship, MOLLY seeks out SIMON for answers and spiritual healing. Both of which she receives from him and his Guides in a kind of code. In the course of their discussion afterward, Marfa trips a memory for her. She talks about two gay men with whom she was friends and a three-way sexual encounter with them that almost took place twenty+ years before. Will MOLLY go to Marfa? Will she seek out the two men? Emotions and subtext run rampant.

ACT III – Screenplay (25 pages)

5. JENNA and TODD have made their arrangements for the Marfa trip. JENNA’s husband, MARTY is not pleased that the two writers are going without him and tries to insinuate himself. JENNA tells MARTY a flat-out NO. She confesses to TODD that her marriage of twenty years is a bore and what keeps her going is the magic that happens in the creative process between the two writers. TODD is uncomfortable and maybe a little guilty about the turn of events. BUT they are going to Marfa and looking forward to it. And so is MOLLY.

ACT II – Stage Play

6. By hook and by crook MOLLY’s finds her way to where RAND and GAVYN live. Arriving in the middle of the night. SHE is welcomed and fed by the two startled men. Both manic and exhausted, also famished, MOLLY prattles on about how it is SHE got there and includes in her ramblings the entire back story to the moment at hand. Staying with them and seeing the Marfa Lights are paramount in her mind. Both RAND and GAVYN are somewhat dismayed at her showing up on their doorstep but are gracious about the whole thing. They have a life now in which SHE has no part. GAVYN waxes on philosophically, while RAND takes on the part of settling her in for the night. While subtext is the unspoken voice, nothing is decided about what will happen with her in their care.

7. JENNA and SID have arrived in Marfa. It’s late, they look for something to eat and take it with them for their first look at the Lights which turn out to be as magical and mystical as imagined. The moment calls for congratulations and the intimacy of a kiss. SID and JENNA seat themselves facing the lights with their back to the audience. As THEY do so and for this scene only, we enter a dual reality as MOLLY, RAND and GAVYN enter to see the Mystery Lights. Each of the separate parties views the other as strangers. At first, MOLLY, petrified by both failure and her need to control, can’t see past her nose. But with the coaching and guiding support of her companions, finally opens her eyes to what was impossible for her to comprehend. JENNA and SID leave first to check into the Marfa Inn, followed a few beats later by the characters they created.

ACT IV – Screenplay (25 pages)

8. It’s late morning back at the home of RAND and GAVYN. At breakfast, a bubbly MOLLY offers that she is leaving their truly wonderful hospitality to go meet TODD in Odessa, from which THEY will travel back home to NYC together—for a trial reunion. While much remains unresolved, SHE has learned from the lights that even the inexplicable deserves a shot—to learn how to believe and to be happy right where we are and grow. The guys are not happy with what she’s doing. THEY encourage her not to go back—that stasis isn’t growing–and to call SIMON. But MOLLY’s made up her mind.

9. In the casita, JENNA naked under the sheets is awakened by husband, MARTY, on the phone, who advises her that he’s on his way to join them in Marfa, SHE no sooner hangs up when the network calls to inform the writers that their show has been renewed for one more season. As SHE speaks, SID, wrapped only in a towel enters the room and takes the phone from her. It immediately becomes apparent that they were about to have sex when SHE fell asleep and now that’s not going to work. THEY both decide to leave the following day at dawn and head off MARTY at his Dallas connection. JENNA gets up to use the bathroom when MARTY calls back, SID takes the call and tells him about the series and their change in plans. The cell service is really bad in Marfa and SID asks MARTY to book them all out of Dallas back to LAX. The mood is filled with a mixture of disappointment, melancholy and relief. SID notes the plane MOLLY took from Odessa to Dallas is the same one they’ll take tomorrow. They dress, go out for dinner, tell the Inn Keeper about their change in plans, and see the lights the last time. We cannot live a choiceless life. Every day, every moment, every second, there is a choice. That choice affects all the other choices.

NOTE: This outline is formatted for both a two-act stage play and a four-act screenplay. Larger type denotes screenplay, while smaller type denotes stage play

[Ron Berti]

<div>Ron Berti – 4 Act Transformational Structure</div><div>

What I learned writing this lesson: this IS the “framework” of the movie. I kinda sorta knew that before, but in the process of writing this outline, I had to let go of a few scenes that have been bouncing around in my head for months because…………they didn’t fit anywhere, they might have been useful in some OTHER version of this story, but they no longer fit in THIS version of the story. And I had to really focus on the turning points, because that’s where the story is, where the turns are tell us the highlights of the story (“Tony Stark decides to stop making weapons and focus on a bulletproof suit that he can use to help humanity”).

I know this outline may change (and if it does there may be room for those now deleted scenes), but now I have a direct path for my hero’s journey, the turning points are clearer than they have been to make the story engaging to the audience. Taking the traditional 3 act structure to a 4 act structure seemed to make this new structure flow more easily, not sure why. My task now is to not get too attached to any given scene and to focus on the scenes that move THIS story forward. There could be a thousand versions of this story, but I need to write my version such that it demands the audience ride along with this hero’s journey, and so whatever fits in this structure can stay, but everything else has to go.

Mosquito Squadron – Outline

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Concept: a young Naval officer on PT boats in the Solomons in 1943 grows from a reckless loose cannon to becoming a warrior with patience, resolve and discipline

Main Conflict: Squadron Commander; also a second, his favorite boat captain, who is exceedingly cautious (a foil) and “favored” by the Commander. Secondary conflict is the entire Japanese Imperial Navy.

Old Ways: Impetuous, reckless, doesn’t follow orders

New Ways: follows orders (mostly); measured; patient, now dangerous to enemy not own crew. Better understanding that it’s not a victory if you don’t come back from it.

Act 1:

• Opening: lying in wait in dark, immediate battle scene. Takes excessive chances but doesn’t cost him…………much.
• Inciting Incident: gets chewed out by Sq Commander, good and hard.
• Turning point: still doesn’t listen……….much. Gossips, creates tension in squadron.

Act 2:

• Opening: Assigned less glam duties as punishment, picking up Aussie coastwatcher.
• Inciting Incident: encounters Japanese trap close combat- loses coastwatcher, takes some damage to boat, personally sustains personal injury
• Midpoint turning point: worried he’ll stifle his own success, starts to contemplate new more respectful attitude, increase in humility

Act 3:

• Rethink everything: allowed to participate in combat ops again as “reward” for new attitude
• New Plan: succeeds at some combat task – hailed by Sq Commander – acceptance. Shows maturity, growth.
• Turning point/major shift: (“can’t help himself”) organizes a raid on several Japanese strong points with other boat captains, mixed success, 3 sailors lost, 1 boat severely damaged. Bad effect on squadron officers, directly contradicting commander. Several boat captains want him court-martialed.

Act 4:

• Climax/Ultimate Expression: change in Japanese tactics leaves destroyers behind, move to armored, armed barges. Protagonist adjusts well, he’s more disciplined but the environment has changed, too, more favorable to his brand of aggressiveness. Protagonist goes out and kicks Japanese ass.
• Resolution: protagonist becomes squadron commander, but has old commander’s blessing and the admiration of his fellow boat captains

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[Carol Dougherty]

Carol Dougherty’s 4-Act Transformational Structure

What I learned from this assignment: My first thought was that I learned this assignment is impossible. It is incredibly difficult to boil it all down to this brief outline, but it does force me to get to the heart of the matter. Part of what was so difficult was figuring out if I write this for the inner or outer journey or both. In the end, I focused on the inner journey for the most part, bringing in what I thought was essential from the outer journey.

Concept: After being blindsided by encountering a woman reminiscent of her late first love, actress Penelope Parrish is determined to seduce the woman into her bed.

Main Conflict: Pen is in an open relationship and thinks nothing of having sexual adventures on the side. Katie Finnegan is looking for a monogamous relationship that is fulfilling emotionally as well as sexually. She refuses to get involved with Pen if she is seeing someone, regardless of how open that relationship may be.

Old Ways:

· Pen’s personal and professional relationships are always at arm’s length.

· Pen puts most of her energy into her stage work.

· Pen believes if anyone gets too close, either personally or professionally, they will see how lacking she is.

New Ways:

· Pen values connection, both personally and professionally.

· She falls in love with Katie.

· Pen finally believes in herself.

Act 1:

· Opening – opening night of a new play, interactions with her lover, her director, and her best friend/acting partner

· Inciting Incident – sees Katie in the audience and is reminded of Danni, her first (and only) love

· Turning Point – Pen has a perfect opportunity to pursue Katie and doesn’t – she realizes she is developing feelings for her

Act 2:

· New plan – Pen decides to try a combination of friendship and manipulation

· Plan in action – Katie doesn’t respond exactly as Pen plans. They connect in rehearsals and outside, but when Katie finds out Sam is Pen’s lover, she pulls back. Pen eventually breaks off with Sam but refuses to tell Katie.

· Midpoint Turning Point – Pen’s acting partner/best friend, Terry, dies suddenly and Pen retreats into her work.

Act 3:

· Rethink everything – Pen isolates herself in her grief and works through the end of the season.

· New plan – She decides to head home to England to figure out if she can act without Terry and who she is without her best friend and acting partner. In England she revisits the past and discovers some possibilities for the future. She ignores Katie’s plea for contact, decides to quit acting, then realizes she doesn’t want to quit and that she loves Katie.

· Turning Point: Huge Failure/Major shift – Pen tells Sebastian she’s coming back. She decides to let Katie know she loves her when she gets back, and before she can do so, Katie rejects her.

Act 4:

· Climax/Ultimate expression of the conflict – Pen and Katie see each other often in rehearsals. Pen treats Katie with the kind of warmth and friendliness Katie offered before Pen left but Katie continues to rebuff her, unable to understand why Pen couldn’t respond to her at all from England. Pen doesn’t withdraw from Katie, and in fact begins connecting as a friend with others in the company as well. Katie notices the positive change but announces she has been offered a new job in another theatre and that she will take it and leave after opening night.

· Resolution – Pen talks to the company before the opening, apologizing for her standoffishness before and after Terry’s death. She also thanks several people for their help, ending with Katie, telling her in front of the company that she loves her. Katie leaves, but after the opening performance, Pen and Katie confront one another in Pen’s dressing room. Katie realizes Pen is sincere and decides not to take the other job but to stay with Pen and the theatre they both love.

[Robin Atwood]

Robin Atwood’s 4 Act Transformational Structure

What I learned doing this assignment is how to structure the story based on what I know about my main characters. The previous lessons helped to develop the characters

Concept – Henry comes across Ivy as she is collecting plants and herbs in the forest. Henry is so captivated by her beauty that he endlessly purses Ivy. Ivy does not welcome Henry’s pursuit of her at first because she knows that nothing can come from a relationship with the future king due to her station in life. Henry makes promises and Ivy starts believing that her dreams may be fulfilled if she gives into him.

Main Conflict – The main conflict is that Ivy wants what Henry can’t give her. She wants marriage, children with the man she loves. He is duty bound to wed for an alliance and to produce male heirs within that marriage.

Ivy Old Ways

Old Identity: Ivy is a shy, innocent young maiden who dreams of love and family with a man of stature.
She falls in love with Henry because he showers her with attention and affection.
She trusts those that she loves. She has put Henry on a pedestal.

Ivy New Ways

New Identity: Confident, wise, loving secret mistress and mother
She understands that she cannot have the kind of relationship she wants with Henry
She accepts what Henry offers for the sake of their boys and her future

Act 1

Opening: Ivy is in the forest gathering herbs and plants when Henry comes across her unexpectedly. He is immediately smitten with her beauty and innocence and decides he must have her. Ivy is frightened by the unknown man who is greedily staring at her. She runs from him.
Inciting Incident: Ivy finds out from her father that the man pursuing her is Henry the crown prince of England. She is intrigued and daydreams of a life with him.
Turning Point: When Henry starts bestowing gifts upon her along with affection and attention, Ivy warms up to him. When he professes his undying love saying that he will love, provide and protect her forever, she gives into his advances.

Act 2

New plan: Ivy’s relationship with Henry deepens. She wants marriage and a family. He explains to her that he is duty bound and has been betrothed to a Spanish princess. He cannot marry her but he wants her for his secret mistress. He tells her he will always provide for her and any children that they have.
Plan in action: Because of her love for him, Ivy agrees to be his mistress. They have three sons in about 4 ½ years.
Midpoint Turning Point: Henry marries Katherine of Aragon. She has several pregnancies that end in stillbirths or miscarriages.

Act 3

Rethink everything: Ivy realizes that Henry is more duty bound than in love with her. She realizes being Henry’s secret mistress will not give her the life she wants for herself and her sons.
New plan: Ivy will try to sway Henry into making her his official mistress and recognizing their sons as his heirs.
Turning Point: When Henry denies Ivy’s request telling her that he must keep her and their sons a secret for their own protection.

Act 4

Climax/Ultimate expression of the conflict: An extremely upset Ivy finally understands that she will never have the life she has dreamed of even though she and Henry love each other. She tells Henry that he has wanted sons from Katherine yet Ivy is the one who has produced what he wants the most male heirs.

Resolution: Henry matches Ivy with one of his nobleman at her suggestion. She and her sons are protected and financially secure.

[Ra]

M.M.’s 4 Act Transformational Structure

What I learned doing this assignment is that my original idea has changed substantially while going through this process and that the structure provides an outline of deepening the characters, story, plot and motivation.

THE PITCHER’S PRAYER: FIELD OF FIRE

· Concept: When a nationally-ranked college female pitcher marries a teammate just before the MLB drafts, she faces a crossroads of family and career that will change her life.

Main Conflict: Bella wants both
an MLB career and a family, but her new husband Emilio wants her to forget
her baseball dream and just support his career, aborting their baby along the
way.<div>

· OLD WAYS:

o Acceptance of a traditional marriage

o Submissiveness to Emilio’s domination

o Putting Emilio first in life, love and baseball

· NEW WAYS:

o Self-confidence

o Independence

o Belief in her self-worth

o Taking control of her life

Act 1:

Teaser: Lone shooter in the baseball stadium
during the national college championships game; turns out to be Emilio (end of the story).

Opening: College spring
baseball tryouts, where senior Bella runs into a high school crush from
back in Puerto Rico, Emilio, who transferred to the same college and both
make the team.

Inciting Incident – Emilio gets jealous of Bella’s
platonic friendship with an MLB icon’s son Luke, a teammate; Emilio asks
Bella out on a first date at a shooting range. She proves she’s a natural
marksman.

Turning Point – Emilio gets
serious about Bella and proposes; she accepts. They share a passion for
baseball and hunting and make a good team.

Act 2:

New plan: Scouts watch the team
in action and approach Bella, but not Emilio. He wants to be the star of
their relationship; a girl can’t outshine him, even if he does love her.
Bella’s plan is to have it all – MLB draft, husband and then a family. <div>

Plan in action: Emilio and
Bella get married, and Bella continues her friendship with Luke. Agents
start contacting Bella about a baseball career and endorsements, but
ignore Emilio.

Midpoint Turning Point: Bella learns she is pregnant, but Emilio
orders her to have an abortion even though it is against their religion
and Emilio feels guilty. She refuses and joins a pro-life group for support.

Act 3:

Rethink everything: Can Bella stay married to Emilio if he
wants her to abort their baby, which goes against every value she holds?

New plan: Bella wants to
placate Emilio that they can do both and that his career is as important
as hers and agrees to step back from the draft for a year. She agrees with his demand that she won’t sign with an agent unless he represents both she and
Emilio.

Turning Point: Huge failure /
Major shift – The agent drops Emilio and pivots to get endorsements for
pregnant Bella with baby food and clothes companies. Emilio is enraged and
tries to hurt Bella, who calls 9-1-1 when Emilio walks out. In the hospital, Bella calls Luke who takes her away
to live with him and protect her and her baby. Emilio is dropped from the team and
expelled from school.

Act 4:

Climax/Ultimate expression of
the conflict – Emilio becomes more
violent making threats to both Luke and Bella, but police do nothing. Emilio
is not even considered for the MLB draft. Luke is a # 1 draft pick as
pitcher. Bella files for divorce from Emilio.

Resolution – In the national
college football championship game, Luke is starting pitcher for the Georgia
university. Bella is in the dugout though not playing. When the game
starts and Luke pitches, a lone shooter in the stadium sprays bullets down onto the field. The
shooter is Emilio in a disguise. He hits Luke in his leg and tries to
maneuver around to the dugout to shoot Bella, but Luke is helped limping
into the dugout by other players who are now out of range. Emilio darts down
to the field as police re blocked by thousands of spectators trying to escape.

Closing: Bella and Luke have
concealed carries in their team bags. They spot Emilio rising toward the
dugout and they both pull out their guns and aim at Emilio. Shots ring out
and Emilio falls with multiple gunshots to the chest and heart. Unknown
who actually shot him, but Emilio is gone and isn’t coming back. Bella
gets in the ambulance with Luke on a stretcher. They kiss each other as
the ambulance doors close.

[Danielle Dillard]

What I learned doing this assignment is discovering a detailed tool in putting my story together.

Concept: After a pattern of dating the wrong men, Tina finally meets a great guy but there’s one problem… he’s violent.

Main Conflict: Barry has abused Tina but gained the hearts of her kids in a majestic way, causing them to turn against her. When Tina escapes Barry, her kids go back to him because he’s the only father figure they have, but Tina must get them back before he hurts them.

(Tina) Old ways: Moving too fast in a new relationship, selfish desires, falling too soon.

(Tina) New ways: Being more astute, investigating who she’s with, discovering who she is.

Act 1:

Opening: Tina Johnson kicks her freeloading boyfriend out of her apartment. While he’s packing his things, she’s texting with other guys on a dating website & eager to replace him with another man. She begins dating. Her kids wonder who their next “dad” will be.

Inciting Incident: Tina meets Barry who seems to be the complete package she’s looking for. She feels she finally hit the jackpot with finding him because he likes children and he’s financially independent.

Turning point: Tina moves Barry in her apartment but he’s very secretive, sneaky and has a temper. He announces that he’s not going anywhere and that she’s stuck with him.

Act 2:

New Plan: Tina catches Barry at home during times he’s supposed to be at work. She also catches him in a few lies. She gets suspicious and decides to investigate.

Plan in Action: Tina begins spying on Barry and following him around. She’s witnesses him going to various houses and visiting strange people when he’s supposed to be working.

Midpoint Turning Point: Tina decides to have a talk with Barry to find out more about him. He becomes violent during her questioning. However, he stays nice towards her children to the point they begin to trust him. Soon it’s Barry and her kids against her.

Act 3:

Rethink everything: Tina thinks she’s made a mistake, but Barry makes it up to her. He reassures her that he’s “in between jobs” and he apologizes for losing his temper. He wants to start over. Things start to look promising.

New Plan: Barry becomes more abusive and controlling to the point Tina plans an escape.

Turning Point: As Tina escapes Barry, she finds out that the person who’s helping her flee is actually a friend of Barry’s that’s setting her up to go right back to him. She has no hope. She’s burned her relationships with friends and family. She feels alone and has no one while Barry continues to abuse. Tina starts looking within and decides to make a change.

Act 4:

Climax Ultimate Expression of the conflict: Tina gets the help she needs. She finally leaves Barry, but her kids still love and trust him. They go back to him. He threatens Tina by saying he’ll hurt her kids.

Resolution: Tina regains her kids. Barry gets arrested for all he’s done. Tina has changed as a person.

[George Petersen]

George Petersen 4 Act Transformational Structure

What I learned is the importance of change in laying out a story, both in plot and character

Concept: An expatriate surf legend, pursuing his dream of a surf coaching business on the Mexican Riviera, accepts a teenage rebel as his first client

Main Conflict — as well as a sullen restriction: under no circumstances is he to reveal to the boy that he is his grandfather.

Old Ways: Avoids the truth. Don’t rock the boat. I’m not good enough. Nothing really matters. Whatever. Bows to the Reverend.

New Ways: Defends his heritage. Stands up for his friends. Takes his place as an active grandfather. Confronts the Reverend.

Act 1:

Opening

Corky struggles with his medical limitations — will he ever surf again?

He demonstrates an unusual fear of the water.

He starts having flashbacks to his lost at sea trauma.

First doctor visit

Raquel expresses hope for the new surf coaching business. Corky can train, teach. She can cook and maintain the house for clients. They’ll be a team.

Inciting Incident

Corky gets a call from Clint, who asks Corky to take on Slash as his first client — with the restriction that he doesn’t tell Slash under any circumstances that he is his grandfather. All hell will break loose if the Reverend finds out.

Turning Point

Corky takes Slash into the tropical world

Act 2:

Plan in action

A series of surf lessons that end in chaos

Midpoint Turning Point: Huge failure / Major shift

The Big Local attacks Slash for cutting in

Screwup: Slash learns that Corky is his grandfather

Act 3:

Rethink everything

New plan – instead of focusing on surfing technique, a more psychological, emotional approach will be taken involving Noah’s dog, Raquel’s grandmother and a family celebration

Turning Point: Another Huge failure / Major shift

Clint calls Corky: The Reverend has found out what’s going on and has decided to make the trip down himself and take Slash away — it’s over. All is lost.

Corky intercepts the Reverend at the airport, confronts him, stands up for his grandson.

Act 4:

Climax/Ultimate expression of the conflict

With Slash’s help, Corky gets back into it, masters the big wave

Resolution

As they say their goodbyes at the airport, Corky and Slash bond as grandfather and grandson

[Angelina Fluehler]

Angelina Fluehler – 4 Act Transformational Structure

“What I learned doing this assignment is…?” I was surprised how easy it was for me to put my
story on the provided 4 act structure. Thank you very much for this guidance!

• This reply was modified 2 years, 9 months ago by  Angelina Fluehler.

[Connie Whitmer]

Connie Whitmer – Four Act Transformational Structure

What I learned – Putting events in 4 Act structure, helped me with spacing, timing, and import of the events on the Hero’s ARC

Concept – After Norse Vikings slaughter his family, a young orphan must find a way to survive, save some hostages, escape, and avenge the deaths of his family, and find a way home.

Main Conflict – Invading Danes, have slaughtered his family, he must find away to: survive, escape a tower, being held hostage, rescue others, avenge his families, deaths, and make it home.

Old Ways – young, innocent, only wants to catch the biggest fish and survive being the youngest of 12 brothers, no worries.

New Ways – after attack and his family is slaughtered – he must grow up in a hurry, now he must fight for survival, with enemies all around, and save those around him. He will never stand by again

Act 1:

Opening – Brian has his fish by the tale, meets girl, survives running the gauntlet

– Malachy and his cronies, denigrate Brian, bully him, they have a secret

Inciting Incident – Monster on beach, Danes attack, promises to save girl

– Malachy and cronies escape, with their fathers, as Danes attack.

Turning Point – Escape to tower, little girl raped, fire, he saves her, tries to save family. Only Brian and eldest brother survive, home destroyed, sent off to school

Act 2:

New plan – locked in tower by Abbot, tormented by Malachy, plans escape, go home

Plan in action – Hail Mary escape, piling on – hijacked by deer, attacked by stags,

– Malachy and cronies in school with Brian, torment him, and ruin his escape

Midpoint Turning Point – captured by scheming Danes

Act 3:

Rethink everything – Held captive with others, trapped, Danes scheming

plan disrupted, he is free

New plan – Must escape, will save others, makes a plan, it must succeed.

Turning Point: Huge failure

He makes the escape – disrupted, he is free, but others still captive, Must chose – leave others, escape warn Clonmacnoise and Killaloe, or risk everything, go back and save the others. If he fails, all will die.

Major shift – He gave his word to come back for them, he failed the little girl, this time he will not fail.

Act 4:

Climax -– Brian, 14, must fight the Danes alone. He kills two, then the leader shows up, Drakkar – the Butcher of Killaloe, murderer of his family. He kills him as well, stops the attacks.

Ultimate expression of the conflict – insignificant orphan fulfills his Internal Need – to save the powerless, and keep his promise to dying father, to avenge his family’s deaths.

And External Need – to never be powerless again, and he has a start of ridding Ireland of the three Danes that attacked his home.

ARC – From insignificant orphan, to Hero of his Clan, 2^nd to father’s throne – now known as the boy, Drakkar-slayer, he has saved Clonmacnoise where the Abbot torment him. And his brother, and what is left of his Clan, in Killaloe

Resolution – Brian makes it home. Announces the Abbot has a message for his brother – He is not now, nor will ever be King Material. Brian agrees. He is home where he belongs. Then a messenger – in three years’ time, the Tourney of Princes will be held in Killaloe. Brian has what he needs – his first whisker, a plan, and hope for the future.

[L]

L Cline – Four Act Transformational Structure

WHAT DID I GET OUT OF THIS ASSIGNMENT: Each new assignment has carried its own challenges. In this case, the effort to clarify and reclarify and reclarify each element has been a bit of a one-step-forward-two-step-back process. It was suggested to just fill in the blanks for now and work with it over time, but it became important to me that I get this right so I have a strong core on which I can build. If you have too many gaps, too many “maybes” at this point, it’s easy to take your story off track and wind up wasting a lot of time reworking and rewriting later. I’ve been there. As a result of spending an extra day on this assignment, I am confident that my story is on track!

[Danielle Legrand]

Danielle LEGRAND’s 4 Act Transformational Structure :

What I have learned doing this assignement is organizing the thread of my story.

. Concept :

After having studied at a Political School and at the Seminar ADRIAN feels he does not live his life at its fullest.

. Main Conflict :

In spite of all thev Love and Respect he has for the job he has chosen to accomplish he does not feel at ease with its shady part.

Old ways :

Forbidding and punishing himself about a woman’s Love. Staying apart from ordinary life.

New ways :

Mingling with his parishers and sharing their everyday life

Act 1

. Opening : ADRIAN celebrates masses, baptisms, marriages and funerals the old way.

Inciting Incident : Someone criticizes his job and he is under the impression he is disconnected from other people. He can’t bear the solitude he seems to be doomed with.

. Turning Point :

Another enthusiastic Soul, AUDREY, wants to enliven the Parish, spread the Faith and make things happier.

Act 2

. New Plan :

– Singing the Mass

– Involving children and parents in the Church Life.

– Bring them support in their daily life

. Plan in Action :

– Taking care of the Elderly

– Creation of a choir

– Organizing events for Charities

– Allowing every child to go on holidays

. Midpoint Turning Point :

ADRIAN and AUDREY love each other.

Act 3

. Rethink everything : they start a double life

. New Plan : It is too difficult and they can’t go on like this.

. Turning point Huge Failure / Major Shift : They decide to

break up.

Act 4

. Climax :

ADRIAN has to make a choice. He chooses priesthood and AUDREY is regarded as the Devil by her friends and her family.

. Resolution :

By a curious coincidence, they meet again and can’t resist their Love. They discover Passion and decide they can no longer live like this. ADRIAN decides to announce his Faithfuls he will marry AUDREY and together they build a new family.