Day 6 Assignments

[Angelina Fluehler]

Old Ways:

· He lived with the system

· He followed the rules of the system

· He was part of the system

· He lived in a trend

· He was a good executor

New Ways:

· He thinks in terms of revolution

· Critical thinking

· Becoming creative and rule breaker.

3. Make a list of 6 – 8 changes or steps that need to happen for that character to go from who they are in the beginning (Old Ways) to who they are in the ending (New Ways).

4. Sequence the steps from easiest to most difficult. This will imply the journey the character takes.

1.) meeting with Gabriel

2.) leaving his old life style & reflection about his past

3.) being an accidental witness

4.) helping another victim

5.) falling in love & telling the truth about him

6.) facing antagonist

5. —-

6. —

7. “What I learned doing this assignment is…?” Very good demonstration is given in the examples from Matrix and The silence of the lambs. I reconfirm my 4 act structure, nice exercise. Thanks!

[Gerry Cousins]

Gerry Cousins – Transformational Events – MARFA LIGHTS

What I learned doing this assignment?

Actually I was never completely happy with the end of the play. And in doing these exercises, have come to a “true” satisfactory conclusion to the story. This exercise served to put into words my character’s journey from beginning to end. The more difficult step will be to write it into the script this way. Excellent way to break with a preconceived idea.

Character Arc – Old Ways to New Ways for JENNA (protagonist):

1. Deny the truth of what’s going on inside me. – ACT !

2. Push forward by hiding what’s happening from myself.

3. Create a character through whom I can live vicariously. – ACT II

4. Recognize the lesser role I willingly take in relation to my husband and family that I’ve come to accept as a “comfortable way of life, rather than challenge it. (Thus upsetting the apple cart.) – ACT III

5. Honor the fear. (Deny the choice I’ve given to my fictional character in the play-within-a play and choose myself) – ACT IV

6. Don’t accept change for the sake of change.

7. Honor myself foremost.

[Robin Atwood]

Robin Atwood’s Transformational Events

What I learned doing this assignment is how to fill in the story based on the the old and new ways. How knowing the old ways of the main character drive the beginnings of the story to the middle and the new ways pick up and drive the story to the end.

Character Arc and the list of Old Ways and New Ways

Ivy starts a journey of transformation from lower class shy maiden to a woman of wealth who knows her own mind.

Ivy’s Old Ways

Shy, innocent, unassuming, daddy’s little girl, she has a lot of fear of the unknown, is skittish, a conformist. She rationalizes her behaviors, impractical in affairs of the heart.

Ivy’s New Ways

Confident, astute, nurturing of others, loving, listens. She is trustworthy, brave, consoling and the wisdom she has gained from experience has resulted in an easy going nature making her insightful, logical, wary, self-regulating

Make a list of 6 – 8 changes or steps that need to happen for that character to go from who they are in the beginning (Old Ways) to who they are in the ending (New Ways).

1. Ivy is tenaciously pursued by Henry. She is wary of him and continues to turn him away. Her father encourages her to stay away from him.

2. His continued attention, gifts and innate charm start turning Ivy’s heart around. Against her father’s advice, she begins welcoming his attention.

3. Ivy falls in love with Henry. Henry professes his love and devotion. He explains to Ivy and to her father that he is duty bound to marry the Spanish Princess. He promises to love and protect Ivy and her family until their deaths if she will agree to be his secret mistress. Ivy is so in love with Henry that she agrees. Her father agrees because he believes there is no better life for her.

4. After more than a year, Ivy gives birth to a baby boy. She and Henry are ecstatic about their son. Ivy is hopeful that Henry will publicly acknowledge their son, but Henry says he cannot explaining that he will care for them but the boy is illegitimate and cannot be his heir. Ivy is heartbroken. She refuses to see Henry for a couple of months. Henry misses her so much that he finally agrees to at least have the boy educated and give him lands.

5. When Ivy is pregnant with their second child, Henry becomes King and marries Catherine of Aragon two months later. His visits become infrequent. Ivy once again is devastated. She fears she has lost him. She wonders what will become of them. Henry finally comes to call when Ivy is in the throws of labor pains. She sends him away but not before another son is born to them. She decides if Henry returns she will demand more than being a secret family.

6. Henry returns after Catherine gives birth to a boy who dies shortly after birth. He begs Ivy to forgive him for being absent for so long. Ivy says she will forgive him and welcome him back into their lives so long as he provides a large cottage with stables and education for her and the boys.

7. After Ivy gives birth to a third son, Henry showers her with lavish gifts. Provides education for Ivy and their boys. Ivy tells him it’s time for him to introduce them to England. He refuses. She turns him away telling him that he is no longer welcome.

8. Henry breaks after nearly a year without Ivy. Ivy allows him back into their lives after he agrees to marry her to a nobleman who will secure their future with lands and titles.

[Danielle Dillard]

What I learned doing this assignment is identifying transformational scenes in my story.

Old ways of Tina Johnson:

Pattern of bad relationships, not valuing quality time with her children, letting fear of being alone cause her to lack discernment about the men in her life, operating on greed and selfish desires, not taking heed to warnings from her mother, kids & friends in her life

New ways of Tina Johnson:

Recognizing flaws in Barry, recognizing flaws in herself, willing to really get to know her children, being more astute, developing strength and wisdom, learning how to love and value herself, developing a healthy self-love

6 – 8 steps to transformation:

1. Montage of bad relationships.

2. Tina finally meets a great guy and moves him in, but he ends up being a moocher. She kicks him out. She makes him give back her keys to her apartment, her car keys and credit cards. As he’s packing his things, she’s conversing with other guys online to find a replacement. Her kids are concerned about who will move in next.

3. Tina meets Barry who is loving, fun, friendly and loves kids. Her kids start to like him, and they form a tight bond. Soon she moves him in.

4. Barry isn’t honest about his job and other things. Tina starts to doubt him and think she made a mistake, but he reassures her that he’s a nice guy and there’s nothing to worry about. She ignores her instincts and what she sees.

5. Barry becomes abusive towards Tina with put downs, insulting comments and abuse. Tina notices that Barry spends too much time with her daughter. Tina receives warnings that Barry may be a predator, and she begins noticing nuances.

6. Tina learns that Barry is a pedofile and must get him out of her home. She’s angry at herself for not acknowledging the signs. She begins to reflect on abuse from her childhood and looks within. She seeks spiritual growth and overcomes past trauma and resentment. She changes her old ways.

7. She gets rid of Barry, but her daughter (not knowing that he’s a pedofile), sees him as a father figure and goes to him. Now Tina must try to get her daughter back before he abuses her.

8. After a challenge, Tina is able to get her daughter back before abuse takes place and becomes a better mother in the process. She’s not only careful of who she picks as a mate and allows in her home, but she’s also careful of who she lets into her life. She’s transformed for the better and is now a strong, astute, grounded and cautious individual who loves herself in a healthy way.

[Carol Dougherty]

Carol Dougherty’s Transformational Events

What I learned from this assignment: That I have a lot to learn. That being said, I can see how the tighter and clearer this structure/events chain is, the better the final result. It’s difficult not to second-guess myself but I try to be succinct and at the same time swing for the fences. Challenging, to put it mildly.

Character Arc:

· Beginning: Pen has a lover, and they are in an open relationship. She doesn’t let him or anyone else get emotionally close in what is a sexual relationship.

· Ending: Pen deeply loves Katie and is committed to an emotional and sexual relationship with her.

· In Between: A series of events and challenges that change Pen’s understanding of the world and allow her to experience love again.

Old Ways:

· Sexual relationships are superficial

· Manipulates people to keep them at a distance

· believes if anyone gets too close and sees who she really is they will reject her

New Ways:

· stops the manipulation

· accepts herself

· allows herself to love

Changes/Steps:

· encourage Katie to open up to her

· risk being genuine with Katie

· notice the effect of manipulation on others and herself

· notice how painful shutting down is – whether she does it or Katie does it

· risk letting others reach out to her/help her

· take a close look at herself

· accept herself as is

· risk expressing her love

Transformational Events:

· during a picnic in a rowboat Pen wants to hear about Katie, and ends up responding from the heart

· Pen tries to make Katie jealous and embarrasses herself and hurts Katie

· an unexpected kiss causes both Pen and Katie to take turns shutting down

· Terry’s death prompts both Katie and Sebastian to offer comfort/help to Pen

· Pen returns to the place in England where she last saw Danni before her suicide

· Katie rejects Pen when she returns

· before the opening night Pen addresses the company to thank them and tells Katie she loves her

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

· Transformational Event – during a picnic in a rowboat Pen wants to hear about Katie, and ends up responding from the heart

· 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

· Transformational Event – Pen tries to make Katie jealous and embarrasses herself and hurts Katie

· 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.

· Transformational Event – an unexpected kiss causes both Pen and Katie to take turns shutting down

· 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.

· Transformational Event – Terry’s death prompts both Katie and Sebastian to offer comfort/help to Pen

· 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.

· Transformational Event – Pen returns to the place in England where she last saw Danni before her suicide

· Transformational Event – Katie rejects Pen when she returns

· 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.

· Transformational Event – before the opening night Pen addresses the company to thank them and tells Katie she loves her

· 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.

[Ron Berti]

Ron’s Transformational Events

What I learned from writing this lesson:

This is where we put the transformational “meat” on the story’s bones. It is these incidents that are the heart of the story. With this new 30 day screenplay technique, this is where one can imagine the whole story, soup to nuts. I can see the importance of Hal’s reminder – it doesn’t have to be perfect. Get SOMETHING down on paper, during this step, and then I can come back for rewrites. But this is now one level above the outline, we’re putting muscle on bone. Had a good time writing this part.

1. Cooch completes an attack but loses one sailor, his boat sustains moderate damage and he himself is wounded, slightly

2. Cooch saves a back seat gunner in a damaged bomber and spares the Japanese pilot

3. Cooch is reassigned to less front-line efforts such as picking up a coast watcher. Here he falls into a Japanese trap and his boat is damaged again,but nobody is injured and he successfully gets the coastwatcher out.

4. Cooch is back in the saddle, has the commander’s confidence again. Participates in an attack by using a signaling system that is banned, but it works. Back in the Commander’s good graces (although he doesn’t know about the not following orders)

5. Cooch “loses” John Kennedy, another boat captain. He is assumed dead. It’s becoming clear to Cooch what the stakes are in these nightly forays.

5. Cooch plans an off-the-books attack, 4 simultaneous attacks on 4 Japanese depots on Kolombaranga. He succeeds in his task but one of the other boat captains is severely injured.

6. Cooch leads an attack on two destroyers, and sinks one of them, using his signaling system

Applied to my four-act structure:

1. In Scene 1, Cooch completes an attack but his reckless ways cost him a sailor’s life, some damage to his boat, and a personal injury. He’s starting to see this isn’t tiddly winks

2. In Scene 2, Cooch attempts to get a coastwatcher off his island, goes outside protocol, it’s a Japanese trap, he falls into it. Manages to get the coastwatcher out but now he’s come close to death twice in a couple of weeks.

3. In Scene 3, Cooch has the Commander’s confidence again, is assigned to a squadron, but is secretly setting up a techically banned but in fact useful technique for coordinating PT attacks. They damage a destroyer in the attack.

4. Cooch uses the secret signaling system to sink two destroyers; is celebrated upon return to Rendova; becomes squadron commander; and institutes a new signaling policy.

[George Petersen]

George Petersen TRANSFORMATIONAL EVENTS

What I learned is that it’s really important to lock down the progression of transformational events

Surfing Grandpa

Act 1:

Opening

External Medical Challenge:

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

Internal Psychological Challenge:

Corky starts having flashbacks of his lost at sea trauma.

He demonstrates an unusual fear of the water.

A surfer who fears the water?

First doctor visit

Corky’s Hope for the Future:

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’s son, Clint, makes him an offer he can’t refuse:

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 is confronted with the results of his passivity:

Slash doesn’t know much about the true nature of surfing or anything else

Corky takes Slash into the tropical world

Act 2:

Plan in action

Corky tries to teach Slash professional surfing techniques:

A series of surf lessons that end in chaos

Midpoint Turning Point: Huge failure / Major shift

The Big Local attacks Slash for cutting in

Corky is confronted with Slash’s vulnerabilities:

Corky takes Slash to the hospital

Corky learns that there’s more to life than just surfing:

Slash learns that Corky is his grandfather

Corky feels the pain of a relationship that never was

Act 3:

Rethink everything

Corky tries to build an emotionally relationship with Slash:

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

Corky is faced with losing Slash forever:

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 decides to take on the Reverend:

Corky intercepts the Reverend at the airport

Confronts him, stands up for his grandson.

Act 4:

Climax/Ultimate expression of the conflict

Corky conquers his fear of the water:

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

Resolution

Corky earns a relationship with his grandson:

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

[Ra]

M. M.’s Transformational Events

What I learned doing this assignment is to how to utilize transformational events to create plot turns and twists and help the character grow out of old ways into new ways for a richer story.

Bella’s Old Ways:

· Desire for love and security

· Submissiveness to Emilio and feeling “less than”

· Resignation to putting him first in life, love and baseball

· Giving up her dream (and her father’s for her) of being on an MLB team

· Acceptance of his abuse

Bella’s New Ways:

· Taking control of her life

· Self -confidence to divorce Emilio

· Self-worth as a woman, pitcher and future single mom

· Independence to join a pro-life movement

· Valuing herself over Emilio

Bella’s 8 Steps for Transformational Events Sequence:

· Believes she will have love and security by marrying Emilio.

· Learns Emilio is using her to get an agent for the MLB draft.

· Discovers Emilio is the enemy who wants her to abort her child.

· Makes the decision to divorce Emilio, keep her child and drop out of the draft.

· Builds a new life for herself with the pro-life movement.

· Protects herself against Emilio by shooting him.

· Realizes she has been in love with Luke for years.

· Commits to begin that relationship with a kiss.

[Ron Berti]

Ron Berti’s Beat Sheet

What I learned writing this assignment: there really IS a discipline to getting it down on paper even when it’s not yet “perfect”. One’s emotional reaction to seeing the assignment incomplete or not yet entirely lined up with the thrust of the movie is to obsess over it, want to beat it into submission. It takes courage and confidence (in one’s own skill, presumably) to just get it down, fill in the slug lines and call it a complete assignment. Just doesn’t feel natural. Maybe that’s the clue- we’re learning to be comfortable with approaches that can’t provide comfortable. We’ll “fix it in rewrites”. It’s beginning to make sense to me but it’s a new way of looking at things.

OPENING ONE:

EXT ON WATER -NIGHT

TE1: Cooch (XO on the 129) rises to the occasion -but imperfectly – when his skipper is injured in a night time attack. Cooch takes the conn and engages the enemy but in a reckless manner.

EXT ON WATER -NIGHT

INCITING INCIDENT: Cooch overplays his hand, almost gets self and crew killed in dangerous maneuvers. Manages to escape whole.

EXT ON WATER – NIGHT

TE2: Destroyer sunk, but ambiguous as to whether it’s 129’s torpedoes.

OPENING TWO:

INT SQUADRON HQ – DAY

TE1: Cooch is bawled out by Squadron Commander

EXT ON WATER – NIGHT

INCITING INCIDENT: Cooch is given the dogshit assignment, securing an Aussie coastwatcher from an island

EXT ON WATER – NIGHT

TE2: the pickup goes bad, the Japanese were lying in wait. It almost costs Cooch the coastwatcher, his boat is damaged, and he loses one sailor, because he took undue risks

EXT ON WATER – DAY

TE3: Cooch waits too long, now it’s daybreak, has to limp home in the morning sun. Encounters a Navy bomber with a Zero on its tail, helps take out the Zero, rescues the rear gunner Sanchez

INT SQUADRON HQ – DAY

TE3: Cooch bawled out again by Squadron Commander

OPENING THREE:

EXT – DOCKS – LATE AFTERNOON

TE1: Circumstances force Commander’s hand, he assigns Cooch to a 4-ship “but only for 72 hours” until he can bring in someone else

EXT ON WATER – NIGHT

INCITING INCIDENT: In the event, Cooch’s boat sees two destroyers instead of one on radar, uses discreet radio signal to bring help from other PTs. One destroyer sunk, the other damaged.

TE2: Cooch has his “awshit” moment – where he almost gets himself -and his crew – killed, AGAIN, by being rash, or undisciplined, but is saved by random “fog of war”

INT – SQUADRON HQ – DAY

TE2: Now Cooch is back in Commander’s good graces but success is secretly built on contradicting the Commander’s orders

OPENING FOUR:

EXT ON WATER – NIGHT

TE1: Cooch maintains attack on barges (destroyers gone) and shows maturity and patience in execution

INCITING INCIDENT: While on attack, another PT shows up, Cooch coordinates an attack “almost by mind meld” the way musicians can play with each other and “know” where the music is going. He shows restraint and succeeds in sinking 4 barges.

TE2: Cooch earns a Navy Cross for his courage, and so do the other 2 skippers

[L]

Laura’s Transformational Events

WHAT DID I GET OUT OF THIS ASSIGNMENT: This assignment truly begins to show the process of piecing the puzzle together. Not everything fits this draft, but I can see the potential of where it’s going. I do need to avoid the temptation to travel down side paths.

I’m two assignments behind, but this one went much faster. I can feel the momentum!

[Danielle Legrand]

Danielle LEGRAND’s Transformational Events

What I have learned doing this assignement is picturing the successive steps of a character’s transformation.

List of Changes or steps that need to happen for the character to go from who they are in the beginning to who they are in the ending :

ADRIAN

From easiest to most difficult :

– Stop acting his role as a Priest

– Relax, be natural

– Becoming a better listener

– Mingling with other peoples’activities.

– Participate in Sports events

– Break new ground compared with his predecessors

– Stop feeling embarrassed in a woman’s presence

Dramatic events or tests that could cause those changes for the character :

ADRIAN :

– Realizing his stereotyped ideas are not always true

– Recognizing the role of women in Christianity

– Experimenting an ever- growing solitude

– Finding Joy in the company of families.

– Helping his parishers to solve their prosaic problems

– Not feeling afraid of women any longer

– Standing up for injustice

AUDREY :

List of Changes or steps that need to happen for the character to go from who they are in the beginning to who they are in the ending :

– Make the choir a success

– Finding self-confidence

– Setting aside what other people will think of her

– Realize all men are not the same, particularly ADRIAN.

– Be herself

– Allow herself to be happy

– Forgive her parents.

Dramatic events or tests that could cause thoses changes for the character :

– Her choir is invited to perform in many other churches.

– She has to set the record straight with a « hollier than thou person »

– Revives a nice custom.

– Gets support from ADRIAN.

– Works together with him for helping a needy person

– For her children he is already part of their family.

– She feels guilty living a lie.