Lesson 1 Assignments

[Margaret]

Margaret’s Structure Solutions

Vision: To be the best faith-based screenwriter

What I learned: I needed to increase the conflict in several places and I missed the outline in several places.

My updated beat sheet:

Logline

Legends of St. Patrick: Rock of Cashel: (St.) Patrick fights the Queen of Ireland’s Otherworld to save the king and change the culture of a nation. Inspired by the life and Legends of St. Patrick.

Genre: Fantasy, Drama

Opening:

1. EXT. IRELAND – MT. CRUACHAN – DAY

SUPER: “MT. CRUACHAN, IRELAND. 412 A.D.”

MORRIGAN, the goddess of the Irish Otherworld, confronts (St.) PATRICK. He refuses to submit to her and in her anger, she blasts a piece of the mountain and hurls it towards the valley, threatens to kill Patrick.

Inciting Incident:

2. EXT. BRITAIN – DOCKS – DAY

Ten years earlier. ALITA, berates her brother, PATRICK, for attempting to run away from his duty to become a priest. The fisherman Patrick had planned to join are really kidnappers and take Patrick and his sister captive.

3. EXT. IRELAND – DOCKS – DAY

Patrick is hauled off by Patrick, Alita by a man appearing dressed like a druid.

By page 10, you know what the movie is about:

4. EXT. MT. CRUACHAN – DAY

Five years later. BACRAH, a powerful druid, recites incantations to create an opening in the rock wall, hoping to release Otherworld creatures. He is confronted by Morrigan who tells him there is a threat in Ireland and Bacrah must find and destroy the threat.

5. EXT. FIELD NEAR MILCHO’S HOME – DAY

A wolf (Bacrah) searches for Patrick. Sees him care for his lambs. When a lamb strays to close to the river, Bacrah pushes it in. Watches as he herds the sheep and attempts to save an errant lamb from a raging river.

6. EXT. RIVER – MOVING WITH PATRICK (ABOVE/UNDERWATER) – DAY

Patrick unsuccessfully attempts to save the lamb while a wolf (Bacrah) watches.

7. EXT. MILCHO’S HOME – DAY

Patrick brings the dead lamb to his master (Milcho). Milcho finds purpose in the lamb’s death and cares for Patrick so he won’t get sick. Patrick inquires about Alita, which irritates Milcho.

8. INT. MILCHO’S HOME – NIGHT

Milcho is disturbed in the night by a wolf’s howling. He sees a fire outside near a statue of a sun god. Fearful, recognizing he is being called, he leaves the house.

9. EXT. HILL – NIGHT

Milcho meets with Bacrah at the statue of the sun god. Bacrah pays Milcho for Patrick and states he will come for him in the morning.

10. INT. MILCHO’S HOME – DAY

Milcho warns Patrick about Bacrah and Patrick flees.

11. EXT. HILL – DAY

Patrick meets wolves, runs into the forest to escape the wolves. A crow flies overhead. Bacrah shapeshifts into a wolf and follows.

12. EXT. RIVERBANK – DAY

Bacrah (as a man) catches up with Patrick at the edge of the river, mocks Patrick’s God. Patrick escapes by jumping onto a tree being carried along on the fast current. The crow watches from the top of a tree nearby.

13. EXT. FOREST – MOVING WITH PATRICK – DAY

Patrick runs through the forest to the sound of howling wolves

14. EXT. RIVERBANK – DAY

Patrick makes it safely to shore. No sign of Bacrah. The crow watches – lightning strikes near Patrick. Patrick moves into the forest to seek shelter from a storm.

15. EXT. FOREST – NIGHT

Patrick regrets leaving the sheep and not trusting God. He cries out to God for wisdom – should he return to Milcho? Should he seek out Alita?

16. DREAM SEQUENCE – EXT. NIGHT – AN HOUR LATER

Patrick prays, the angel Victor appears, tells him to leave Ireland, that God will give him another flock to care for. Tells him to go to the coast and warns him not to stop. Bacrah appears as a snarling wolf. Victor intervenes to save Patrick.

17. EXT. MEADOW – DAY – SAME

Bacrah runs through a meadow but is stopped by Morrigan. Livid, she asks Bacrah why her servants are less powerful than another god’s. Tells Bacrah he will be her service dog for the High King but his failure will come at a cost, he will lose his ability to shapeshift.

18. EXT. MEADOW – DAY – TEN DAYS LATER

Patrick stumbles through a meadow. Gaunt, dehydrated. He falls. Morrigan appears, Morrigan appears to Patrick, tells him there is no hope for him. She learns of Alita, accuses him of not being good enough to save her. She warns he will be rejected by his parents if he attempts to return home and it would be better for him to die and serve her in the otherworld. She offers him a poison. Patrick tells her he will serve no other god but the true One. He attempts to leave but passes out. Morrigan scoffs, shapeshifts to a crow and flies off.

19. EXT. MEADOW – LATER

Two sisters discover the half-starved Patrick unconscious in a meadow. They assume he is dead. When he breathes, they attribute his life to the fairy people and take him to their Da. He wakes, calling for Alita. A crow in a tree watches the action.

20. INT. COTTAGE – DAY

The Irish family (Cailin, Moira, and Da) interrogate Patrick, attempt to convince him to stay. Moira (a shapeshifted Morrigan) attempts to seduce him to deter him from his mission.

21. EXT. IRELAND – DOCKS – DAY

Patrick begs for work to pay for passage to England and is rejected. Morrigan shapeshifts into the Captain and brings Patrick on board. Patrick expresses remorse about leaving Alita behind. Morrigan watches as the ship sails. Smiles to herself.

22. EXT. BRITAIN – PATRICK’S HOME – DAY

Patrick is reunited with his parents; tells them he is ready to be a priest. Patrick lets them know he couldn’t find Alita.

23. INT. PATRICK’S HOME – BEDROOM – NIGHT – FIVE YEARS LATER

Patrick sleeps at a desk, his head on a piece of paper, ink dripping from the quill in his hand.

24. DREAM SEQUENCE

Patrick dreams of letters from Ireland telling him to come and tell them of God.

First turning point at end of Act 1: Patrick’s return to Ireland.

25. EXT. BRITAIN – DOCKS – DAY

Patrick tells his parents he plans to become a priest, return to Ireland, pay Milcho the debt for his freedom, and share the message of God’s love with the Irish.

ACT TWO:

New Plan: Evangelize the Irish.

New Plan in Action: Evangelize Milcho

26. EXT. MILCHO’S HOME – DAY

Patrick tries to pay Milcho for his freedom and evangelize him. Milcho won’t accept his money, tells him he can’t talk about his god now, but to come back on the morrow and he will listen to him. Patrick tells him he won’t give up on him, worrying Milcho.

27. INT. MILCHO’S HOME – DAY

Milcho’s neighbor brings the pig fat he requested to him. Milcho telss him he has been threatened with an afterlife of torture in the Otherworld, if he listens to Patrick. Milcho commits suicide by burning his house down with him in it, killing his wife as well so not to fall under Patrick’s spell and accept his God.

28. EXT. MILCHO’S HOME – DAY – MOMENTS LATER

Patrick tries to save Milcho. After Milcho’s death, he leaves, runs to the statue of the sun god.

Midpoint Turning Point:

29. EXT. HILL – DAY

Patrick desecrates the statue to the sun god by painting a cross over its circle. Vows that the Irish will not belong to Morrigan. As Patrick turns from the statue, a crow lights onto it.

30. EXT. KING LOEGHAIRE’S CASTLE – DAY

Bacrah kneels in front of Morrigan, asks why he has been brought to King Loeghaire’s castle. He is given a mission to keep King Loeghaire from listening to Patrick, his life dependent on it.

31. EXT. TARA – HILL OF SLANE – LATER

Patrick desecrates another sun god’s statue. He lights a fire on the eve of Paschal, inadvertently breaking a pagan prohibition. Patrick swears he will not be stopped from fulfilling his mission.

32. EXT. KING LOEGHAIRE’S CASTLE – EVENING

Bacrah watches the countryside, notes Patrick’s fire from a distance, growls like a wolf.

33. INT. KING LOEGHAIRE’S CASTLE – EVENING

Bacrah notifies the king of the Paschal fire, obtains permission to kill the man who lit the fire.

34. EXT. TARA – HILL OF SLANE – EVENING

Bacrah confronts Patrick and curses his God. Patrick calls on his God and a miraculous

intervention leaves Bacrah unconscious, the King’s druid joins Patrick out of fear, and Bacrah flees back to the castle.

35. EXT. TARA – HILL OF SLANE – NEXT DAY

Patrick and Dubtach plan to go to the castle. Dubtach expresses his concern but denies his fear.

36. EXT. KING LOEGHAIRE’S CASTLE – SAME

Patrick and Dubtach make their way to King Loeghaire’s but are hampered by a thick fog sent by Morrigan. A blind beggar attempts to divert Patrick from his mission, tells him he could better serve by helping the poor and the blind and that God will bless him with riches and power if he obeys this directive. Patrick rejects the beggar’s philosophy, the fog clears. Victor appears, warns Patrick he must keep his focus, blesses his journey.

37. INT. KING LOEGHAIRE’S CASTLE – THRONE ROOM – DAY

Patrick seeks an audience with King Loeghaire. King Loeghaire agrees to help if Patrick’s powers can help locate his kidnapped son. Patrick prays, the King’s son is found and the grateful king agrees to listen to Patrick. Patrick sees a serving woman, thinks it is Alita, and asks for her freedom.

38. INT. KING LOEGHAIRE’S CASTLE – PATRICK’S ROOM – EVENING

“Alita” (Lizzie) is sent to Patrick’s room. He discovers she is not his sister.

39. INT. KING LOEGHAIRE’S CASTLE – BANQUET HALL – NEXT DAY

Patrick, Dubtach, and Lizzie enjoy the banquet. Patrick tells the King of God’s love. The King listens until a crow flies into the castle. In fear at seeing the crow, the King has a heart attack and Patrick, Dubtach, and Lizzie are taken to the dungeon.

40. INT. KING LOEGHAIRE’S CASTLE – DUNGEON – DAY

Dubtach looks for Patrick’s power to free them, Patrick seeks God’s will which angers Dubtach. Lizzie sees Patrick’s faith and turns to God.

41. INT. KING LOEGHAIRE’S CASTLE – KING’S BEDROOM – DAY

King Loeghaire rejects Patrick’s message, agrees to send him to the High King.

42. INT. KING LOEGHAIRE’S CASTLE – BACRAH’S ROOM – NIGHT

Morrigan appears to Bacrah, threatens him once again for his failure, now removing his ability for foresight. She sends him to the High King. States if he does not protect King Aengus, he will be the lowliest in the otherworld for eternity. She makes it clear that she will control him (as she does all her servants) and that is her pleasure. He screams out his anger after she leaves.

ACT THREE:

Rethink everything: Patrick heads to King Aengus

43. EXT. KING LOEGHAIRE’S CASTLE – DAY

Patrick laments the lost soul and sets off to the High King. A sudden downpour and a visit from a Banshee with the prophesy of Lizzie’s death if Patrick doesn’t leave his current path leaves Dubtach unsettled.

44. EXT. KING AENGUS’ CASTLE – DAY

Bacrah meets the trio outside of the castle. Dubtach betrays Patrick. Bacrah threatens Lizzie if Patrick doesn’t yield. Lizzie responds by killing herself. Patrick is taken to the dungeon.

45. EXT. KING AENGUS’ CASTLE – DUNGEON – NIGHT

Patrick feels like he is a failure but his faith in God prevails and renews his courage. Struggles with his desire to find Alita versus evangelizing.

46. INT. KING AENGUS’ CASTLE – THRONE ROOM – DAY

King Aengus is angry that Bacrah overstepped his power by throwing Patrick in the dungeon. He orders Patrick and Bacrah to face him tomorrow.

47. EXT. KING AENGUS’ CASTLE – DAY

Patrick refuses to do miracles for the king. He is sent to faced with a choice: serve the druids or face Morrigan on Mt. Cruachan. Patrick chooses to go to Mt. Cruachan.

48. EXT. BASE OF MOUNT CRUACHAN – LATER

On the way to Mt. Cruachan Patrick sees a peasant woman by a stream (Morrigan) washing clothes soaked with blood. She stares at Patrick as she holds up the rinsed clothes, he realizes they are the exact match of his own. The woman disappears and the soldiers take it as a sign he will die, and that the woman was none other than Morrigan.

49. EXT. MT. CRUACHAN – LATER

Bacrah sends Patrick into a cave to meet Morrigan.

50. INT. MT. CRUACHAN – CAVE – SAME

Patrick enters the cave to confront snakes. He orders them out of the cave and out of Ireland.

51. EXT. MT. CRUACHAN – EVENING – MOVING WITH THE SNAKES

The snakes come out of the cave and from the woods, overcoming and moving over the soldiers. The snakes move down the trail and head down the mountain into the sea to die.

52. INT. MT. CRUACHAN – CAVE – SAME

A woman’s voice beckons Patrick deep into the cave. He finds “Alita” who attempts to turn his allegiance to Morrigan. Unbending, Morrigan reacts by showing herself, letting Patrick know Alita is dead and then she kicks Patrick out of the cave to face greater trials to sway him to serve her.

Turning Point Act 3

53. EXT. MOUNT CRUACHAN – DAY

Patrick faces the onslaught of the otherworld creatures. Morrigan threatens to harm the Irish if he does not submit. In her anger, she takes a piece of the mountain and throws it (the Rock of Cashel) and sends Otherworld creatures to harm the High King. Victor comes to assist Patrick but Patrick refuses to leave Mt. Cruachan until Victor blesses his ministry.

Act 4:

Crisis:

54. INT. KING AENGUS’ CASTLE – THRONE ROOM – DAY

King Aengus and Bacrah investigate the sudden darkness of the day. Bacrah sees Meraxes (Morrigan’s dragon) but the King is unaware and not believing in the otherworld creature.

55. EXT. KING AENGUS’ CASTLE – SAME

Bacrah sees the otherworld creatures approaching the castle but the King is blind to them. They both go back into the castle for safety.

56. INT. KING AENGUS’ CASTLE – SAME

The King and Bacrah see the smoke in the castle. The King goes to his room for safety while Bacrah investigates.

57. EXT. KING AENGUS’ CASTLE – SAME

Bacrah attempts a spell to bring rain and extinguish the flames from Meraxes.

58. INT. KING AENGUS’ CASTLE – BED CHAMBER – SAME

The King attempts to extinguish the flames at his window with bed covers. A crow appears – he throws a pillow at her.

59. EXT. KING AENGUS’ CASTLE – SAME

Bacrah calls down lightning to destroy Meraxes. With an injured wing, Meraxes flies back to Mt. Cruachan.

60. EXT. KING AENGUS’ CASTLE – ROOF TOP – DAY

The Rock of Cashel flies over and lands, causing the earth to quake.

61. INT. KING AENGUS’ CASTLE – BED CHAMBER – SAME

Bacrah tells the King of the extinguished fire and the Rock of Cashel. The King refuses to hide in his room any longer.

62. EXT. KING AENGUS’ CASTLE – ROOF TOP – SAME

The King views the Rock of Cashel, feigns a courage he does not feel.

63. EXT. KING AENGUS’ CASTLE – LATER

Seeing the approach of the otherworld creatures, with Patrick behind them, Bacrah orders the soldier’s to gather.

64. EXT. KING AENGUS’ CASTLE – LATER

Bacrah orders the King’s men to attack creatures they cannot see. The soldiers begin to fall.

65. EXT. ROAD TO KING AENGUS CASTLE – SAME

Patrick sees warrior fall to the underworld creatures, prays for their protection.

66. EXT. KING AENGUS’ CASTLE – DAY

The commander calls for a retreat as the earth tremors cause stones to fall from the castle.

67. EXT. KING AENGUS’ CASTLE – ROOFTOP – SAME

Bacrah calls for Morrigan to help the people. She appears, confronts Bacrah, scoffs. Morrigan tells Bacrah she will punish him not with the gift of death, but by causing him to be powerless. She is taking his power away by taking away those who serve him.

Climax:

68. EXT. KING AENGUS’ CASTLE – SAME

Patrick prays for help and that the warrior’s eyes will be opened. Victor and angels appear and fight, Victor taking on Morrigan. Patrick holds up his staff like Moses so that Victor will be defeated. Patrick is attacked but saved by angels and continues to hold up his banner. The warriors gain the upper hand once they can see. Morrigan and the Otherworld are defeated. Victor banishes Morrigan.

69. INT. KING AENGUS’ CASTLE – THRONE ROOM – SAME

Bacrah tells the King of the victory, the King wants to see Patrick.

70. EXT. KING AENGUS’ CASTLE – SAME

Bacrah confronts Patrick and warns him not to try to turn the King away from the druid’s power. Tells him what really happened to Alita, martyred for God, and warns the same will happen to him. Patrick forgives Bacrah for Alita’s death.

Resolution:

71. INT. KING AENGUS’ CASTLE – BANQUET HALL – SAME

Patrick leads the King to the knowledge of the Lord. He tells him he must reign in the power of love, not by causing the people to fear.

72. DREAM SEQUENCE – KING AENGUS’ CASTLE – PATRICK’S ROOM – NIGHT

Victor shows Patrick the Rock of Cashel and promises it to be a center for spreading the gospel. States the King will be baptized here.

73. EXT. ROCK OF CASHEL – DAY

Patrick baptizes the King and then lifts his staff to pray. He brings it down firm on the “Amen” and the sharp end of the staff goes right through the king’s foot. The people assume Patrick will be killed immediately. Patrick is challenged by his own fear at the event and humbly accepts his fate. The king only replies with Patrick’s own tale of Jesus on the cross, “If the Lord can be nailed through his feet, then I too will suffer for him.” Bacrah is banished.

74. EXT. ROCK OF CASHEL – DAY – FIVE YEARS LATER

A church has been built on the Rock of Cashel. Peasants file into the church. Patrick overlooks the valley to see a flock of white sheep, one black sheep bleating.

[Lloyd Shellenberger]

Lloyd’s Structure Problems Applied

Working hard every day to become the best writer I can be and as a result I do become the best writer in Hollywood.

What I learned from this assignment was how important clear language makes for clear vision.

Mod 6: Lesson 1: Apply Structure Solutions

Act 1:

Opening/Old Ways: Reese is a man hiding behind rules and regulations. His life in the Army is all about avowing his past and his days on the streets of Brooklyn.

Inciting Incident: When several children are killed, and he loses his best soldier Reese must confront an open wound that haunts him.

Turning Point: Following the death of his Interpreter Reese sees the flaws and contradictions in the very same system that will hire an Iraqi local to help them but will not give them asylum when they need it.

Act 2:

New Plan: Reese decides to protect and pursue the asylum visa for the widow and her children. He approaches the State Department and tries to apply a hammer to a situation that would be better suited for the pen.

Plan in action: Reese and his men provide protection and help to the widow and her family at the risk of their own lives. Reese demands a visa for the widow, a plan that had no hope of succeeding.

Midpoint Turning Point: We see this approach could cost Reese and his crew everything as they are threatened with court- martial for their actions. Reese must now choose between his career and doing what is right.

Act 3:

React/Rethink: Reese now sees that seeking a Congressional sponsor and offering up Al-Sadr in exchange is his only hope of saving the family and his career. He must get the CIA, State Department, and his military command on the same page.

New Plan: Reese and his command offer Al-Sadr and his men in exchange for and SQ-1 visa for the Widow and her family.

Turning Point: After Reese threatens a CIA asset the command has told him he has 5 days to pack and go back to face court martial. He convinces his commander he can deliver Al-Sadr and presents a bold plan with he and his crew as bait.

Act 4:

Climax/Ultimate Expression Of The Conflict: Reese uses disinformation and deception to lure Al-Sadr and his men into a gun battel on Haifa Street with his men and the 81^st Airborne in which the winner takes all.

Resolution: Reese has now come full circle understanding the suffering of the Iraqis. He has also learned to forgive himself for the mistakes that cost his brother’s life. As The widow’s life has changed dramatically so has Reese’s. They are connected.

New Ways: Reese has now become a more complete and understanding person who sees both sides of the coin, including his father’s point of view. He is forever a better person as a result of his promise to Fazziz and her children.

[Lenore]

Lloyd,

Just want to let you know how interesting and well organized your outline seems to me. I hope when we get to the exchange-feedback lesson 5, you’ll let me exchange with you. In the meantime, maybe you will think in terms of what specific Act 4 action will be of both your Climax/ultimate Expression of the Conflict and your Resolution. What specific episode or action demonstrates that Reese is now a better person? I’m hoping it can be a tear-jerking scene. Remember, just because your story is based on a true incident, you don’t have to stick to the truth–unless you plan to name the true characters in the credits. I’m wondering, since you say the widow and Reese are connected, if you’re already thinking about making them a couple. And if not, could Reese be instrumental in getting her involved in a group that has men who knew and admired her husband? Sorry–I can’t refrain from brainstorming when I’m in love with a plot, as I am with yours. Write on! Lenore

[Lenore]

WIM Module 6, Lesson 1

Lenore Bechtel : Apply Structure Solutions

My vision: I want to create enough salable screenplays that an agent will want to market my work and recommend me for writing assignments.

What I learned from doing this assignment is how important it is to have inciting incidents, turning points, and all the elements needed properly spaced throughout the screenplay.

Because I had placed all these things properly in my outline, I was fairly sure they’d be in the right place in my script. But I double checked, took the following notes, and ended up not changing anything.

Act I:

Conflict of needing to be in Berlin when the wall comes down to meet the Russian soldier she loved before the wall went up is stated on p. 2. With Libby’s monologue to ticket agent

Inciting incident in flashback on p. 11 when Libby’s resentment to the Major is obvious

Turning point in flashback on p. 20 when the private takes Libby out of the East

Act 2:

New plan starts in flashback on p. 21 when Libby decides to date a Russian to spite her father

Plan in action in both present and flashback from p. 21 to 42

Midpoint turning point in flashback on p. 42 when Heinz starts dividing Shellenberg Park with barbed wire.

Act 3:

React/Rethink: Libby starts viewing her father differently when he too shows concern about getting Helga’s family, Heinz, and Zhores out of the East, starting on page 45.

New Plan in flashback starts on page 50 when the Libby and the Major plan how to choreograph the escape.

Turning Point: In flashback the lowest of the low happens on page 52 when Zhores does not come to the West with the other escapees.

Turning Point: In the present on page 65 Libby lets Freida know that the husband she’s sorry she left is Libby’s son.

Act 4 is all in the present:

Turning Point for Freida: On page 71 she transforms from shy runaway wife to bold take-charge person.

Turning Point for Allison: On page 76 as Libby tells about visiting Helga with her son in 1978, Allison starts hoping the son might be her father, making Libby her grandmother.

Turning Point for Libby has been throughout the flight as she learns from Freida how neglectful she’s been to her son and comes to realize that family is more important than the career she built so successfully.

Climax/Ultimate Expression of the Conflict: On page 80 when a traffic jam of cars and pedestrians is preventing them from getting to the park in time, Allison performs and persuades pedestrians to open a path for them.

Resolution: A changed Freida is reunited with Stuart, a delighted Allison has her suspicions confirmed—that Stuart is her father. Libby—after neglecting her son and rejecting all possible suitors—is ready to dedicate her life to her family, whom she tearfully introduces to an astonished, very pleased Zhores who arrives at exactly midnight.

I attribute the proper spacing to my very detailed outline, which made the first draft very easy to write.

[Adrienne Watkins]

Adrienne Watkins – Structure Solutions Module 6 lesson 1

My Vision: I am going to work as hard as I reasonably am able to succeed at script writing to be recognized by multiple movie producers as a skilled script writer, and to have my scripts produced worldwide

What I have learned from this assignment is to create a depth of character to flow with my story and keep structure and dialogue flowing.

I am still working on structure grid changes……

[Brian Bull]

BRIAN BULL – Structure Solutions!

VISION!!!
My ultimate goal is to get my scripts from my hands to the SILVER SCREEN!!

“What I learned from doing this assignment is…
I need to continue to write more. I could spend a lot more time on this but at the present time I feel I need to move on. I am hoping future assignments will overlap with this assignment but if not then I need to keep working at it.

The ONE THAT GOT AWAY – A Fisherman’s Tale
A fisherman is determined to catch the fish he blames for his younger brother’s death, however, in the end, it turns out the fisherman is the one who had gotten away.

ASSIGNMENT

Using the Structure Questions above, go to each structure point and ask the appropriate question. Then really answer it. If you like the answer, move on. If any of them don’t meet the purpose of that structure point, flag it to look for a solution.

For any problems you discovered, go to the Structure Grid for potential solutions. Find a solution, then take action on it.

Apply the solution by doing a HIGH SPEED REWRITE to that part of the script. Then do that process with the next and the next, etc., until there are no identifiable structure problems in your script.

Give us a list of the changes you made to your script. But don’t post the actual script.

There were numerous changes made to the script and I didn’t make a list as I was doing them; I just did them as I went along.

Post your Beat Sheet to the forums – I know this isn’t a BEAT SHEET but having given this assignment LOTS and LOTS of thought / work I have decided to restructure my script back to it’s original format realizing now that it is the BEST way to proceed.

Notes: The story is present day with John being 38 and is told through a series of flashbacks as John reminisces while fishing about how he came to this very moment in time.

ACT 1
OPENING (Old Ways)
John (38) puts the boat in the water deep in the Louisiana bayous and begins to look for “The Spot”. Finding “The Spot”.

John (8) and his father on the river bank as his dad teaches John the values of fishing and how to fish.

John (13) teaches his younger brother Jim (11) the values and how to fish. They run out of bait. Not giving up, John decides to try chicken from their sandwiches.

Inciting Incident
John (13) catches a “BIG ONE” and gets pulled into the water. Jim dives into the water with a knife and cuts the line. John emerges from the water and gets back into the boat. Jim never resurfaces.

TURNING POINT #1
John (13) is left all alone in the boat.

ACT 2
REACTION:
Since “The Incident”, John (38) has gone fishing for “The Fish” for 25 years. Jim’s photo hangs in the garage and is a constant reminder of his failure at redemption!

PLAN IN ACTION:
John is gathering his fishing equipment. Fishing Pole, Tackle Box, Gloves, Spear, Etc.

Wife reminds John of his failures – nothing to show for his past attempts.
Thinks he should give up and spend time with their son.
Wife suggests trying a different bait – John replies, “NEVER!!!”
John sees a photo of his Grandfather with a huge catfish and wishes he could be successful like him.

MIDPOINT TURNING POINT #2:
John uncovers Jim’s fishing hat and packs it.

ACT 3
RETHINK:
Stopping at a gas station/trading post, an old-timer recalls a fishing tale about the Native Indians who spoke of catfish so large one catfish could feed a village.

NEW PLAN:
John buys some dog chain, a machete and a whole routtsierre cajun chicken. John puts the boat in the water and begins to look for “The Spot”. Finding “The Spot”. Doing everything just like he always has John grows weary.

TURNING POINT #3:
John reels his line in and finds an empty hook and he’s out of bait.

Act 4
NEW PLAN:
John decides to try the whole routtsierre cajun chicken he picked up from the gas station/trading post as bait.

CLIMAX/ULTIMATE EXPRESSION OF THE CONFLICT:
John hooks “The Fish” and the power struggle begins, many of the same tactics “The Fish” used when he was a kid are used again, but John is prepared for each one of them. He manages to reel “The Fish” in; close enough that he can harpoon it with his spear. Face-to-face with “The Fish” John sees that he has indeed managed to catch the biggest catfish in Louisiana history!!!

John realizes, “I’m the one you were after – I’m the One That Got Away!”

RESOLUTION:
Leaning over the edge of the boat, John is engulfed by “The Fish” thus leaving an empty fishing boat floating in the midst of the water.

[H. Vince]

H. Vince’s Structure Solutions!

WIM Module 6 – 2023

Lesson 1: Apply Structure Solutions

What I learned from doing this assignment is the outline has got to match.

List of changes:

Here’s the thing, when I exchanged outlines initially, I only had surface elements. So I added so much to the outline to make the story more dynamic and have it go even deeper. The changes were really reflected in this module.

TITLE: DREAM VACATION

WRITTEN BY: H. Vince

GENRE: DRAMA/THRILLER

HIGH CONCEPT: When a retired couple finally take their dream vacation, the husband starts showing signs of rapid dementia and leaves his wife in distress in a foreign country.

MAJOR STORY HOOK: Imagine thinking you can trust your doctor to prescribe you something to block your anxiety and instead you become a guinea pig for a clinical trial drug that causes extreme memory loss while you’re in a foreign country on your dream vacation!?

[Marguerite Langstaff]

Module 6 Lesson 1 Structure Solutions

Marguerite Langstaff: THE BILLIONAIRE IN 501

Vision: I want to learn to write and market movie scripts.

What I learned from doing this assignment was that I could change any part of my script that I wanted to change.

State/Activity: I had to step back and think about my script rather than being so close to it.

Changes made:

I realized that the audience didn’t have any explanation as to why my Protagonist, Mimi, wanted to go to Shady Acres….and why she wanted so much to stay there instead of moving somewhere else.

So I added a flashback scene showing her living on a ranch where her husband had his own airstrip and plane. She kissed him goodby, turned to go back to the ranch house and her husband climbed into the plane, took off, and suddenly crashed to the ground.

Another change was made to make the relationship between Mimi and her son closer…or to clarify it. It was a very close relationship, but the original script didn’t do it justice…so I added a scene for that.

[Veronica Turowski]

Veronica Turowski Structure Solutions!

My Vision: I want to be a successful writer who writes several scripts yearly and then sells them to producers who create my vision for the big screen.

I removed several scenes that weren’t necessary and combined others to tighten the scenes. I added a dream to show why Eppsa is overprotective of her son, Hayden.

What I learned from doing this assignment is most of the script matched my pitch. I just needed to change a couple of turning points to make them stronger.