Lesson 13

[Tita Beal Anntares]

I just got an email with lesson 14 on meaningful action. I did not get an email for lesson 13. When I try to access I3 in classes, I see two 13 lessons, one on character and one on scene writing. And a notice to finish previous lesson (12) before I can have access to see the one or two assignments for 13. I guess 13 really is unlucky!

[Rhonda Burnaugh]

Same here! Now I’m trying to do #13 and #14!

[Rhonda Burnaugh]

Lesson#13: Elevated Scene Structure:

Scene 47: BEGINNING: Joe goes into Michael’s bedroom and sees him packing a suitcase. He tells him he doesn’t need to pack anything to go for chemotherapy. He informs Joe he is going to Malibu after his treatment. Joe asks if Anni is aware of his plans?

MIDDLE: Michael snaps that this will probably kill him. Joe tells him to just get it over with. Michael gets pissed.

ENDING: Joe thinks Michael is worried chemo will kill him. Michael is more worried that going back to his ex, Gloria will be the death of him. When Joe picks up the turquoise necklace Michael always wears, he realizes the answer is actually a sign that he needs to find Seraphine. Suddenly Michael thanks him for solving his decision. Joe is confounded as to how he helped?

What I learned from this lesson- I’m not very good at subtext!

[Julie Dod]

Lesson 13 – Elevating Scene Structure

Subject: Julie Dod’s Elevated Scene Structures

“What I learned from doing this assignment is…?”

I really appreciated this assignment, as I notice these scene structures in sitcoms, series, and films – to make scenes more interesting. Like someone taking off a heavy make-up face while telling backstory, or showing war wounds while telling their stories, in a chase scene having a couple’s fight, etc.

I identified several scenes I rated as 5s and re-read them with the intent to restructure them, but I ended up temporarily cutting one of the scenes and not changing the others. I guess because I was cognizant of action as I wrote the scenes, and that every scene needs to have a beginning, middle, and end, and at this time I can’t think of a better way to change them, but I’ll keep thinking on it, as the more intriguing I can make the scenes of course the better – so I will keep after it!!

What I learned is that I’ll always rate my scenes going forward with my screenwriting, and (2) I’ll be thinking about the 11 different scene structures to keep the action moving and the audience interested.

This was excellent information!

Thank you,

Julie

[Rhonda Burnaugh]

Where is Lesson #14 and #15?

[birgit keil]

Hi, everyone, I’ve been MIA but do plan to finish the course.

I see that lessons 14 – 18 are posted below lesson 2.

[ZhiMin Hu]

I enjoyed lesson 13. I not only worked on the scenes that I rated low, but also checked on the others scenes again. It’s exhausted, but the script is getting more and more interesting. I love this ride.

• This reply was modified 1 year, 9 months ago by  ZhiMin Hu.

[Tita Beal Anntares]

Finally received lesson 13 in email (could not open it online)

Tita’s Elevated Scene Structures

What I learned from this assignment:

· Ways to strengthen scene structure: Chronological. Surprise. Suspense. Superior Position. Irony. Crucible. Twist. Mislead and reveal. Misinterpretation.Competitive Agendas. Investigation / Hiding

· Every scene in my play has one of the above attention-keepers

Current Scene Components:

With armed debtors and new rebels in closing courts to stop them from throwing neighbors into prison, Ruth, a conservative woman, mocks and shames Sam, the new progressive leader – once a rebel leader himself-for creating chaos not democracy. She tries to force him to sign an order that will allow police to arrest anyone just watching a court closing, even if just an observer. He is silent. Shamed.

Better Scene Structure

Beginning: Ruth comes in ranting, demanding, shaming Sam

Middle: Ruth mocks and shames Sam, the new progressive leader – once a rebel leader himself-for creating chaos not democracy. Demands he sign the Riot Act or else…

Ending: Sam grabs the document, says sure – he will sign it — because he is sure wealthy merchants have set up spies to agitate the poor debtors at all. He will catch her instigators – showing he is totally

[J.R Riddle]

What I learned from this assignment – Elevated Scene Structure:

Each scene can be elevated with this new lesson 13. I read and reread scenes and rewrote a few. I am more satisfied with my writing, as I can understand how these choices and changes add a completely new dimension – not recognized before, like “Irony.”

EXT. FRONT ENTRANCE – AFTERNOON

Sitting in Nicky’s Mercedes convertible, both dressed for work, Francesca and Nick exchange warm good-byes. Her legs exit the convertible first – One ankle wrapped. Motor running, Nicky remains in his driver’s seat and lights a cigar.

Doorman, George squints to see them. He sniffs the air like a dog. George hurries to help with Francesca’s pink crutches.

GEORGE – THE DOORMAN

Ms Francesca, you always smell like a beautiful flower garden. Ms Gina smells spicy. And Ms Angela smells like … well ah… Ms Giovana … all different.

FRANCESCA MARTINO

That’s enough. Thank you, George, you’re too kind.

Nicky lifts the crutches from the back seat and hands them to George.

GEORGE – THE DOORMAN

Here, you can’t forget these.

(looks negatively at Nikolai, sniffs)

You watch out now, Ms Francesca.

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