Lesson 7

[Bob Rowen]

Bob Rowen’s Connection with the Audience.

What I learned doing this assignment is the importance of devising a way to make the characters appealing to the audience thereby connecting them to the story.

Tell us which characters you are going to INTENTIONALLY create a
connection with the audience. 2. With each character, tell us how you’ll
use each of the four ways of connecting with the audience in the first 30
minutes of the movie. A. Relatability B. Intrigue C. Empathy D. Likability,

WADE MEADOWS – Transformable Character: A classroom teacher who survives his first three probationary years because of his successful football coaching. Intentional connection with the audience will be Likability because he is an idealistic, naïve, headstrong person who is at war with some on-the-school-board powerbrokers over curriculum while at the same time wanting to provide security for his family. After gaining tenure, Wade learns it may not be enough to protect him from the powerbrokers opposed to his teaching.

DON WALKER – Change Agent: The high school’s principal. Intentional connection with the audience will be Intrigue because he cleverly supports Wade in Wade’s struggle with the school board while not having tenure (it’s like Don says, “I’m just three votes from losing my job every month).

MADELYNN MEADOWS – Supporting Character: Wade’s devoted and supportive but fearfult wife. Intentional connection with the audience will be Empathy because security is more important to her than taking risks. Madelynn is scared her husband will lose his job.

AFTER THINKING MORE ABOUT THIS ASSIGNMENT, I’M ADDING THE FOLLOWING:

Intentional connection with the audience:

WADE MEADOWS – Transformable Character: A classroom high school social science teacher.

Relatability – Wade wrestles with the challenges of being a new, inexperienced teacher.

Likability – Wade is a teacher dedicated to making a meaningful difference in the lives of his students.

Empathy – The president of the school board wants Wade gone for political reasons!

Intrigue – Wade learns tenure may not be enough to protect him from the powerbrokers opposed to his teaching.

DON WALKER – Change Agent: The high school’s principal.

Relatability – Don is caught up in the middle, striving out of necessity to keep both opposing forces happy.

Likability – He is kind, considerate and appreciates excellent work but finds himself on the chopping block because of it.

Empathy – As a school administrator, Don doesn’t have tenure so he’s just 3 votes away every month from losing his job.

Intrigue – Will he be able to keep his job while supporting Wade?

MADELYNN MEADOWS – Supporting Character

Relatability – Madelynn is a devoted and supportive wife.

Likability – She is willing and able to stand up to Wade when necessary.

Empathy – Because security is more important to her than taking risks, Madelynn is scared her husband will lose his job.

Intrigue – What will happen if Wade loses his job?

• This reply was modified 1 year, 12 months ago by  Bob Rowen.

[Bill]

Bill Southwell’s Connection with the Audience

What I learned from doing this assignment is that it is important to understand what the audience is feeling about the characters. And that the writer can control that.

I am going to have Charis, the transformational character, DELIBERATELY create a connection with the audience

A. Relatability: Logline: After a school dance Charis is with friends driving around. The driver gets rambunctious and makes some sharp turns and enters the 101 Freeway, on the San Francisco peninsula, sometimes called the “bloody Bayshore freeway” because of the many accidents there. The boys in the car urge him on as he changes lanes suddenly.

CHARIS

(Loudly) STOP THIS CAR!

Everyone is shocked and there is silence. No one knows what to do or say. The driver takes his foot off the pedal but realizes he cannot stop the car on the freeway.

CHARIS (cont.)

My life may be short as it is, BUT I WILL NOT DIE IN A CAR ACCIDENT!

The driver is now in safe driving mode and looks for an exit.

B. Intrigue: Opening Scene Titles: Camera is close up on hands painting a spool character. We see a small paint brush painting on a tight mustache. The camera pans to show other painted spools including a Mom, a little girl, and a dog. It is clear that this is done with great skill, but we do not see the person who is doing this.

C. Empathy: Logline: Charis and her husband Bill are in the social service office in Sunday dress.

SOCIAL SERVICES LADY

Thank you for coming in. We have reviewed your application for adoption, and I wanted to relate to you directly our decision.

Charis and Bill are on the edge of their chairs, eager to hear the results.

SOCIAL SERVICES LADY

Your application is quite impressive. Both of you with college degrees. And Bill, I see you are well employed as an Assistant Professor—which we consider to be very secure.

CHARIS

Yes, we have been blessed. The only thing we lack is a baby but my doctor has advised that I not get pregnant.

SOCIAL SERVICES LADY

Well, yes. About that. After careful review—and this was a difficult decision—the board has declined your application for adoption.

BILL

(quickly) Why?

SOCIAL SERVICES LADY

I am not allowed to discuss the reasons for this decision. But you realize we do not have many babies up for adoption and we have a long list of parents wanting to adopt. I am truly sorry.

Charis and Bill are back in the parking lot in their car. Charis is sobbing.

D. Likability: At Charis and Bill’s home in Rapid City South Dakota two older American Indian ladies come to their door. Charis answers the door. They are asking for food. Charis invites them in and asks them to sit while she gathers things for them. She goes to her supply pantry and puts some jars of canned peaches and some dry beans in some grocery bags. The ladies were appreciative and went on their way.

[Susan Willard]

Susan A. Willard’s Connection with Audience

What I learned from this assignment is relationships make profound stories, and connections are like glue to relationships.

Tell us which characters you are going to INTENTIONALLY create a
connection with the audience.

Lead Transformational Character: Walter.

Transformational Character: Walter’s Grandson: Landon.

With each character, tell us how you’ll use each of the four ways of
connecting with the audience in the first 30 minutes of the movie.

1. Walter.

A. Relatability –

· Having breakfast and playing cards with his friends.

B. Intrigue –

· His friend goes missing for some unknown reason, and Grandpa and his friend get involved in looking for him, because he is like part of their family.

C. Empathy –

· His family comes in to stay with him during the summer, but Walter is unprepared for them, preoccupied with a missing friend.

D. Likability –

· When Landon has physical problems with his new prosthetics, Walter, being a good Grandpa, doesn’t make a fuss, but instead helps Landon to figure out the problem and fix it on his own so he can slowly become independent.

2. Walter’s Grandson: Landon.

A. Relatability –

· Landon just got his new prosthetics, so he is uncomfortable with them. He must learn many things about wearing, caring for, using them and more. His dad brings him to his grandpa’s house and abruptly leaves for a business trip, after a huff of an argument with grandpa. The entire situation makes Landon uncomfortable, worried, and insecure.

B. Intrigue –

· Grandpa’s friend, that Landon knows well, has gone missing. No one seems to care or want to help Grandpa to find his friend.

C. Empathy –

· Landon is worried and confused. His summer vacation started in a most terrible way.

D. Likability –

· When Grandpa gets stuck, or out of ideas, Landon helps him out in his own special ways.

[Andrea Gilbert]

LESSON 7: ANDREA’S CONNECTION WITH AUDIENCE

1. What I learned doing this assignment:

The main characters of a transformational profound story need to engage the viewers in order to want to go along for the journey. I believe I will discover more of their relatability, likability, intrigue, and empathy as I get into the actual scene creation.

2. First 30 minutes connecting to audience for…

Jill: Transformable Character

· Relatability:

Jill struggles to present her art to a publishing company, which exposes her vulnerability – so much that it triggers her nervousness and insecurity. We’ve all been there. Jill also, as an artist, has difficulty with her real-world job as a bartender. Many creative types can relate to that.

· Intrigue:

Jill is predisposed to ‘flights of fancy’ – whenever she encounters conflict her imagination generates a silly scenario in her head to take off the edge.

· Empathy:

We feel her pain when she has to deal with her narcissistic mother who doesn’t even try to understand Jill, as well as an insensitive bar manager, and an oblivious half-brother with whom she lives.

· Likability:

Jill has a neurotic and sarcastic sense of humor that is rather self-deprecating and adorable. Think Diane Keating in Annie Hall if she were more like Woody Allen.

Skyler and Ami make their appearance in the first page as characters in Jill’s graphic novel. The scene is animated, so they’re live action.

Skyler (transformable character)

· Relatability:

Skyler is genuinely concerned for hers and her passenger Ami’s safety as their spaceship enters into enemy territory.

· Intrigue:

Skyler has a titanium arm – is she cyborg?

· Empathy:

We sympathize with her as she tries to get “someone’s” attention (is it Jill’s) regarding the danger she is heading for- presumably to help her. We sympathize as she gets more and more triggered by the crisis.

· Likability:

Skyler is a little rough around the edges, but she’s entertaining in her gruff exterior. She is really trying her bravest best under the circumstances.

Ami (change agent)

· Relatability:

Ami is sweet.

· Intrigue:

Ami makes interesting and wise insights for a very young girl during the scene where they are in possible trouble.

· Empathy:

Ami doesn’t have direct control over fixing the trouble she and Skyler are in – she seems to be along for the ride.

· Likability:

Ami is sweet.

[Gordon Roback]

Gordon Roback Connection with the Audience Assignment7

Lesson Learned: If you don’t care about the main character and walk through the film in her shoes the film is not going to work.

The main character is Fanny (Fagil) <div>

Relatability–
As an eight year old she witnessed the Poles murdering Jews. This scared her for life. We can relate
to someone with a childhood trauma who goes through life waiting for the
locals to turn on her at any time for the flimsiest of reasons.

Intrigue – arriving in a new country – coming off the gangplank not knowing what to expect. The locals gave the “Greeners” bananas. Since the immigrants had never seen bananas before they ate the fruit, skin and all, to the great amusement of the crowd who showed up for the arrival of every ship carrying immigrants.

Empathy – Fanny is married off at 12 to a 29 year old man. The wedding night comes as a complete surprise to her. The next morning she confronts her mother and asks why she didn’t tell her what to expect. The mother replies, “It came as a surprise to me, why shouldn’t come as a surprise to you?”

Likability – When the Catholic Priest asks (circa 1910) why she is not sending the children to the French Catholic school across the street and instead sending them to an English Protestant school an hour away by train (in 40 below weather) Fanny replies, “Because I want to prepare my children for the 20^th Century, not the 12^th.

</div>

[William Donnelly]

ASSIGNMENT

1. “What I learned doing this assignment is…?”: I learned to go a little deeper into the characters and find what makes them interesting and personable.

2. Tell us which characters you are going to INTENTIONALLY create a connection with the audience.

A. Angelique, Chad

3. With each character, tell us how you’ll use each of the four ways of connecting with the audience in the first 30 minutes of the movie. A. Relatability B. Intrigue C. Empathy D. Likability

A. Relatability/Angie: Angie is a typical teenage girl. She has longings and hope and passion. But the world is so highly dysfunctional. And then, she thinks she there is something wrong with her with this voices. She spends much of her time trying to be something she is not.

B. Intrigue/Angie: The question is: What are these voices all about? Once she hits bottom and lands in an asylum, the voices begin to show their wisdom and help her escape doing things she never could have without their help.

C. Empathy/Angie: She just wants a normal life. Love, laughter, adventure, a family maybe. But earth’s crisis may or may not allow that to happen. She resists the idea that she could do anything significant to help humanity…until the inner wisdom voices begin to help her see her destiny.

D. Likability/Angie: She’s smart, funny, and willing to do what it takes to live life to the fullest, regardless of how crazy it is on the outside.

E. Relatability/Chad: Chad is a regular guy who by his very nature has a big heart. But life (his father) tossed him around a lot as a kid, and because of that he closed his heart and began a life that he is not proud of. He has a faint dream of a better life, and clings to that.

F. Intrigue/Chad: Chad has something that motivates him. He is deeply in tune with Angelique. They had a chance meeting when she was 13, just before he headed out to Asia and got stuck in a dark ops gig. When they reconnect in LA years later, intriguing sparks fly – but not necessrily for eros love. But their bond is complete…so just who is this guy who will do anything to protect Angelique?

G. Empathy/Chad: Chad has a heart of gold. But from the childhood abuses, he buried it in booze and other nefarious stuff. He lives with great regret. When he is with Angelique, all this negative patterns dissipate and be is more able to be the man he always dreamed he could be. Is there hope for him? We’ll see.

H. Likability/Chad: Chad is wicked good looking. When his life isn’t falling apart, he has a great sense of humor. And he’ll do anything to help those in need.

• This reply was modified 2 years ago by  William Donnelly.

[Trish Carothers]

LESSON 7 – CONNECTING WITH AUDIENCE

Trish’s Connection with the Audience

What I learned by doing this assignment is that these qualities are present in differing degrees in each character, and probably Dalkr also after you get to know him better. He’s just not used to having a lot of close friends and has no family. It’s interesting how doing these exercises provokes creativity and ideas about other areas of the script.

I. Intentionally connecting Audience with Rongvald, Thorensson, Dalkr, and Harald.

1. Olaf

Likable, Intrigue, Empathy

a. Leader

b. King

c. Older brother

d. Wise

e. Brave

f. Loyal

g. Protective

2. Harald is the younger, idolizing brother of Olaf. He wants to be a part of the big battle at Sticklestad. He talks Olaf into letting him go with him. Olaf assigns protectors to Harald as this is the first time he’s ever been in a battle. Harald is only 14, going on 15 yrs old. Olaf assigns two friends of Harald’s, and Dalkr, one of Olaf’s men, seasoned in battles to protect Harald during the battles. He assigns these men to Harald in the war tent the night before the big battle.

Likability, and Relatability, Empathy

1. He’s brave

2. He’s loyal to a fault at times

3. He’s naive

3. Rongvald is a friend both to Harald and Thorenssen, all friends throughout childhood. He is loyal to his friends, brave. He will save, protect, and follow Harald, even though he would rather be home with his wife and children.

Likability, Empathy

1. He’s loyal,

2. He’s Morose sings morose love songs.

3. He’s brave

4. He loves his family

4. Thorensson is a friend also. He’s single, handsome, tall, and blond haired Viking who plays the lyre. Like Rongvald, he is committed to protect, care for, and follow Harald on his journeys. Young and unmarried, he hopes to earn enough money to buy land and have a family.

Likability, Empathy, Relatable

1. Bachelor

2. Loyal

3. Fun

4. Honest

5. Dalkr is an old friend of Olaf, and has been part of his retinue for years, traveling with him during his reign as King of Norway. He is assigned to babysit Olaf’s little brother during the battle, to keep him safe and alive. He is not happy with the new assignment. He wants to be by Olaf’s side as always, and he has a bad feeling about what is to come. He would die for Olaf, and maybe Harald but not if he had to choose. At Olaf’s death, Dalkr takes on the job of older brother/friend to Harald. To protect and defend, guide and advise and castigate.

Relatable, Intrigue, Empathy

1. He’s gruff

2. He’s rough.

3. Older

4. Not very nice or polite.

5. Cranky

6. Honest

d. Asta Gudbrandsdotter Syr: mother of Olaf-oldest and Harald-younger. A definite preference for Olaf, from her first husband a renowned King of southern Norway. Not quite “motherly” to Harald and the other children. A bit snotty and arrogant to her second husband, Sigurd Syr.

Empathy, Relatability, Intrigue

1. Responsible

2. Good Cook

3. Fair wife, who was abandoned by her first husband, then married Sigurd Syr, a minor king

4. A good mother toward Olaf, so-so toward Harald and his two older brothers

5. Faithful, relatively

e, Sigurd Syr: father of Harald, step-father of Olaf. He loves all his children, including Olaf, and does his best for them all. He kinda tolerates Harald’s dreams of being King of Norway as being a passing fantasy, and hero-worship of Olaf.

Empathy, Likability, Relatability

1. Good husband

2. Good father to all the children

3. Salt of the earth farmer

4. King

5. Honest

6. Kind

II. Opening scene is Harald playing by himself. Father calls him to do his chores. Harald replies that he is being the king. Father tells him to do his chores first, and then be king. But Dad… Do your chores and you might be done by the time Olaf rides in. Harald hurries through his chores. Olaf rides in. Mother is ecstatic, ignores other children, do time for anyone else to greet Olaf. Olaf and Sigurd look at one another. They know her ways. But Olaf ruffles Harald’s hair and ask him how the king business is going? They grin at each other. Olaf starts letting Harald ride with him.

Scene in foggy forest as Olaf, Harald, the protectors, some of the army when they ride through to meet Kalfr at the church to negotiate terms. Doesn’t go well, no terms. Olaf wins, Kalfr loses and is mad, calls in King Canut to be King of Norway. Break to tent scene where Olaf plans protection for Harald and friends, and Dalkr to his dismay.

Morning of the big battle, death of Olaf, and the escape of wounded Harald to the hills by his friends, warriors, Dalkr. Harald heals in secret cabin in mountains, as gets better goes through Emotional Gradient. Turn point 1.

[James Clark]

DAY 7 ASSIGNMENT

James E. Clark Connection with the audience

1- Which Character will I intentionally create a connection

A- Ruth

B- Margie

C- Karen

2- Four ways of connecting for each character

A- Ruth

a-Relatability – family, retirement, response to being leered at,

b- Intrigue – her daughter asks about Hollywood; Photo in Margie’s house

c- Empathy – Widowed, long way from home,

d- Likability – Sense of humor, a mom, a grandma, makes friends easily

B- Margie

a – Relatability – Memories, still working, strong and stands up for herself.

b- Intrigue – The cars, the baby box, medications, golf

c- Empathy – Being picked on by Karen, still sharp of mind but body failing, having been truly in love.

d- Likeability – Golf, likes people, strong willed.

C- Karen

a – Relatability – Needs money, wants to advance on the job,

b- Intrigue – Why does she need the money, why is she targeting Margie, what will she do after being fired, driving tickets

c- Empathy – having job problems, comes clean in court

d- Likeability – return to her Bible, pleads guilty, loves caring for he elderly.

What I learned from this assignment: This process makes my characters more human rather than one dimensional.

[Paulette Harris]

Paulette L. Harris: Connection with the Audience

What I learned doing this assignment was that there are a myrid of choices of emotions that human beings connect with. The hard part of this particular story for me was actually chosing which characters where going to play the most important and re-sounding parts to a congregation of troubled folks. At some point, that means every human has problems at some time or another in their lives. I’ve had to condense and re-condense down to 90 pages or so of focusing on only a few characters to get this right. But I’m have a great time doing this screenplay and this class is helping a lot to fine-tune and pare down into great characters.

1-Pastor Don

2-Jane Douglas

3-Stevie Olsen

4-Elizabeth Young

5-Assistant Pastor Young

Pastor Don:

Realability-Always excited to meet new challenges, people, places, and things.

Intrigue-Strong, athletic, good-looking, successful appearing. “How does he do it? He must have a secret for success.”

Empathy-In his mirror and office, he has to often face himself, the truth, and Satan who he is unwittingly being used.

Likeability-Good sport, charismatic, self-confidant, teases others in a rather condensending way that’s like a big brother. Most like the attention from him, he makes them feel as if they are in the “inner circle”, others dislike but they won’t let on.

Jane Douglas:

Relability-She is dependable and her personality is unchangeable as well as her strong well-grounded beliefs in how she was raised.

Intrigue-Soft, beautiful inside/outside, loving and kind to everyone.

Empathy-Her love for her husband and family is mis-understood and gossiped about.

Likeability-She’s keeps to herself for the most part, but approachable and people are comfortable around her because she is trustworthy.

Stevie Olsen:

Relability-Always at church with his Dad. Everyone knows he loves Jesus, his mom, and the Boy Scouts. He never misses meetings.

Intrigue-Stevie seems much older than he is.

Empathy- His mother has been in/out of drug re-hab. Basically his father is raising him. Stevie also sees the dark forms and spirits. He is scared to death because he doesn’t understand them. He confides in his father who is beside himself to help his unusual son.

Likeability- He is full of love and forgiveness towards everyone, especially his mother, who he is praying contanstly and hopeful for. His peers tease him constantly and people wonder at how he can be such a sweet young man considering what he goes through.

Elizabeth Young Assistant Pastor’s Wife:

Relability-Elizabeth struggles with a difficult pregnancy and often unconfortable in the Southern California heat. She finds herself often caught between herself and the congregation. She must always maintain an approachable and good reputation persona. Never mention her own thoughts and feelings.

Intrique-People wonder how she does this persona of self-control with so much to do. She always points to Christ.

Empathy-It’s hard to know when she should bring problems to her husband, she doesn’t want to be involved in gossip nor does she want to be involved in being divisive.

Likeability-Because she’s trustworthy, she often gets confided in, even more than the new pastor’s wife, which causes some problems. Elizabeth is wise and discerning. She’s an honest person who listens carefully and can steer people to the right scriptures that can help them personally. The Assistant Pastor and Elizabeth are a very much loved part of the body.

There are a few other members of the body that I will use emotionally as well:

Abuse, weaknesses, futility, despair, attraction to the opposite sex, fear, confusion.

[Trish Carothers]

LESSON 7 – CONNECTING WITH AUDIENCE

Trish’s Connection with the Audience

What I learned by doing this assignment is that these qualities are present in differing degrees in each character, and probably Dalkr also after you get to know him better. He’s just not used to having a lot of close friends and has no family. It’s interesting how doing these exercises provokes creativity and ideas about other areas of the script.

I. Intentionally connecting Audience with Rongvald, Thorensson, Dalkr, and Harald.

1. Olaf

Likable, Intrigue, Empathy

a. Leader

b. King

c. Older brother

d. Wise

e. Brave

f. Loyal

g. Protective

2. Harald is the younger, idolizing brother of Olaf. He wants to be a part of the big battle at Sticklestad. He talks Olaf into letting him go with him. Olaf assigns protectors to Harald as this is the first time he’s ever been in a battle. Harald is only 14, going on 15 yrs old. Olaf assigns two friends of Harald’s, and Dalkr, one of Olaf’s men, seasoned in battles to protect Harald during the battles. He assigns these men to Harald in the war tent the night before the big battle.

Likability, and Relatability, Empathy

1. He’s brave

2. He’s loyal to a fault at times

3. He’s naive

3. Rongvald is a friend both to Harald and Thorenssen, all friends throughout childhood. He is loyal to his friends, brave. He will save, protect, and follow Harald, even though he would rather be home with his wife and children.

Likability, Empathy

1. He’s loyal,

2. He’s Morose sings morose love songs.

3. He’s brave

4. He loves his family

4. Thorensson is a friend also. He’s single, handsome, tall, and blond haired Viking who plays the lyre. Like Rongvald, he is committed to protect, care for, and follow Harald on his journeys. Young and unmarried, he hopes to earn enough money to buy land and have a family.

Likability, Empathy, Relatable

1. Bachelor

2. Loyal

3. Fun

4. Honest

5. Dalkr is an old friend of Olaf, and has been part of his retinue for years, traveling with him during his reign as King of Norway. He is assigned to babysit Olaf’s little brother during the battle, to keep him safe and alive. He is not happy with the new assignment. He wants to be by Olaf’s side as always, and he has a bad feeling about what is to come. He would die for Olaf, and maybe Harald but not if he had to choose. At Olaf’s death, Dalkr takes on the job of older brother/friend to Harald. To protect and defend, guide and advise and castigate.

Relatable, Intrigue, Empathy

1. He’s gruff

2. He’s rough.

3. Older

4. Not very nice or polite.

5. Cranky

6. Honest

d. Asta Gudbrandsdotter Syr: mother of Olaf-oldest and Harald-younger. A definite preference for Olaf, from her first husband a renowned King of southern Norway. Not quite “motherly” to Harald and the other children. A bit snotty and arrogant to her second husband, Sigurd Syr.

Empathy, Relatability, Intrigue

1. Responsible

2. Good Cook

3. Fair wife, who was abandoned by her first husband, then married Sigurd Syr, a minor king

4. A good mother toward Olaf, so-so toward Harald and his two older brothers

5. Faithful, relatively

e, Sigurd Syr: father of Harald, step-father of Olaf. He loves all his children, including Olaf, and does his best for them all. He kinda tolerates Harald’s dreams of being King of Norway as being a passing fantasy, and hero-worship of Olaf.

Empathy, Likability, Relatability

1. Good husband

2. Good father to all the children

3. Salt of the earth farmer

4. King

5. Honest

6. Kind

II. Opening scene is Harald playing by himself. Father calls him to do his chores. Harald replies that he is being the king. Father tells him to do his chores first, and then be king. But Dad… Do your chores and you might be done by the time Olaf rides in. Harald hurries through his chores. Olaf rides in. Mother is ecstatic, ignores other children, do time for anyone else to greet Olaf. Olaf and Sigurd look at one another. They know her ways. But Olaf ruffles Harald’s hair and ask him how the king business is going? They grin at each other. Olaf starts letting Harald ride with him.

Scene in foggy forest as Olaf, Harald, the protectors, some of the army when they ride through to meet Kalfr at the church to negotiate terms. Doesn’t go well, no terms. Olaf wins, Kalfr loses and is mad, calls in King Canut to be King of Norway. Break to tent scene where Olaf plans protection for Harald and friends, and Dalkr to his dismay.

Morning of the big battle, death of Olaf, and the escape of wounded Harald to the hills by his friends, warriors, Dalkr. Harald heals in secret cabin in mountains, as gets better goes through Emotional Gradient. Turn point 1.

0

[Trish Carothers]

LESSON 8

Trish’s Profound Endings

What I learned by doing this assignment is that the characters interact, and ideas for the expansion on top of ideas evolves. Can see why revisions are so necessary, and why so many are recommended.

1. My Profound Truth is face your challenges and evolve into who you really are.

1. Delivered by Harald, Thorensson, Bettina, and Elisiv as they leave Kiev: Harald says: “Well, old friend, we ride for Norway, toward our futures, either life or death, God alone knows” Laughing, they kick their horses into a canter, ready to go home at last. Elisiv and Bettina role their eyes and grin, then high 5 and urge their horses to catch up. After all, the men wouldn’t even be here without Bettina and Elisiv.

2. My Lead Characters – Change Agent and Transformable Character come to an end that represents the completed change by leaving the “Old Ways” that no longer work, and embracing the “New Ways” that offer hope and accomplishments to move forward in life.

3. What are the setups/payoffs that complete in the end of this movie.

a. The payoff of finding a new family

b. The payoff of finding their destinies

c. The payoff of finding their courage, of facing the worst, death, which gives them new life based on bravery and honesty.

d. The payoff of finding what’s of real value in life.

e. The payoff of finding love in a war so far from home.

4. How am I designing it to have the audience see an inevitable ending and then making it surprising when it appears.

a. The gains in experience and bravery that Harald embodies

b. The grousing of the men to return home

c. The wealth that Harald and the men have accumulated

d. The baptism in the River Jordan

e. The death of Rongvald and promise to return home

f. The return to Kiev

g. Elisiv and Harald in the garden at night.

5. What is the Parting Image/Line that leaves us with the Profound Truth in our minds. The parting image is of Harald, Thorensson, their wives and a cadre of warriors around them as they ride out of the city, and look at each other. Harold grins at Thorensson, grasps his shoulder and says, “Well, old friend, we ride for Norway, toward our futures, either life or death, God alone knows” Laughing, they kick their horses into a canter, ready to go home at last. Elisiv and Bettina role their eyes and grin, then high 5 and urge their horses to catch up. After all, the men wouldn’t even be here without Bettina and Elisiv.

[Trish Carothers]

LESSON 8

Trish’s Profound Endings

What I learned by doing this assignment is

1. My Profound Truth is face your challenges and evolve into who you really are.

a. Delivered by Harald and Thorenssen, the adventurers, and Elisiv and Bettina their new wives leaving for Norway.

2. My Lead Characters – Change Agent and Transformable Character come to an end that represents the completed change by leaving the “Old Ways” that no longer work, and embracing the “New Ways” that offer hope and accomplishments to move forward in life.

a. Old Ways: fears of death, leaving family behind, self-centeredness, limiting beliefs about abilities, who they are.

b. New Ways: embracing possible death, creating new “family,” learning to love another, trusting, anticipating their destinies, valuing life to the fullest.

3. What are the setups/payoffs that complete in the end of this movie.

a. The payoff of finding a new family

b. The payoff of finding their courage, of facing the worst, death, which gives them new life based on bravery and honesty.

c. The payoff of finding what’s of real value in life.

d. The payoff of finding love in a war so far from home.

4. How am I designing it to have the audience see an inevitable ending and then making it surprising when it appears.

a. The gains in experience and bravery that Harald embodies

b. The grousing of the men to return home

c. The wealth that Harald and the men have accumulated

d. The baptism in the River Jordan

e. The death of Rongvald and promise to return home

f. The return to Kiev

g. Elisiv and Harald in the garden at night.

5. What is the Parting Image/Line that leaves us with the Profound Truth in our minds. The parting image is of Harald, Thorensson, their wives and a cadre of warriors around them as they ride out of the city, and look at each other. Harold grins at Thorensson, grasps his shoulder and says, “Well, old friend, we ride for Norway, toward our futures, either life or death, God alone knows” Laughing, they kick their horses into a canter, ready to go home at last. Elisiv and Bettina role their eyes and grin, then high 5. After all, the men wouldn’t even be here without them.

[MARY Johnson]

Mary Godwin’s Connection with the audience.

What I learned doing this assignment – I need to find more ways to make my character likable.

Christine, the writer, will be the character I will intentionally connect with the audience.

1. Relatability: Christine just wants to do her job and go home. No drama. She’s made many sacrifices in life to remain drama free yet life seems to plop drama directly on her head. She has a tenuous relationship with her mother (common these days) as well as is estranged from her daughter (also common these days).

2. Some of Christine’s intrigue is going to be wondering how she ended up the way she is. What broke her. Another part is how’s she going to overcome all this?

3. Empathy: She loses her job (still haven’t decided is she leaves before she is fired or not). She’s toward the end of her career and life has dealt her so many financial blows she really doesn’t have a retirement fund left.

4. Likability: This is the hardest one because she does nice things but always does them anonymously. She’s a loner in life so I still need to come up with ways to make a longer likable.

Answer the question “What I learned doing this assignment is…?” (place at top of your work).