WEEK 1 DAY 5: What did you learn?

[Steven Delisi]

I learned that a character’s wound is a great tool for motivating their action, proactively or defensively. Besides how this can lead to breakthroughs for plot development, the relationships can go deeper because of how their individual wounds will resonate with their own.

* for my father / daughter story, I am now thinking about how Darby will eventually be let down by Kurtis after they reunite. More specifically, it will be something that prevents him from fulfilling the wish (that she imposes) for their new relationship.

After rewriting a scene:

where they are hiding together and Kurtis have to get in a disguise to avoid being captured by thugs. Darby insists he follow her lead and get in costume clothes. In the next draft, he resists and brings up her childhood doll … that annoyed him when she left out on the floor. This minor wound of his only opens up her deeper wound further … that he was once her Dad, but left her & Mom. So, she lets him have it! He then accepts and does what she wants. He goes back to making jokes or seeming like nothing phases him.

[C Holmes]

His Wound: Abandonment / Her Wound: Loss of Love

– What causes both characters to reveal their wounds? Skylar wants to take their relationship to the next step and asks Will to come to California with her. She loves him and does not want to lose him.

Will is afraid that when she finds out more about him, he will be rejected. He’s also angry she doesn’t even notice his real life and friends are in Boston. He doesn’t want to leave them, then get rejected by her, when she ‘takes back’ her invitation in his imaginary future, which is based on his very real and horrible foster care experiences.

– How are those wounds motivating their emotions, actions, and reactions? Skylar does not really have a lot of information about who Will really is. She has to admit she didn’t know he was an orphan, or that he has been abused. She hopes he loves her enough to overcome his past, but that is asking way too much of Will.

Will has already been taking a risk by just being in relationship with her. Without the therapy he has done already he would just be having an imaginary girlfriend who is “perfect,” but only in his mind. He also is in the illusion that having money solves all problems and that her future is already decided without him, which is really hurtful to her.

– How is each character threatening the other’s wound? Skylar wants to go deeper with the relationship, but does not realize how vulnerable that makes Will.
Will criticizes her trust fund support not realizing it comes from Skylar’s father dying, which means she too is conflicted about the money, but for a completely different reason.

What drama was this scene built around? The end of Skylar’s time at Harvard, and the need for Will to start showing up in his life somewhere and finally make a decision, instead of just intellectually criticizing everyone and everything.

What traits showed up in these character’s words and actions? Skylar pushes Will at his most vulnerable so she really is not seeing him clearly at all. Will uses anger to distance himself and hurt her by saying he does not love her

Daily Focus – Searching for Breakthroughs: I have always liked this scene because even though it is clinically accurate in terms of the characters representing actual psychological diagnosis, it does not feel clinical at all. It just feels raw. The other thing is how quickly it is moving. A gesture which seems loving actually brings up a volcano of feelings in both of them.

“What I learned rewriting my scene/character…?” My two characters have the opportunity to love each other, and also to heal each others wounds. What I really learned by studying this scene is the quick reflexive defense of both of their wounds and the misunderstanding of how to heal them.

<font face=”inherit”>Skylar’s closeness is what actually is hard on Will. Will’s distance is what is hard on Skylar. I am working on creating a mirror actions and </font>verbiage<font face=”inherit”> because </font>I'<font face=”inherit”>ve seen this in life too, and it is a very </font>accurate depiction, so very valuable.<font face=”inherit”> </font>

[jeffrey jeff glatz glatz]

Of course we know that this is a fabulous movie, and many (including I) aspire to write that well.

The breakthroughs I feel I have noticed during this first week of classes, that can elevate a story past the norm, are the wound and secret/reveal. To me, they can really help the viewer or reader really feel the character to their core.

[Zev Ledman]

I learned how deep wounds can elevate the emotional connection to the story by the audience.

What causes both characters to
reveal their wounds?

Skylar tells Will she wants him
to move with her to California. An insecure Will doesn’t believe the rich,
trust fund woman. Rather, he believes that she just wants to play with him,
only to dump him when she tires of him. Skylar reveals that she’s been
hurt in the past, but she is ready to take the step out and commit her
love to someone again.

How are those wounds
motivating their emotions, actions, and reactions?

Will thinks it’s all a bullshit
rich girls’ game and reacts by telling her, he knows she’ll abandon him at
the first sign of trouble. He then reveals, he’s not who he says he is. He
has no huge family. In fact, he an orphan raised in an abusive home in a
dangerous, low-class neighborhood. She tells him it doesn’t matter and
that she’s still committed to love and care for him. Then, she exposes her
soul and requests that he tell her, “Tell me you don’t love me. If you
really don’t, I won’t bother you again.” He rips her heart out with no concern
for her feelings by telling her he doesn’t love her.

How is each character threatening
the other’s wound?

Skylar opens up about her feelings of love causes an
unbelieving Will to react vociferously to her perceived lies. Rather than show
any vulnerability, he attacks her, revealing his total disbelief in
anything she says, breaking her heart once again.

What drama was this scene built
around?

High emotion of 2 deeply hurt, traumatized people reacting
differently to their wound. A disbelieving Will attacking Skylar, while
Skylar sympathizes with Will’s tormented upbringing revealing she won’t do
that to him. Instead, Will rips open her wound.

What traits showed up in these
character’s words and actions?

Will- distrusting, angry, reactionary,
no concern for other’s feelings, low self-esteem.

Skylar- Vulnerable, loving,
compassionate, committed, desires to help, self-conscious about her economic situation.

[Marti Wheat]

What I learned from this week’s lessons is how critical it is to know where your characters came from and where they’re going, but also to identify and rely on those characters whose sole function it is to propel other characters’ stories forward and to get to know those characters intimately, so you are best able to let them do their job.

There’s an old John Wayne movie called The Sons of Katie Elder, which centers on how Katie’s strength, resolve, determination and unconditional love influences her four grown sons’ decisions, character traits, and past and future lives. She is the most pivotal and strongest character in the story, even though she is dead and never once appears in the movie.

[Neil Werenskjold]

What I learned rewriting my scene/character is to express what is in my head better. I have a lot of insight from 70 years of screwing up and fixing my messes. When I try to communicate what is in my head and all that I see I fall short every time. I need to slowdown and think deeper during my rewrites to ensure I have first the most important character traits highlighted in my writing. Then I need to show everyone’s quirky responses to the everyday events they are all experiencing but responding in their own way. I must show the traits not just a general response.

I see the huge contrast between Will and Skylar. Being an orphan, and being bounced around all his life, Will only knows what he has taught himself from being wounded over and over. That is a very frustrating way to learn life’s basic truths. It is also an incomplete way to learn important life lessons. He wonders what is he missing?

The contrast is Skylar. She has been well cared for and taught how to have confidence in herself and how to find and go after her hearts desires. She is well adjusted inspire of her problems. She has learned to try even if things don’t work out. Unlike Will that is so full of fear from all his torment he has experienced, he cannot see possibilities that could work out wonderfully. I believe Skylar truly loves Will and truly want to help him with his possibilities. But Will is blinded by his past horrible experiences and mega fears launching into the unknown.

As I watch this relationship unfold I want Will and Skylar to join together and enjoy life together no matter what it throws at them. But it is a gamble. Life is a gamble. Skylar gets that. She sees how she could help Will and wants to try because he is a giving person just like her. She sees the possibilities. This is the set-up for the ending where Will gets a car from his dear friends. He writes a note and puts it on his door, a tie back wrap-up and he heads for California, while the audience is cheering him on with tears in their eyes. That is powerful empathy driven writing.

I have some heavy thinking to do…

My scene that I posted yesterday, Day 4, works here as well.

[A J Ferrara]

A very powerful scene within a great film. The dichotomy of Will and Skylar’s background surges to the forefront and with it is a revelation of what makes them both tick. Their hopes and fears explode in this scene through powerful dialogue. The essence of it is Skylar fears not being loved and Will is afraid to love. Bad combination. Skylar has fallen in live without really knowing who Will is and Will’s past and fear of abandonment may keep him from falling in love even if wants to.

Understanding the dynamics of our character’s baggage – their hopes and fears can elevate a scene beyond what a conversation where two people refuse to admit their real pain. I took this insight to revise the scene below.

INTERCUT VIDEO CALL: INT. POLICE VAN – DAY

Alex looks distraught.

ALEX

Thank God. I thought we lost you.

TONY

No chance. I’m like a damn cockroach. Did you get my text?

ALEX

I just got it. There was no signal for about twenty minutes.

Alex hesitates.

ALEX

Another section of the building collapsed. We lost two men.

TONY

Jesus.

ALEX

They’re working to stabilize this side of the building.

Alex tenses. An awkward SILENCE.

ALEX

And I lied.

TONY

What?

A tear rolls down Alex’ cheek, her eyes filled with immeasurable heartbreak.

TONY

What? What?

Alex swipes the tear away.

ALEX

I promised I would never lie to you, but I lied — I lied about Josh. We never divorced. He left me.

A FLASH: INT MORGUE – NIGHT: A DOCTOR opens a cold locker and slides the table out. A MAN’S BODY LIES THERE, COVERED TO THE NECK, A BULLET HOLE IN HIS HEAD.

ALEX VIEWS THE BODY, PARALYZED WITH GRIEF.

ALEX (V.O.)

He was living in an apartment, when he was killed during a robbery. I never talk about it. If we had stayed together-

RETURN TO SCENE.

Alex swipes away another tear.

ALEX

– if I’d been more understanding — if I wasn’t so fucking selfish — I just live with the guilt every day.

TONY

You know, you didn’t have to tell me that.

Alex nods.

ALEX

I know.

The field AGENT appears and taps Alex’ shoulder.

ALEX

Tony, stand by.

Alex quickly recovers, as she spins around in her chair. The agent shows her an I-PAD. She scans the tablet – and turns pale.

The agent leans in and whispers – Alex nods – and the agent exits.

Alex takes a breath, then spins back around – and a hopeful smile creases her face.

ALEX

They’re coming back down. We’re gonna get you out of there.

Tony coughs hard. Above him, the SOUND of heavy equipment.

TONY

Maybe that’s not such a good idea.

ALEX

No please, don’t give up now.

TONY

How many people have to die? Why should anyone else have to die, trying to save me.

ALEX

Tony.

TONY

Maybe it’s time to dump the meat suit and move on.

The words SMACK Alex in the face. She leans back in her seat, emotional.

TONY

I appreciate everything you’ve done for me. I really do. It’s more than I deserve.

ALEX

Tony, please.

TONY

I’ve seen enough guys die to know what’s coming.

Alex leans toward her phone, her brow furrowed.

ALEX

What did you say?

TONY

Yeah, I’m starting to remember some things. I think I am a vet, but it doesn’t matter now. Nothing hurts, Alex. I’ve got this warm feeling, like I’m wrapped in a blanket. I think we both know what happens next.

Alex grabs the phone and stands with determination.

ALEX

I don’t accept that. I won’t. Do you think you’re the only one we’re trying to save? Our guys won’t stop until every person that’s still alive, comes out alive. They’re coming for you, Tony. You made it this far. That’s gotta mean something. So it’s up to you. What do you REALLY want? Do you WANT to remember? Do you want to live?

SOUND of HEAVY MACHINERY and VOICES grows louder as Tony and Alex exchange an emotional gaze.

TONY

I don’t know.

Alex glances away with a slight head shake, then turns back to Tony.

ALEX

Well, if it’s all the same to you, I’d prefer you choose life.

A LOUD CREAK. The concrete slab above Tony, GRINDS upward slightly, then grinds upward three feet, from the beam on his leg. A dim light illuminates the space.

Tony’s eyes widen in surprise.

TONY

Jesus Christ, they’re moving the slab.

Alex forces a hopeful grin, as tears roll down her cheek.

ALEX

You see? Never give up.

Voices, from above Tony, grow LOUDER.

A faint SQUEAKING SOUND. Tony frowns.

ALEX

What?

TONY

I’m not sure.

SQUEAKING GROWS LOUDER. Tony’s expression turns fearful.

ALEX

Tony, what’s wrong?

TONY

What the hell is that?

SUDDENLY, A HUGE SWARM OF RATS CHARGE OVER THE BEAM ON TONY’S LEG AND OVER HIS BODY – TONY SCREAMS – ALEX SHRIEKS, AS HE DROPS THE PHONE ON HIS CHEST.

TONY SCREAMS AND FLAILS, TRYING TO FIGHT THEM OFF.

ALEX SCREAMS TONY’S NAME OVER AND OVER – THE SWARM KEEPS COMING, ALL RACING IN THE SAME DIRECTION, OVER HIS BODY AND HEAD.

Finally, the rats pass. Tony tries to catch his breath and grabs the phone.

ALEX

Christ, Are you all right?!

Overwhelmed, Tony wipes sweat off his forehead.

TONY

Okay okay. I choose life.

Alex exhales in relief.

[Pat Fitzgerald]

What I learned from this scene is that I need to exploit my characters wounds in a manner that will create conflict and drama.

[A J Ferrara]

I can’t seem to find the link for doing feedback. Are we supposed to do it here?

[Christopher Phillips Phillips]

What I learned is that characters will fight until the bitter end to avoid change, even when faced with ultimatums of loss and abandonment and not achieving their goals. Usually, in total loss, they finally accept change and then must find a way to do so. The confrontation and the fight against change is what’s interesting about character growth.

[Judith Resell]

Revealing the wound in an organic way is hard.