[Diane Caldwell]

Confidentiality Agreement
GROUP RELEASE FORM

As a member of this group, I, Diane Caldwell, do hereby agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea. I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

This completes the Group Release Form for the class.

• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.

[Diane Caldwell]

Subject: Diane’s Life Threatening Sequence

1. What is the Villain’s plan and how does that put the Hero in danger?
To stalk, torment and kill all the people Villain perceives held him back in his entertainment career, coming from many angles, thus putting Hero in danger at every step of the way.

2. What other potential dangers could your Hero experience as they try to solve the mystery and confront the Villain?
–Situations that arise from contact with LAPD
–Surveillance/watched
–Danger to someone they know
–People around them die or are injured
–Stalked
–The threat that their own secret could be revealed

3. From the list of potential dangers, choose the ones that work for this story.
All of the above would work for this story.

4. Sequence those dangers in order and make a list of them.
I’m going to start working with the list above in #2, in that order.

• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.

[Diane Caldwell]

Subject: Diane's Mystery Sequence

1. What I learned doing this assignment is MIS is best developed when building it both for the mystery and the main characters simultaneously.

2. What is the big secret that the Villain is covering up? Villain was severely abused growing up in a satanic ritual abuse (SRA) family.

3. How many ways can they cover that secret? (Those become the mysteries):
–Lie about their personal and professional histories
–Hide their true motives behind each goal and ways to achieve each goal
–Stay isolated.

4. The first mystery must engage the Hero into solving it.
First mystery: Who could kill in such a horrific way and then share that killing?

5. Sequence the mysteries so that each one leads us to the next one. Include ONE Red Herring mystery if you can.
Red Herring Mystery: A strange sound engineer has unique ways of hitting on women he’s interested in romantically while working on the set.

6. Create a Mystery Chain for each main mystery.
–Who could kill and then share that killing in such a horrific way?
–Is the stalker/killer somehow associated with the Quirks and Circumstances show?
–Can the producer and LAPD homicide detective actually help each other to find the killer?
–Breakdown of first two suspects.

• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.
• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.

[Diane Caldwell]

Subject line: Diane’s Villain Has a Great Plan!

What I learned doing this assignment is put yourself in the Villain’s place to come up with a long-term plan.

What is the Villain’s end plan? – Kill everyone

How can the Villain accomplish that in a devious way? – Pretend they are someone else and hire others to assist them in this plan.

How can they cover it up? – Point fingers at other people.

• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.

[Diane Caldwell]

Subject: Stacking Suspense Model
What I learned doing this assignment is utilized throughout a Thriller, in scenes and with characters. The Hero’s and Victim’s plans sometimes complement each other in unique ways. The Hero, Villain and sometimes Red Herring all help build the unique world of the Thriller. Showing even a hint of each one’s character journey increases the MIS of them and of the story. Stacking the suspense in a Thriller keeps the audience intrigued, wanting to solve the mystery on its own. Analyzing each scene as you write it, by making notes and not actually rewriting the scenes just yet, helps you continue to move forward with the story, with feedback to utilize later on the rewrite.

• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.
• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.

[Diane Caldwell]

Subject: Diane’s World and Characters
What I learned doing this assignment is finding the mystery, intrigue and suspense of the story’s intriguing world and characters helps the writer expand upon those things in more creative ways when writing the script.
Project – The Laughing Stalk
Concept – When a deranged failed comedian begins murdering sitcom stars, one show’s veteran producer must race against time to unmask the killer before he turns the show, and quite possibly the entire entertainment industry, into a nightmare of ghoulish horrors.
Big Mystery – Who is killing all these television stars and how can they be stopped?
Big Intrigue – An unknown killer who has successfully infiltrated the Hollywood entertainment industry and is out to silence everyone they feel has wronged them.
Big Suspense – Will Reno be able to determine who the killer is before they murder a member of his team?
Intriguing World – The dark underbelly of Hollywood, specifically inside the popular TV sitcom series, “Quirk and Circumstance.”
Top Character – Reno Jenks, producer of the hit sitcom, “Quirk and Circumstance.”
• Mystery – Will he be able to uncover the stalker disrupting production of his show?
• Intrigue – What is the extent of his personal relationships with Jessica and Ashley?
• Suspense – Will any of the mysterious accidents on set directly affect him?
Top Character #2 – Randy Lemke, technical director for the popular “Quirk and Circumstance” TV sitcom.
• Mystery – Is he the stalker/killer?
• Intrigue – If he is the stalker/killer, what compels him to stalk and kill?
• Suspense – Will he survive?
Top Character #3 – David Calloway, sound editor for the popular “Quirk and Circumstance” TV sitcom.
• Mystery – Is he the stalker/killer?
• Intrigue – If he is the stalker/killer, what compels him to stalk and kill?
• Suspense – Will he survive?

• This reply was modified 8 months, 3 weeks ago by  Diane Caldwell.

[Diane Caldwell]

“I agree to the terms of this release form.”

Diane Caldwell

• This reply was modified 9 months, 1 week ago by  Diane Caldwell.

[Diane Caldwell]

Project: (The Laughing Stock)

Logline: When a deranged failed comedian (or successful comedian?) begins murdering sitcom stars, a determined investigator must race against time to unmask the killer before he turns the entire entertainment industry into his stage of ghoulish horrors.

What I learned doing this assignment is when it comes to this stage of planning of a project, in which I don’t have a clear idea yet of my three acts, more is more, as opposed to less is more as long as I remain mindful of the M.I.S. conventions. I listed all the ideas I feel are highly marketable that I’m interested in writing. The story will become clearer and I can make cuts and sort things out as I go through this process.

1. What are the conventions of your story?

• Unwitting but Resourceful Hero: Reno Jenks, LAPD Homicide Detective

• Dangerous Villain: Randy Lemke (a variant of Lambert)

• High stakes: Options—The killer manipulates a trusted crew member to assist him in his crimes; the killer hacks into the security system of the production studio, creating a scenario where every move is monitored; the climax of the movie occurs during a major, live television event where the killer plans to strike. (The stakes are raised as the safety of a large, unsuspecting audience is at risk, and the team must prevent a massacre while managing the chaos of a live broadcast)

• Life and death situations Options—: The killer forces his victims into dangerous, life-threatening situations that mimic stunts from sitcoms but with potentially fatal twists, e.g., a seemingly harmless stunt like a fake fall could be rigged to cause serious harm; the hero is trapped in a sinking car, fighting against rising water levels and a lack of air.

• This story is thrilling because: develop high-stakes emotional conflicts among characters that amplify the tension. Personal betrayals, conflicted loyalties, and intense emotional confrontations should be portrayed vividly to enhance the thriller’s dramatic impact; incorporate dynamic action sequences with choreographed fights, chases, or near-fatal accidents. Make these sequences visually and audibly stimulating, creating an adrenaline-pumping experience for viewers; use a suspenseful and evocative musical score that builds tension and anxiety during critical scenes. The music should change dynamically to reflect the mood, escalating the emotional impact of key moment; integrate surprising plot twists and unexpected revelations that keep the audience guessing and engaged. These twists should challenge assumptions and shift the direction of the story, maintaining suspense throughout; showcase authentic reactions of fear and anxiety from the characters, emphasizing their vulnerability. Close-up shots, intense performances, and realistic portrayals of panic and dread can make the threat feel more immediate and palpable to the audience.

2. Tell us the Big M.I.S. of your story

• Big Mystery: What is the main mystery of your story that will keep us wondering throughout the story? Who is this crazed killer and how can he be stopped?

• Notes for later: Viewers are kept guessing about the identity of the killer, who is hidden behind layers of misdirection and false leads; the real motive behind targeting sitcom actresses is obscured, with hints and clues scattered throughout the film; the mystery revolves around finding out why each victim was chosen, and whether there’s a deeper connection or common factor among them; the audience is left wondering about the killer’s ultimate plan and what he hopes to achieve by terrorizing the cast and crew; the killer leaves cryptic messages related to his failed comedy career, and deciphering these messages is key to understanding his next moves; important pieces of evidence go missing or are tampered with, leading to speculation about who might be obstructing the investigation; throughout the film, seemingly insignificant clues resurface, forcing viewers to question their relevance and connection to the larger mystery; there are suspicions about whether the producer has a hidden agenda or secret connection to the killer (red herring); The backstory of the killer is gradually revealed, with crucial pieces of his past remaining shrouded in mystery until the climax.

• Big Intrigue: What is the covert, clandestine, underhanded plot that will live under the surface for most of the movie? Comedian is either crazed from his childhood or is seeking revenge against those he think wronged him and ruined his life.

• Notes for later: The killer is seeking revenge on a hidden target who is connected to the sitcom industry but is not immediately revealed; the killer is secretly collaborating with someone within the production team, who provides inside information or logistical support; the killer’s true aim is to get revenge on a specific individual connected to the sitcom’s success, but this is obscured by a broader pattern of attacks; There’s a covert operation to cover up the true nature of the killings, including tampering with evidence or misleading the investigation; the killer is orchestrating events to manipulate media coverage and public perception, creating a distraction from his true intentions; some of the apparent murders are staged to create fear and mislead the investigation, while the actual target remains hidden; key evidence is deliberately hidden or destroyed by an insider, allowing the killer to continue their spree without detection; The killer is part of a larger conspiracy within the entertainment industry, aiming to expose or disrupt a hidden scandal or corruption.

• Big Suspense: What is the main danger to your Hero that will continue to escalate throughout the script? Detective thinks killer has begun to target him.

• Notes for later: The killer begins targeting the Hero directly, escalating from threats to actual attempts on their life, creating a personal vendetta; the hero is framed for the murders, leading to a legal battle and public scrutiny that endangers their career and safety; the killer threatens to expose the Hero’s personal or professional secrets, increasing the pressure and stakes as the Hero’s life and reputation are at risk; the hero’s safety is increasingly compromised as the killer manages to infiltrate their personal life, such as breaking into their home or threatening loved ones; the hero discovers that someone close to them is aiding the killer, leading to escalating danger as they face threats from trusted allies; the killer’s methods become increasingly violent and brutal, directly endangering the Hero and pushing them to their limits; the killer plays psychological games with the hero, creating paranoia and instability, which threatens their ability to effectively combat the threat; the hero faces a ticking clock scenario where they must solve the mystery and prevent the next murder before time runs out, escalating the danger and urgency (or catch him before live event climax).

• This reply was modified 9 months, 1 week ago by  Diane Caldwell.

[Diane Caldwell]

Hi, everyone!

I’m Diane Caldwell and I’m really enjoying this class so far. It’s great meeting everyone here. I’ve written two partial movie scripts that I’m hoping to salvage if I can get my hard drive repaired, but if not, I’m just going to keep on writing new scripts. I have one sitcom pilot and series bible completed and am starting another sitcom. Hollywood has called me once, but that project did not move forward. What I hope to get out of this class is successful application of all the valuable information I’m learning here so I will create scripts that get produced and appear on big and small screens throughout this reality.

I’m a recovering lawyer and something unique about me: I wanted to take some classes with ScreenwritingU so I could learn to proceed without getting too attached to what I was writing, especially the first draft. Just watch the videos, read the lessons and write without attachment or fear. Since the thriller genre is not my favorite movie genre (but I love thriller fiction—another unusual thing about me), I thought the thriller class would be the best place for me to start and move forward in my entertainment writing career without trepidation . . . and it’s working so far! Having lots of fun with it.

Here’s a link to one of my all-time favorite movies, free to watch online, the thriller Duel, written by Richard Matheson and directed by Steven Spielberg. I think it’s the best thriller movie ever made. I’m still on the edge of my seat and feeling anxious every time I watch it. Enjoy!

https://archive.org/details/DUEL71ABCTV

• This reply was modified 9 months, 1 week ago by  Diane Caldwell.
• This reply was modified 9 months, 1 week ago by  Diane Caldwell.
• This reply was modified 9 months, 1 week ago by  Diane Caldwell.

[Diane Caldwell]

Day 1 Assignment “Blow Out”

“Blow Out” (1981) Thriller Conventions

What I learned doing this assignment is by focusing on the mystery, intrigue and suspense of the story as I watched it, it was easier for me to pick up on little snippets of dialogue, movement and other aspects of the film that helped reveal these three thriller conventions so I can be mindful of how I drop clues of the mystery, intrigue and suspense for viewers in my screenplays without giving too much information in any one scene, so viewers can put together the pieces of my puzzle.

SPOILER ALERT!

In “Blow Out,” when sound engineer Jack Terry is trying to get some sound effects for the latest sleazy slasher film of a Philadelphia film producer, he witnesses a car accident resulting in the governor’s car careening into a river. He quickly jumps in the river and saves the life of Sally, a young woman with the governor, now a presidential candidate, in the car at the time of his death, and soon discovers the makings of a political scandal, realizing that Sally’s life could be in danger.

Conventions of this story:

-Unwitting but Resourceful Hero: Jack Terry (John Travolta), sound engineer for a Philadelphia film producer who makes low-budget sleazy horror movies.

-Dangerous Villain: Burke (John Lithgow) a killer who believes he is working to assist a possible presidential candidate.

-High stakes: A car accident that takes one life early in the film; several Sally look-a-likes are murdered, Sally meeting a man she believes is a television show host but is really Burke; John losing Sally after discovering the man she met with is actually Burke.

-Main emotions expressed in this film: Tension, uncertainty, anticipation, fear, anger, surprise, disgust, sadness

-Life and death situations: Car accident early in the movie, murders of several Sally look-a-likes, Sally meeting Burke at the train station, Sally and Burke being surrounding by participants in a parade with Jack no longer unable to watch Sally; Jack driving wildly through the parade to get to her.

-This movie is thrilling because: It moves quickly and reveals bits and pieces of the mystery, intrigue and suspense as the story progresses, prompting viewers to want to figure out what is really going on in the story.

What is the BIG Mystery, Intrigue, and Suspense of this story?

• Big Mystery: Who shot the tire of the governor’s car and why?
• Big Intrigue: Who, if anyone, is associated with Burke in his evil deeds?
• Big Suspense: Will Jack be able to help protect Sally, the woman whose life he saved early in the film, as he discovers the car accident he witnessed and recorded (sound only) was really an assassination?

Anything else you’d like to say about what made this movie a great thriller? The pacing was fast, but not too fast, so viewers can tune into little nuggets revealing the story and its characters, and the acting was great by everyone in this film. I think it’s one of Travolta’s best performances. It’s currently available on Amazon Prime.

• This reply was modified 9 months, 1 week ago by  Diane Caldwell.