Julio TUMBACO
Forum Replies Created
-
1. Name: julio tumbaco
2. How many scripts you’ve written: 5
3. What you hope to get out of the class: the other 50% of the knowledge that I didn’t learn from the first BW TV course- lol
4. Something unique, special, strange or unusual about you: i think i’m perfect (that’s probably unique, lol)
5. What ProSeries (PTE 20008, PT2009, msc4 & msc15) Writing Incredible Movies (not yet), or Binge Worthy TV class (Fall 2019) you were in.
I look forward to working with you all!
-
1. Julio Tumbaco
2. I agree to the terms of this release form.
3. Please leave the entire text below to confirm what you agree to.
1. Your name.
2. The words “I agree to the terms of this release form.”
3. Please leave the entire text below to confirm what you agree to.
GROUP RELEASE FORM
As a member of this group, I 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.
-
Hi, I’m julio tumbaco. I’ve written 12 screenplays. I intend to write a maximum interest story that sells and is produced. I am a member of the Cheryl Ladd fan club. Ha!
-
Julio Tumbaco. I agree to the terms of this release form.
As a member of this group, I 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.
-
Julio Tumbaco’s Thriller Map Version 1
What I learned is how invaluable it is to map out Mystery, Intrigue and Suspense, overt and covert clues, redirecting and reveals.
EXT. NYC HELL’S KITCHEN SIDE STREET – DARK OF NIGHT
Tightly gloved hands grip the steering wheel with madness and desperation suffocating the driver and the steering wheel.
A red, 5 speed sports car comes to a sudden and impertinent halt.
INT. CAR- NIGHT
Traffic signal light turns red, green, then amber and then red again. The driver’s eyes drift away teary and sleepy. When the light turns green again, the car behind honks and drives around. The driver, startled, steps on the accelerator then slams on the brakes, the clutch is released and the car stalls. Automatically, the driver pulls on the hand brake.
The driver dressed in a gray softball uniform soiled with vomit and grass stains, steps out to see what got in the way. It is another dirty uniformed lifeless player.
The driver drags the lifeless body to the driver’s seat, releases the hand brake and puts the shift gear in neutral- the car rolls away to crash upon an unsuspected innocent light pole.
-
Julio Tumbaco’s Misdirects when Appropriate!
What I learned is how well developed ones will improve and maximize the Mystery of the thriller.
The Red Herring character – not applicable.
The Villain’s plan – sex, gender reassignment.
The cover-up for each mystery present as “Reality.” – needs to be developed.
Thriller Map for a few opportunities to add in misdirection:
Clue Misdirection –
Character Misdirection – gender reassignment, OWEN and NICK from disbelief to love.
Dialogue Misdirection – Nicole to NIck.
-
Julio Tumbaco Gives Great Clues!
What I learned is the invaluable skill of including balanced overt and covert Clues are.
3 Main Mysteries of Story:
- NICOLE’s transition to NICK
-
OWEN accepting NICK’s info about his death
-
ELLA accepting OWEN’s knowledge of the accident
List of clues for each of the main Mysteries<div>NICOLE’s transition to NICK
- the resemblance of NICOLE and NICK
- ELLA’s sexual freedom
OWEN accepting NICK’s info about his death
- detailed intimacies about ELLA’s past
- NICK’s spiritual/ghost presence in present activities
ELLA accepting OWEN’s knowledge of the accident
- OWEN’s suspicion grows daily
- OWEN becomes fixated on NICK
Opening: in a car, a baseball uniformed player runs over another baseball uniformed player
Inciting Incident: while having kinky sex with ELLA, OWEN sees and talks to NICK
NICOLE’s transition to NICK
CLUES: the resemblance of NICOLE and NICK & ELLA’s sexual freedom
Turning Point 1: OWEN tells ELLA that NICK informed him that ELLA killed NICK
OWEN accepting NICK’s info about his death
CLUES: detailed intimacies about ELLA’s past and NICK’s spiritual/ghost presence in present activities
Midpoint: ELLA killed NICOLE not NICK
Turning Point 2: ELLA discovers OWEN’s plan to go to the police
ELLA accepting OWEN’s knowledge of the accident
CLUES: OWEN’s suspicion grows daily and OWEN becomes fixated on NICK
Climax: ELLA changes her strategy from denial to empathy and support; sends OWEN to a suicide trauma therapist
Resolution: ELLA convinces OWEN that his death is the only way to his happiness w/NICK
</div>
-
This reply was modified 2 years, 9 months ago by Julio TUMBACO.
-
Julio Tumbaco’s Dramatic Reveals
What I learned is that REVEALS are ket to maximum engagement. The work done here is critical in building the thriller journey.
1. Make a list of the important reveals that you want the audience to experience
- NICOLETTE’s transition to NICK
- OWEN accepting NICK’s info about his death
- ELLA accepting OWEN’s knowledge of the accident
2. Sequence them to fit into your Thriller Map
- Opening: in a car, a baseball uniformed player runs over another baseball uniformed player
- Inciting Incident: while having kinky sex with ELLA, OWEN sees and talks to NICK
- NICOLETTE’s transition to NICK
- Turning Point 1: OWEN tells ELLA that NICK informed him that ELLA killed NICK
- OWEN accepting NICK’s info about his death
- Midpoint: ELLA killed NICOLETTE not NICK
- Turning Point 2: ELLA discovers OWEN’s plan to go to the police
- ELLA accepting OWEN’s knowledge of the accident
- Climax: ELLA changes her strategy from denial to empathy and support; sends OWEN to a suicide trauma therapist
- Resolution: ELLA convinces OWEN that his death is the only way to his happiness w/NICK
3. With each reveal, make sure the following are in place:
A. What is the reveal?
- NICOLE’s transition to NICK
- OWEN accepting NICK’s info about his death
- ELLA accepting OWEN’s knowledge of the accident
B. How did it get covered up?
- ELLA and NICOLE are in a relationship
- OWEN thinks he’s losing his mind- “it’s not normal”
- Time, gender and memory
C. What M.I.S. can be used to create demand to know the truth?
- OWEN speaks of NICK and ELLA doesn’t make the connection
- ELLA recognizes the specific details of the accident but the gender of the deceased confuses her
- ELLA doesn’t want to remember, accept her crime, believe that OWEN is communicating with a ghost
D. When you reveal the truth, it must have dramatic impact.
- ELLA and OWEN speak of the same person and don’t know it.
- OWEN suspects he’s falling in love with a ghost, NICK
- ELLA’s confused, jealous and desperate
4. Build any improvements into your Thriller Map.
- FTM transition adds another layer to the identity quest
- The three-way exits inside crime, sex, jealous, and the supernatural
5. Tell us about the reveals you built into your Thriller Map.
- The assignment offers the opportunity to layer and build more tension, conflict and surprise.
-
This reply was modified 2 years, 9 months ago by Julio TUMBACO.
-
julio tumbaco’s Trust Relationships
What I learned doing this assignment is how difficult this
1. List of the main characters:
Hero: OWEN | Villain: ELLA | Red Herring Character: NICOLETTE/NICK, trusted, but shouldn’t be AND isn’t trusted, but should be.
2. With each character, ask these questions:
A. What is their basic state — trustable or not trustable?
OWEN: Trustable
ELLA: Not trustable
NICOLETTE/NICK: Isn’t trusted, but should be
B. How might they really be trustable, but appear not trustable? (NICK) OR be not trustable, but appear trustable? ELLA
C. What circumstances might cause them to switch from one to the other? Love.
3. With each character relationship, brainstorm how trust or distrust might show up between them.
OWEN loves ELLA; feels betrayed. ELLA wants to trust OWEN.
ELLA loved NICOLETTE; feels betrayed that not only she transitioned but he’s now telling OWEN about the “accident”. ELLA feels betrayed
ELLA and NICK have an adversarial relationship they each feel like they don’t know each other.
NICOLETTE’s transitioning is liberating and it leaves a previous life/love (ELLA) behind while creating a new life/love (OWEN)
OWEN doesn’t know/trust NICK. NICK has to prove his credibility. NICK falls in love with OWEN- OWEN is heterosexual.
4. Created a sequence for each trust/distrust relationship and added to my map.
5. Give us the new version of your Thriller Map – I’m unsure what this means.
-
Julio Tumbaco’s Twists and Turns
What I learned doing this assignment is that good Twists elevate the storyline and the 14 types of plot twists are essential to creating the ultimate Thriller.
Build Twists throughout my story as follows:
Opening: in a car, a baseball uniformed player runs over another baseball uniformed player
plot twist: Something planned for doesn’t happen.
Inciting Incident: while having kinky sex with ELLA, OWEN sees and talks to NICK
plot twist: A mistake returns to haunt them.
Turning Point 1: OWEN tells ELLA that NICK informed him that ELLA killed NICK
plot twist: A lie is uncovered.
Midpoint: ELLA killed NICOLETTE not NICK
plot twist: We see an unexpected side of someone.
Turning Point 2: ELLA discovers OWEN’s plan to go to the police
plot twist: New consequences emerge.
Climax: ELLA changes her strategy from denial to empathy and support; sends OWEN to a suicide trauma therapist
plot twist: It just got more dangerous.
Resolution: ELLA convinces OWEN that his death is the only way to his happiness w/NICK
plot twist: The “solution” makes things worse.
-
This reply was modified 2 years, 9 months ago by Julio TUMBACO.
-
This reply was modified 2 years, 9 months ago by
-
Julio Tumbaco’s Thriller Plot!
What I learned is that mastering this skill set is key to creating a Thriller map.
- Opening: in a car, a baseball uniformed player runs over another baseball uniformed player
- Inciting Incident: while having kinky sex with ELLA, OWEN sees and talks to NICK
- Turning Point 1: OWEN tells ELLA that NICK informed him that ELLA killed NICK
- Midpoint: ELLA killed NICOLETTE not NICK
- Turning Point 2: ELLA discovers OWEN’s plan to go to the police
- Climax: ELLA changes her strategy from denial to empathy and support; sends OWEN to a suicide trauma therapist
- Resolution: ELLA convinces OWEN that his death is the only way to his happiness w/NICK
-
This reply was modified 2 years, 9 months ago by Julio TUMBACO.
-
Julio Tumbaco’s Life Threatening Sequence
What I learned is that sequencing provides the structure to create a maximum interest Thriller.
The Villain’s plan and how does that put the Hero in danger?
- In order for ELLA’s plan to work, OWEN must die
What other potential dangers could your Hero experience as they try to solve the mystery and confront the Villain?<div>
- OWEN could be institutionalized
From the list of potential dangers, choose the ones that work for this story:</div><div>
- Talking about the danger (OWEN & ELLA)
- Closeness to the villain (NICOLETTE & ELLA)
- Lured into a dangerous situation (OWEN)
- The unknown (NICK’s death)
- Threats (ELLA’s freedom)
- Betrayal from someone close (OWEN & ELLA)
- NICK wants ELLA dead
- Physical danger (OWEN’s death)
- Danger to someone they know (NICK)
- The chance that a relationship could end (OWEN & ELLA)
- A demand to stop pursuing the mystery (ELLA)
- The threat that their own secret could be revealed (OWEN’s sexuality)
</div>
-
<div>Julio Tumbaco’s Mystery Sequence</div>
What I learned is the importance of building blocks to create the Mystery sequence. The process opens options and explores the trajectory/build-up of the story- creates the mortar.
What is the big secret that the Villain is covering up? ELLA killed NICK.
How many ways can they cover that secret?
- deny NICK’s existence
- change NICK’s ID (known him by another name: NICOLETTE)
- recommend therapist (suicide trauma specialist)
- produce a seance (fake)
- leave podcast about euthanasia opened on laptop for discovery
- give anthology of supernatural love to OWEN
- propose to OWEN a la Chandler and Monica from Friends (subtext: spouse cannot testify against each other)
- ELLA manipulates OWEN into thinking that death is the only way he will experience true love with NICK
Could not create a Red Herring mystery- yet.
-
Julio Tumbaco’s Villain Has a Great Plan!
What I learned is the sequencing skill is key to the structure of the villain’s plan.
To create my Villain’s plan, i’ve answered these four questions:
What is the end goal?<div>
– OWEN’s death
<div>
How can the Villain accomplish that in a devious way?
– drive OWEN insane to the point of suicide
How can they cover it up?
– document OWEN’s spiraling, agreeing with him (in private only) that NICK exists and is in love with OWEN- only way to be together us to die and go to the other side.
Sequence it to make it as intriguing as possible:
1.- once ELLA recognizes that OWEN knows that she killed NICK, she implements a plan to discredit OWEN’s assertion
2.- ELLA gets OWEN to see a psychiatrist who specializes in suicide trauma
3.- ELLA distorts reality for OWEN to get him to question his sanity
4.- in private, ELLA, accepts NICK’s presence to OWEN
5.- ELLA tries talking to NICK (in private and with OWEN present) – pretends seeing NICK
6.- after OWEN declares NICK’s love, ELLA rationalizes that all she wants is OWEN’s happiness and if that’s with NICK, OWEN should go be with him
7.- ELLA creates a guilt-free plan for OWEN’s suicide.
</div></div>
-
ASSIGNMENT 1: Stacking Suspense Chart for BASIC INSTINCT
Julio Tumbaco’s BI Stacking Suspense
List of everything I learned in the process that can help me write stronger thrillers:
– reaction is character driven
– flawed characters are organic ways to create MIS
– arrogance, stubbornness, self-centeredness, avarice, jealousy, greed, etc.. are key
List of the things I learned about Thrillers as I did this assignment:
– creating a solid ordinary world/hero is key to taking the viewer on the suspension of disbelief journey
ASSIGNMENT 2: watched THE SILENCE OF THE LAMBS and filled in the Stacking Suspense Chart.
Julio Tumbaco’s SOTL Stacking Suspense
Detailed list of the things I learned from doing this process that can help me write stronger thrillers.
– analyzing each scene is pivotal to mastering the skillset to write a strong Thriller
– the elements in each scene not only provided extreme MIS- it also built the movie to it’s MIS ending.
-
Subject line: Julio Tumbaco’s World and Characters!
What I learned doing this assignment is to find/create strong characters (engaging/addicting) to drive the story & create maximum interest ending (you can’t wait to the end).
CONCEPT and the Big M.I.S. of “NOE”: what happens when a spirit/ghost cannot rest and in the quest of finding peace, finds love with a human who’s in love with the ghost’s killer.
BIG Mystery: The main mystery of “NOE” that will keep us wondering throughout the story is how afterlife and life can coexist and impact the action.
BIG Intrigue: The covert, clandestine, underhanded plot that lives under the surface for most of the movie is the connection of the 3 main characters and how they interconnect.
BIG Suspense: The main danger to your Owen that will continue to escalate throughout the script is the choice of life/contentment vs. death/love
The Intriguing World I selected for this story: The intertwine of the supernatural with reality.
3. My top 3 characters, roles they play are Owen (protagonist), Nick (antagonist) and Ella (antagonist).
A. What is the MIS of Owen? Owen’s sexuality (M), past (I) & whom does he truly love (S)
B. What is the MIS of Nick? Nick’s death (M), goal (I) & can he deliver happily ever after (S)
C. What the MIS of Ella? Ella’s desires (M), motives (I) & can she deliver happily ever after (S)
-
Subject line: Julio Tumbaco’s Big M.I.S.
What I learned doing this assignment is the development structure/elements to create a maximum entertaining story.
Logline: When Nick’s spirit haunts Owen’s life with Ella, Owen suspects his own mental deterioration. Once he shares with Ella, connection is made and choices of life, death, love and hate are inevitable.
1. What are the conventions of Notions, Odds & Ends (NOE)?
Unwitting but Resourceful Hero: OWEN
Dangerous Villain: THE PAST and FUTURE
High stakes: Life and death situationsThis story is thrilling because it intertwines the supernatural with reality.
2. Tell us the Big M.I.S. of NOE?
Big Mystery: The main mystery of NOE that will keep us wondering throughout the story is how afterlife and life can coexist and impact the action.
Big Intrigue: The covert, clandestine, underhanded plot that lives under the surface for most of the movie is the connection of the 3 main characters and how they interconnect.
Big Suspense: The main danger to your Owen that will continue to escalate throughout the script is the choice of life/contentment vs. death/love
-
SE7EN Thriller Conventions
What I learned doing this assignment is the key to a successful Thriller is a story with a compelling history, defined imperfect characters and an unexpected future.
Unwitting but Resourceful Hero: William Somerset | Dangerous Villain: Jonathan Doe | High stakes: brutal murders of 7 people | Life and death situations: Tracy’s head is delivered in a box and also the knowledge of her pregnancy | This movie is thrilling because of it’s sheer unknown.
What is the BIG Mystery of this story? How John Doe brutally murders w/o leaving evidence/trace of his ID
What is the BIG Intrigue of this story? Poetry, literature and theological study is critical to finding the why and the villain.
What is the BIG Suspense of this story? John Doe turns himself in and manages to resourcefully get to David Mills’ life.
Anything else you’d like to say about what made this movie a great thriller? The character work done by the cast is formidable.
-
Julio Tumbaco
I agree to the terms of this release.
GROUP RELEASE FORM
As a member of this group, I 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.