Laura Woodworth
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Laura Woodworth’s Act 3 Turning Point
What I learned doing this assignment is to think about building in tension as well as creating empathy for my characters. When things were going well, she’s just hit a new reveal, a bump in the road that makes her feel vulnerable and question her new ways and her commitment to them.
INT. HOTEL NATIONAL – DAY
Jack packs, doing his best to hurriedly gather his belongings. He pauses —
NATALIA
I can’t believe you have to leave so quickly. Your visa allowed for two more weeks.
JACK
You still don’t get it do you? I’ll have to watch my back in the states.
NATALIA
In America? What about your freedoms there.
JACK
The arm of the Soviet Union is long. I’ve upset your Alex and now I’m on their list.
NATALIA
You’re overestimating —
JACK
You know what will happen if you marry him, right?
NATALIA
I’ve always known I would marry him. This is just — fate working out.
JACK
And then you’ll be — quite literally — in bed with the enemy.
NATALIA
Jack is not my enemy.
All packed, he slings his bag over his shoulder.
JACK
Check your back. See who’s following you.
EXT. NATIONAL HOTEL – DAY
Natalia watches as Jack gets into a car. She glances around — noting the men watching from across the street and another dark car following the one Jack is in.
She walks toward home, fully aware she is being watched.
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Lesson 18 Act 3 Middle Scenes Assignment
Laura Woodworth’s Act 3 Middle Scenes
What I learned doing this assignment is – again, to write quickly. I’m traveling again (in LA) and feel like I’ve got ideas that I can better flesh out when I’m back at my office this week. These are very “skeleton” scenes.
INT. BEDROOM – DAY
Natalia reads in the bible and pauses, excited.
“For everyone has sinned; we all fall short of God’s glorious standard. Yet God, in his grace, freely makes us right in his sight. He did this through Christ Jesus when he freed us from the penalty for our sins.” Romans 3:23-24
(or: “Then Jesus said, “Come to me, all of you who are weary and carry heavy burdens, and I will give you rest. Take my yoke upon you. Let me teach you, because I am humble and gentle at heart, and you will find rest for your souls.” Matthew 11:28-29
She softly repeats the phrase, trying to memorize it. She glances at the clock and realizes she’s out of time. She carefully tears the page out of the bible and slips it into her textbook.
EXT. CAMPUS – DAY
With Jack at her side, Natalia sees Marina with others. They join them and Natalia whispers into Marina’s ear.
NATALIA
Marina — we’ll never be good enough. But there is a way —
She presses the slip of paper into Marina’s hand.
MARINA
What is this —
Natalia shakes her head and silences her as Alex approaches.
EXT. COLLEGE CAMPUS – DAY
The group of students chatter. Natalia and Jack share a secret bond through scripture and it shows. Alex seethes with jealousy and in a spur of the moment he jumps in.
ALEX
Natalia — there’s no better time than now in front of our friends.
He’s got the whole group’s attention now. He holds out his hand and she almost reluctantly takes it.
ALEX
Will you —
NATALIA
Alex, not here. Not —
ALEX
Marry me, Natalia. Be my wife.
Conflicted — and yet he demands a response. All eyes are on Natalia and she is forced to save face — for her and for Alex.
NATALIA
You know I love you.
The tension is high. He adjust, working to contain a rising anger.
ALEX
I’ll take that as a yes.
The group claps and he squeezes her hand, his eyes intent.
ALEX
I figure Jack will be returning to America and I’ll have you back.
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Lesson 17 Act 3 Begins
Laura Woodworth’s Act 3 Reaction to Midpoint
What I learned doing this assignment is to think through next steps for my character. How would she react?
INT. BEDROOM – DAY
Dressed for the day, Natalia hides the bible back in it’s hiding place. She checks herself in the mirror — and witha silly grin she speaks softly to herself.
NATALIA
Hello, Queen Esther.
INT. KITCHEN – DAY – CONTINUOUS
Natalia sits opposite Oleg and Irina to eat her breakfast. Oleg is glum and silent. Irina eyes Natalia.
IRINA
Special day planned?
Natalia tries to pull a poker face.
NATALIA
No. Why?
IRINA
You save that blouse for special occasions.
NATALIA
No occasion.
She gulps her food and gets up quickly.
NATALIA
I’ll stop for groceries on my way home —
She exits just as quickly.
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Laura Woodworth Has Completed Act 2 Draft
What I learned doing this assignment is that – I need to keep moving. I’m a little stumped right now but feeling like moving on to the next section/assignment is what I need to do now. Thinking and processing ideas…
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Lesson 15 Act 2 TP The Midpoint Assignment
Laura Woodworth’s Act 2 TP – Midpoint
What I learned doing this assignment was that this was the point I was most excited to write as her journey “remains the same” of a search for truth, but the meaning has changed.
INT. BEDROOM – NIGHT
Natalia enters the room, seeking solace, seeking peace. She looks up at the light. The bug is not there anymore. She moves to her desk. Her books have been moved — her pen lays in a different spot. Someone’s been in the room.
INT. BEDROOM – NIGHT
Distraught from her encounter with the shopkeeper, Natalia paces in the room, unable to voice her frustrations for fear of being recorded. She grabs her journal and writes, scratching out her shame and guilt and fear. And his words, “She always believed for you.”
On journal: Believed for me — what??
She moves to the closet and pulls down the box of her grandmother’s things and starts digging. Clothes, useless knicknacks. She closes the box back up and surveys the room. She feels the mattress, looking for bumps, anything out of the ordinary. Nothing. Nothing under the mattress, nothing under the bed.
And then she hears it. A squeak in the floor as she moves. She gets down on her hands and knees and discover a floor board sticking up just slightly from the rest. She pries it loose and reaches into the gap — and discovers the bible.
She flips through the pages in awe — the forbidden book. Her grandmother’s forbidden book. Inside, her mother and father’s names, birthdates; then Oleg, Irina, and her. The memories come flooding in —
INT. HOUSE – DAY – FLASHBACK
Natalia snuggled next to her grandmother as she reads from the book…
INT. HOUSE/KITCHEN – NIGHT – FLASHBACK
Natalia’s family seated around the dinner table, a hearty meal before them. Father and mother reach for hands and they all bow their heads as Father prays a blessing.
INT. HOUSE – DAY – FLASHBACK
Natalia mimes Queen Esther’s entrance to the king — seeking the golden scepter — bravely proclaiming herself the deliverer of her people.
END FLASHBACK
Natalia turns in the book to find Esther. She reads from Esther 4:12-16.
NATALIA
“Do not imagine that because you are in the king’s palace you alone will escape the fate of all the Jews. For if you remain silent at this time, relief and deliverance for the Jews will arise from another place, but you and your father’s house will perish. And who knows if perhaps you have come to the kingdom for such a time as this?”
She continues reading the passage and finishes with —
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Lesson 14 Act 2 Middle Scenes Assignment
Laura Woodworth’s Act 2 Middle Scenes
(Assignment handwritten on legal pad. )
What I learned doing this assignment is to find ways to show that the old ways are not working anymore, which is helping me add in interest and conflict.
INT. HOUSE – NIGHT – CONTINUOUS
Natalia pushes the door closed and breathes deeply. Safe.
IRINA (O.C.)
That you, Tali?
Irina appears in the kitchen doorway, drying a dish, her eyes probing — searching for information.
IRINA
How did you day go?
Natalia turns from her as she wrestles out of her heavy coat and hangs it.
NATALIA
As usual.
She turns back.
NATALIA
I’ve got homework.
She moves upstairs, away from the watchful eyes of her sister and into her room. She closes the door and moves to the window, carefully pulling back the curtain. The two men are stationed across the street, talking into their cuffs. She closes the curtain and steps back, out of view.
TAP, TAP. The door eases open. Irina pops her head in.
IRINA
Are you hungry?
NATALIA
No — I’m fine. Thanks.
The question seems strange. Irina pushes in and settles on the bed like it’s normal for her to care about Natalia.
IRINA
Did you eat with the American? At that fancy hotel?
NATALIA
I ate the soup on campus.
IRINA
I bet the food there is lovely. At the hotel that is.
NATALIA
I’ve got a lot of reading to do tonight.
Their eyes lock; an internal standoff of sorts. Irina stands and tries to be endearing.
IRINA
Well, if you do eat there, wrap a bit in a napkin for me.
She exits, pulling the door behind her.
IRINA
Happy studying.
Alone, Natalia stands quietly in the middle of the room, listening, sensing — and then she searches, running her hand under the lip of the desk, looking up into the lampshade, behind the headboard — and then she sees it. She quietly pulls her desk chair to the middle of the room and stands on it to observe a small dark object tucked under the lip of the ceiling light. A bug. Recording every word, every conversation.
She carefully steps down and sets the chair back in it’s place, hardly daring to breath.
INT. ADMINISTRATION OFFICE – DAY
NATALIA
I’m being tracked.
The Administrator sits calmly while she defends herself.
COLLEGE ADMINISTRATOR
It sounds like you’re upset.
NATALIA
I’m only doing what you’ve asked me to do — interpret for the American. I’m still at the top of my classes and I’m sure you know my loyalty and support.
COLLEGE ADMINISTRATOR
Perhaps it was a coincidence. I doubt you have anything to be concerned about.
He talks her down. She settles.
COLLEGE ADMINISTRATOR
I will ask, however, is there anyone around you who could be suspect? Any names?
NATALIA
No — I don’t think so…
COLLEGE ADMINISTRATOR
Someone whose loyalties seem misplaced? Someone who you feel uncomfortable around…
She considers. He presses.
COLLEGE ADMINISTRATOR
Sometimes they’re hiding in plain sight. On the surface they seem devoted, but if you look closer…
(beat)
Your insight could be very valuable.
NATALIA
I don’t know —
(beat)
There is a shopkeeper…
EXT. MOSCOW UNIVERSITY – DAY
Natalia walks across the university and sees Alex manning a table to sign up to help at the Pioneer Brigade summer camp. She approaches him.
ALEX
Where’s your American?
NATALIA
He’s not my American. I’m on my way to the hotel now. Are you helping out for the summer camp?
ALEX
I’m one of the leaders this year.
He tries hard to conceal his pride, but she knows it means a lot to him.
NATALIA
That’s really important. Sign me up too.
(laughing)
You can boss me around.
ALEX
I’d like that — not the bossy part, but serving together. Ever since that American came, you’ve been occupied.
They share a smile.
INT. NATIONAL HOTEL – DAY
Jack opens the door — and then walks briskly back off to the bedroom where his suitcases lie open.
JACK
Make yourself at home. I’ve got to pack.
NATALIA
Pack?
JACK
They’ve decided I need to renew my visa. I’m traveling to Finland to cross the border and hopefully come back to finish my research.
She eyes the loaded breakfast tray but resists the temptation.
NATALIA
That’s sudden.
He comes out with his bags.
JACK
Eat something. They always bring way more than I can eat.
NATALIA
No. Thank you.
JACK
Lost your appetite?
(beat)
Are you okay?
He looks at her intently, trying to get a read on her — and her stiffness.
NATALIA
Is this related to the forbidden book you left in the village?
JACK
No one should be censored for sharing truth.
She picks up one of his bags.
NATALIA
Ready? I’ll carry this down for you.
EXT. NATIONAL HOTEL – DAY
Jack climbs into a waiting car. Natalia watches him drive away — and then she smiles, relieved.
EXT. MOSCOW – DAY
Two KGB AGENTS approach Alex as he packs up his table and flyers. He comes to attention.
ALEX
Comrades.
KGB AGENT
Have you gained good support for the camp?
ALEX
Every spot filled.
KGB AGENT
Excellent. You do good work.
KGB AGENT 2
We have an assignment for you. Something we feel you are well qualified for.
ALEX
You know my loyalties.
KGB AGENT 2
There’s always a testing ground.
ALEX
Whatever you want. I am willing.
A group of STUDENTS walk by. The agent leans in to speak in a low-voice that only Alex can hear — then leans back out.
KGB AGENT 2
Understood?
ALEX
Of course. As you wish.
Alex watches them walk away, steeling his heart for the new assignment.
INT. HOUSE/KITCHEN – DAY
Natalia stirs a kettle of soup, humming as she works. Oleg comes in and she greets him happily.
NATALIA
Dinner’s ready. Did you find bread?
Silent, he sets a hard loaf of bread on the counter and turns to leave the room. Concerned, she calls after him.
NATALIA
Are you going to sit?
OLEG
I’m going to clean up.
He pauses at the door, his back to her.
OLEG
My orders changed.
NATALIA
What do you mean? You’ve only got one more year of school.
OLEG
Well they’ve decided I’d make a better laborer than a doctor.
He turns and blasts her.
OLEG
What did you say?
NATALIA
What do you mean —
OLEG
All your work with Jack. Going places, drawing attention to yourself —
NATALIA
I didn’t —
OLEG
What did you tell them?
NATALIA
Nothing. I told them nothing.
He stomps off, leaving Natalia to wonder.
INT. BEDROOM – NIGHT
Natalia enters the room, seeking solace, seeking peace. She looks up at the light. The bug is not there anymore. She moves to her desk. Her books have been moved — her pen lays in a different spot. Someone’s been in the room.
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Lesson 13 act 2 Begins Assignment
Laura Woodworth’s Act 2 Reaction to TP 1
What I learned doing this assignment is I discovered new ways to challenge my lead characters “old ways.” This helped me build in more tension and conflict, while also raising the stakes.
INT. ADMINISTRATION OFFICE – DAY
NATALIA
Can you believe it? They’re tracking me.
The Administrator sits calmly while she defends herself.
COLLEGE ADMINISTRATOR
It sounds like you’re quite upset.
NATALIA
Well, I am. I’m only doing what you’ve asked me to do — interpret for the American. I’m still at the top of my classes and I’m sure you know my loyalty and support.
COLLEGE ADMINISTRATOR
Perhaps it was a coincidence. I doubt you have anything to be concerned about.
He talks her down. She settles.
COLLEGE ADMINISTRATOR
I will ask, however, is there anyone around you who could be suspect? Maybe that’s who they’re watching?
NATALIA
No — I don’t think so…
COLLEGE ADMINISTRATOR
Someone whose loyalties seem misplaced? Someone who you feel uncomfortable around…
She considers. He presses.
COLLEGE ADMINISTRATOR
Sometimes they’re hiding in plain sight. On the surface they seem devoted, but if you look closer…
(beat)
Your insight could be very valuable.
NATALIA
I don’t know —
(beat)
There is a shopkeeper…
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Laura Woodworth’s Finished Act 1
What I learned in this assignment – is that after re-reading my quickly written draft, I realized it was better than I thought. It helps that the main beats/turning points are already in place to ensure my character arc. I’m committed to keep writing using the high speed writing rules so I can get through this first draft.
(Note: for this assignment, scenes were outlined on a legal pad and inserted into my script I’m at page 25-26, which is where I hoped to be.)
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Laura Woodworth’s Turning Point 1 Scenes
What I learned doing this assignment was to make sure my turning point is emotional and dramatic; that it clearly locks my lead character into this journey. And – to write quickly and keep moving. I’ll go back later to elevate this scene in the next draft.
EXT. HOTEL – NIGHT
Natalia exits the hotel and walks swiftly through the streets toward her home. Uneasy, she notices men in dark suits on street corners glancing at her, watching her movements. A dark car tracks her…
INT. HOUSE – NIGHT – CONTINUOUS
Natalia pushes the door closed and breathes deeply. Safe.
IRINA (O.C.)
That you, Tali?
Irina appears in the kitchen doorway, drying a dish, her eyes probing — searching for information.
IRINA
How did you day go?
Natalia turns from her as she wrestles out of her heavy coat and hangs it.
NATALIA
As usual.
She turns back.
NATALIA
I’ve got homework.
She moves upstairs, away from the watchful eyes of her sister and into her room. She closes the door and moves to the window, carefully pulling back the curtain. The two men are stationed across the street, talking into their cuffs. She closes the curtain and steps back, out of view.
TAP, TAP. The door eases open. Irina pops her head in.
IRINA
Are you hungry?
NATALIA
No — I’m fine. Thanks.
The question seems strange. Irina pushes in and settles on the bed like it’s normal for her to care about Natalia.
IRINA
Did you eat with the American? At that fancy hotel?
NATALIA
I ate the soup on campus.
IRINA
I bet the food there is lovely. At the hotel that is.
NATALIA
I’ve got a lot of reading to do tonight.
Their eyes lock; an internal standoff of sorts. Irina stands and tries to be endearing.
IRINA
Well, if you do eat there, wrap a bit in a napkin for me.
She exits, pulling the door behind her.
IRINA
Happy studying.
Alone, Natalia stands quietly in the middle of the room, listening, sensing — and then she searches, running her hand under the lip of the desk, looking up into the lampshade, behind the headboard — and then she sees it. She quietly pulls her desk chair to the middle of the room and stands on it to observe a small dark object tucked under the lip of the ceiling light. A bug. Recording every word, every conversation.
She carefully steps down and sets the chair back in it’s place, hardly daring to breath.
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Laura Woodworth’s Inciting Incident
What I learned doing this assignment: to work quickly. I have a time leap right after the inciting incident and I’m not quite sure how I’ll work that out yet – but I have the scenes to build upon and quickly added in names to some supporting characters.
INT. SCHOOL – DAY
Isolated from the others, Natalia works, her head buried in her studies.
TEACHER
Class, I have your test results. To those who excelled, I applaud you for your value to the motherland.
She walks down the aisles, laying papers on student desks the red marks of A or F seen by others as she lays the papers on the desks. She pauses at Natalia’s desk.
TEACHER
Natalia — look at me.
Hesitant, Natalia lifts her eyes.
TEACHER
Follow me. Bring your books.
She walks briskly to the blackboard. Natalia quickly scoops up her belongings and follows her obediently. Head low, she stands in front of the class expecting the worst.
TEACHER
Many of you did well this year. But only one student achieved 100 percent accuracy. Congratulations, Natalia. Take your place at the head of the class.
She gestures to a desk and the occupant quickly deserts it, shuffling to an empty desk in the back. Natalia looks at the teacher who beams at her star pupil and claps. The class joins in and Natalia takes her new desk as the girls who once bullied her smile and cheer.
INT. HOUSE – DAY
Natalia shows off her red Pioneer Brigade scarf.
NATALIA
Summer camp starts next week and I’m leading a battalion of the Pioneer Brigade.
IRINA
About time you did something worthwhile for the cause.
GRANDMOTHER
Shush, now.
IRINA
It’s true. She’s had her head in books so much.
NATALIA
Valuable. That’s what teacher said. I bring value to the cause.
GRANDMOTHER
You are valuable simply for who you are, child. It doesn’t take an army to tell you who you are.
Unsure how to take the comment, Natalia coldly responds.
NATALIA
The army is everything. The motherland is everything. You are nothing.
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Laura Woodworth’s Act 1: Opening Scenes
What I learned doing this assignment is to get in quick and leave early, simply making sure I’ve hit my beginning, middle and ending beats. Choosing speed over quality. Keep moving.
FADE IN:
INT. EXT. STREET/RUSSIA – DAY 1953
A child runs through the streets of Moscow, blonde pigtails bouncing, a heavy school bag in tow. 6-year old NATALIA (TALI for short) passes the oppressive scenes of Communist Russia during the Cold War; a war-torn country not yet recovered from WWII. A SHOPKEEPER waves and she waves back with a happy smile as she passes the long line of weary BABUSHKAS shopping for their family’s meal.
She nears a long row of houses and climbs the steps, oblivious to the TWO DARK-SUITED MEN positioned kitty-corner to her family home. She leaves the gray world behind as she pushes through her door.
EXT. PLAYGROUND – DAY
A ring of CHILDREN surround Natalia, screaming INSULTS, kicking dust into her face.
VARIOUS CHILDREN
Stupid! Scum. You’re nothing. You’re no patriot.
She stands, humiliated, shamed, undefiant.
Tall for his age, ALEX (8) watches from the sidelines. Finally he’s had enough. He pushes into the circle and forms a shield in front of Natalia.
ALEX
Prove it. Prove her guilt. If you can.
A scrappy boy kicks towards Alex.
SCRAPPY BOY
What about her parents?
Alex makes a move towards the boy and he scatters, along with the others. Alex turns to Natalia, tears forming tracks down her dirty cheeks.
ALEX
No one to taunt you now, is there?
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Laura Woodworth’s Beat Sheet Draft 2
What I learned doing this assignment is to make sure I’ve got strong beats for my antagonist!
Concept: A Russian college student’s search for truth lands her on the radar of her KGB boyfriend when she discovers her grandmother’s forbidden Bible and secretly shares it on the campus of the Moscow University.
Main Conflict: The lies told by the communist Russian government versus the truth about life and Christianity; the truth about faith and freedom versus the lies told by the communist government; her boyfriend’s staunch KGB views versus her quest for truth and freedom.
Old ways: fearful and subservient; believing the lie of communism about life and faith
New ways: fearless, brave and courageous; walking in the truth about freedom and Christianity
Theme: What is this story really about? Even in the darkest moments, light will prevail. Darkness cannot quench light.
Antatolia
ACT 1: Set up and see the old ways
EXT. STREET/RUSSIA – DAY – 1953
Opening image: Antatolia as a 6-year old child running home from school through the oppressive atmosphere of communist Russia.
INT. HOUSE – DAY
Antatolia enters her warm and loving family home; greeted by grandmother. Brother and sister.
INT. BEDROOM – DAY
She runs to get grandma’s Bible from shelf in her room and grandmother reads.
INT. HOUSE/DINING ROOM – DAY
Parents arrive home from work; family dinner; see dynamics of family faith and relationships including brother and bitter sister.
EXT. STREET/MARKET – DAY
Antatolia shops with grandmother; highly respected.
INT. HOUSE – NIGHT
Scene with parents and grandmother discussing dangers?
INT. HOUSE – DAY
Grandmother at window; notes KGB on street watching.
EXT. STREET – DAY
Antatolia running home from school as usual; passes by KGB agents.
INT. HOUSE – DAY
Antatolia runs to get Grandma’s bible as usual and they read the story of Queen Esther. She pretends to be Queen Esther, the one chosen to deliver her people. She goes to put bible away, but Grandmother intervenes and takes it upstairs.
INT. BEDROOM – DAY
Grandma hides the bible.
INT. DINING ROOM – NIGHT
Page 3 twist/theme stated: Family is gathered for dinner; KGB storm in and take parents. (They execute her, but she, in her young naiveté thinks they are only banished.)
EXT. PLAYGROUND – DAY
Antatolia bullied and picked on; word travels fast. Alex steps in to defend her and they form a new friendship – a team fighting together against the bully.
INT. SHARED BEDROOM – NIGHT
Antatolia writes to her parents?? With sister nearby she feels suspect; set up of sister who betrayed parents? Anatolia hides her little diary.
EXT. STREET/MARKET – DAY
Antatolia shops with Grandmother who is now shunned and ignored. People are scared of “guilt by association.” She drops her hand.
INT. SCHOOL – DAY
Antatolia ridiculed; Stalin’s posters appear in school about the evil grandmothers…
EXT. STREET – DAY
Coming home from school, Antatolia sees a dissenter executed in public; raises even more fear. Could be a kindly old man/friend of Grandmother’s.
INT. HOUSE – DAY
The atmosphere is cold; everyone is suspect. Fear reigns. Grandmother goes silent… praying only; no more bible reading; and Antatolia shies away from her.
INT. SHARED BEDROOM – NIGHT
Antatolia writes to her parents?? Feels eyes on her from sister.
INT. HOUSE – DAY
Times are harder now with parents and their income gone. Food is even more scarce…
INT. SCHOOL – DAY
p.10 Inciting image: Antatolia is “chosen” at school, rewarded for her intelligence. As time passes, Antatolia learns to always be on her “best behavior.” Does well in school and is rewarded for her intelligence…. strives to regain the respect her family once had. Alex is still a friend, but she makes a new best friend, Marinas. Cold towards her grandmother as she is fully indoctrinated in The Lie of communism.
EXT. MOSCOW UNIVERSITY – DAY – 1968
Antatolia is now 20 and a student at Moscow University, a high honor. She is still friends with Marinas and Alex.
INT. HOUSE – DAY
Grandmother passes away. Coldhearted, Antatolia moves into her room.
INT. MOSCOW UNIVERSITY/ADMIN OFFICE – DAY
Antatolia is assigned as an interpreter for Jim, the free thinking American invited to the Soviet Union by the Academy of Science for his research project.
EXT. STREET – DAY
Antatolia walks home or is walking with Jim; what she doesn’t know is that she is being watched by the KGB.
INT. MOSCOW UNIVERSITY/SCHOOLS? – DAY
Antatolia interprets for Jim; spends the day… exposed to his different mindset.
EXT. HOTEL – DAY
Antatolia takes him back to hotel; he invites her to dine with her in his room.
INT. HOTEL/ROOM – DAY
Antatolia is amazed at the food he has and the space he has in the hotel room; a stark contrast to her life in Russia. Sows seeds of doubt.
EXT. MARKET – DAY
Antatolia stands in long line at market; gets to counter and they don’t have what she wants; has to settle for something else. Never enough; it sows more seeds of doubt. She decides to start asking questions.
INT. HOUSE – NIGHT
Home with her groceries, she cooks for brother, sister. Starts asking questions… raises their suspicions; no one will talk to her. Dead end. Her questions raise varying reactions (fear, anger, suspicion.) She is still under the idea that her parents are alive…
INT. HOTEL – DAY
Antatolia arrives to pick up Jim and, with “eyes wide open” (she thinks), she plies him with questions about freedom. He is silent – and silences her and they exit –
EXT. STREET – DAY
Jim walks to talk; he knows he’s being watched and tells Antatolia she is too. She denies it – surely not as she was honorably assigned to interpret for him, a sort of reward for her good behavior. Walking and talking, he shares bits about America/freedom, and delves into Christianity and faith. She scoffs at that – it’s a fairy tale. He drops the subject.
EXT. STREET – NIGHT
Antatolia arrives home after dropping Jim off; she doesn’t consciously notice the KGB stationed nearby.
INT. HOUSE – NIGHT
Awkward interaction with brother, sister. Sister pries for information about “her day” with the American?
INT. BEDROOM – NIGHT
Act 1 Turning point into Act 2: Antatolia realizes the KGB is watching her. She is forced to respond to this new information and it sends her on a new pathway of truth. Antatolia enters… and decides to check for bugs… discovering one hidden. She doesn’t know if she should tinker with it or not… out of fear, she leaves it so they won’t suspect that she knows. On a whim – and realizing what she saw that did not register at first – she peeks outside and sees the KGB men stationed.
ACT 2: Challenges the old ways
INT. MOSCOW UNIVERSITY – DAY
With Jim; she is quiet with her new revelation. He reads her mood and prods her towards faith again. She refutes it? The forbidden book. Maybe – he prods her even more – it’s what your parents died for.
EXT. MARKET – DAY
Plan in action: A secret dissenter and old friend of the family knows she’s been asking questions. He suggests she asks her sister what happened to her parents.
INT. HOUSE – NIGHT
Antatolia confronts her sister and her dirty secret comes out – including the fact that her parents were executed.
INT. BEDROOM – DAY
Midpoint turning point: Antatolia discovers her grandmother’s forbidden bible; memories flood in. (The start of her growth…) Antatolia arrives home. KGB stationed outside; the bug recording anything she says and does. She thoughtfully considers – where would her grandmother’s hidden bible be? She hunts quietly and discovers the hiding place; she holds the forbidden book in her hand and memories come flooding in… of the bible stories – and Queen Esther. She begins reading.
ACT 3: Profound moment – old ways dropping off. New ways forming
INT. BEDROOM – NIGHT
Rethink everything: Antatolia devours the bible and her eyes are wide open now. Carefully hides bible.
INT. HOUSE – DAY
Is nonchalant with sister and brother as she eats breakfast and leaves. She has a secret now – and her sister could betray her if she’s found out!
EXT. HOTEL – DAY
Meets Jim; they must wash the car; clean car, despite the deep corruption. Her eyes are open to see it now.
INT. BEDROOM – NIGHT
Antatolia reads the bible – cover to cover. It’s changing her worldview, her life.
EXT. MOSCOW UNIVERSITY – DAY
Antatolia is excited; Alex wonders why. She’s not ready to share yet??
INT. MOSCOW UNIVERSITY CLASSROOM – DAY
She discovers a teacher is a believer; a situation arises and he prays – and the power of God is displayed in a miraculous healing. Further confirms to her the power of God – this is not a fairy tale! Maybe Marinas witnesses it too?? Antatolia tries to talk to her and explain, but it doesn’t go well…
INT. BEDROOM – NIGHT
New plan: She commits to share truth. She knows the truth and her new plan is to secretly share the bible; to share truth with her friends on campus. She carefully tears a page out of the bible to share with Marinas. (The stakes get higher here.)
EXT. MOSCOW UNIVERSITY – DAY
Marinas shares her secret – she’s so tired of best behavior; will it save her? Antatolia shares bible page with her?
INT/EXT. MOSCOW UNIVERSITY – DAY
Antatolia is more aware than ever before of the weariness of classmates, the anxiety and stress – and the hunger for truth…. she comes up with a risky plan. (Marina’s idea?? They work together; leaving Alex in the dark; hesitant to ask him.)?
INT. BEDROOM – NIGHT
Antatolia cuts bible into bits that she can transport.
EXT. HOTEL – DAY
Picks up Jim; shares her interest in faith? He’s thrilled – but cautionary. They now have a new-found bond…
EXT. MOSCOW UNIVERSITY – DAY
Alex senses the change in the relationship between Antatolia and Jim; he’s jealous. Jim has become his enemy. Pride rises up into his relationship with Antatolia and he is closed to her; they are no longer a “team” to fight the “bullies.”
EXT. STREET – NIGHT
In a last effort to protect Antatolia, Alex warns Jim what his relational involvement could mean for Antatolia. Warns him to stay away?
EXT. STREET/CAR – NIGHT
Turning point into Act 4: Alex coerced to become KGB at threat of his being sent away? He is assigned to watch Antatolia. He is now her enemy.
ACT 4: Test the change in this character; prove the new ways
EXT. MOSCOW UNIVERSITY – DAY
Although Alex has been cold to her, now he’s come back around – so he can spy on her. She senses his suspicion.
INT. HOTEL – DAY
Jim receives notice of his deadline to leave the country. Antatolia is there; she’s concerned… he pulls her outside…
EXT. HOTEL/STREET – DAY
? P. 75 A New Development: Jim proposes marriage to Antatolia and a chance to escape with him to America. He’s recognized the intense scrutiny of the KGB and the moving in of Alex. (and sister danger??) She has feelings for him, but is unsure… They set an agreed upon time and place?
EXT. MOSCOW UNIVERSITY – DAY
Climax (final battle): Alex betrays her. Her facedown with Alex – He’s tracking her; will she run away with Jim or stay and fight. Will Alex turn? Alex finds solid condemning evidence against Antatolia. She’s face to face with her enemy as he tracks her down. (She pleads with him?? For truth, for love??) Can the love they share sway him?
EXT. STREET – DAY
Antatolia runs home… fully aware of being watched. She’s desperate now and has one chance to escape with Jim…. her dilemma!
INT. BEDROOM – DAY
Antatolia discovers a note in her grandmother’s bible about her faith for Russia to return to Christianity, for an “agent of deliverance” to arise… Antatolia – the one.
EXT. MOSCOW UNIVERSITY – DAY
Antatolia talks with Marinas – to stay or not to stay?
EXT. STREET – DAY
Alex is hot on her trail…
EXT. AIRPORT – DAY
Jim travels to airport; looking for Antatolia at their agreed upon place.
EXT. AIRPORT – DAY
Antatolia travels to airport… we wonder if she’s going or not…
EXT. MOSCOW UNIVERSITY – DAY
Alex presses Marinas for information; she’s gone to the airport; he takes off – he’s hurt and pressed; he didn’t want to have to hunt her down… maybe he should just let them take him…
EXT./INT. AIRPORT/RUNWAY – DAY
Resolution: Jim – walks tarmac – turns to see Antatolia waving goodbye from inside. She will not desert her country – or her grandmother’s dream.
EXT. MOSCOW UNIVERSITY – DAY
Alex in dilemma… and scrap of bible page floats down from somewhere… he picks it up. And reads.
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Laura Woodworth’s High Speed Beat Sheet
What I learned doing this assignment is to quickly think through the main beats of the story. It also made me start thinking of the strongest choices for locations for each scene to add emotion/intrigue, and also helped me see holes where I will need to add in scenes with main characters that I’m missing. I’m committing to use the high speed writing rules in this process.
Concept: A Russian college student’s search for truth lands her on the radar of her KGB boyfriend when she discovers her grandmother’s forbidden Bible and secretly shares it on the campus of the Moscow University.
Main Conflict: The lies told by the communist Russian government versus the truth about life and Christianity; the truth about faith and freedom versus the lies told by the communist government; her boyfriend’s staunch KGB views versus her quest for truth and freedom.
Old ways: fearful and subservient; believing the lie of communism about life and faith
New ways: fearless, brave and courageous; walking in the truth about freedom and Christianity
ACT 1: Set up and see the old ways
EXT. STREET/RUSSIA – DAY – 1953
Opening image: Natasha as a 6-year old child running home from school through the oppressive atmosphere of communist Russia.
INT. HOUSE – DAY
Natasha enters her warm and loving family home; greeted by grandmother. Brother and sister.
INT. BEDROOM – DAY
She runs to get grandma’s Bible from shelf in her room and grandmother reads.
INT. HOUSE/DINING ROOM – DAY
Parents arrive home from work; family dinner; see dynamics of family faith and relationships including brother and bitter sister.
EXT. STREET/MARKET – DAY
Natasha shops with grandmother; highly respected.
INT. HOUSE – NIGHT
Scene with parents and grandmother discussing dangers?
EXT. STREET – NIGHT
Sister betrays parents to the KGB as dissenters? (placement?)
INT. HOUSE – DAY
Grandmother at window; notes KGB on street watching.
EXT. STREET – DAY
Natasha running home from school as usual; passes by KGB agents.
INT. HOUSE – DAY
Natasha runs to get Grandma’s bible as usual and they read the story of Queen Esther. She pretends to be Queen Esther, the one chosen to deliver her people. She goes to put bible away, but Grandmother intervenes and takes it upstairs.
INT. BEDROOM – DAY
Grandma hides the bible.
INT. DINING ROOM – NIGHT
Inciting incident: Family is gathered for dinner; KGB storm in and take parents. (They execute her, but she, in her young naiveté thinks they are only banished.)
EXT. PLAYGROUND – DAY
Natasha bullied and picked on; word travels fast. Alex steps in to defend her and they form a new friendship – a team fighting together against the bully.
INT. SHARED BEDROOM – NIGHT
Natasha writes to her parents?? With sister nearby? She hides her little diary.
EXT. STREET/MARKET – DAY
Natasha shops with Grandmother who is now shunned and ignored. People are scared of “guilt by association.” She drops her hand.
INT. SCHOOL – DAY
Natasha ridiculed; Stalin’s posters appear in school about the evil grandmothers…
EXT. STREET – DAY
Coming home from school, Natasha sees a dissenter executed in public; raises even more fear. Could be a kindly old man/friend of Grandmother’s.
INT. HOUSE – DAY
The atmosphere is cold; everyone is suspect. Fear reigns. Grandmother goes silent… no more bible reading; and Natasha shies away from her.
INT. SHARED BEDROOM – NIGHT
Natasha writes to her parents?? Feels eyes on her from sister.
INT. HOUSE – DAY
Times are harder now with parents and their income gone. Food is even more scarce…
INT. SCHOOL – DAY
As time passes, Natasha learns to always be on her “best behavior.” Does well in school and is rewarded for her intelligence…. strives to regain the respect her family once had. Alex is still a friend, but she makes a new best friend, Marinas.
INT. HOUSE – DAY
Grandmother passes away? Natasha moves into her room.
EXT. MOSCOW UNIVERSITY – DAY – 1968
Natasha is now 20 and a student at Moscow University, a high honor. She is still friends with Marinas and Alex.
INT. MOSCOW UNIVERSITY/ADMIN OFFICE – DAY
Turning point into Act 2: Natasha is assigned as an interpreter for Jim, the free thinking American invited to the Soviet Union by the Academy of Science for his research project.
ACT 2: Challenges the old ways
EXT. STREET – DAY
Natasha walks home or is walking with Jim; what she doesn’t know is that she is being watched by the KGB.
INT. MOSCOW UNIVERSITY/SCHOOLS? – DAY
Natasha interprets for Jim; spends the day… exposed to his different mindset.
EXT. HOTEL – DAY
Natasha takes him back to hotel; he invites her to dine with her in his room.
INT. HOTEL/ROOM – DAY
Natasha is amazed at the food he has and the space he has in the hotel room; a stark contrast to her life in Russia. Sows seeds of doubt.
EXT. MARKET – DAY
New plan: Natasha stands in long line at market; gets to counter and they don’t have what she wants; has to settle for something else. Never enough; it sows more seeds of doubt. She decides to start asking questions.
INT. HOUSE – NIGHT
Home with her groceries, she cooks for brother, sister. Starts asking questions… raises their suspicions; no one will talk to her. Dead end. Her questions raise varying reactions (fear, anger, suspicion.) She is still under the idea that her parents are alive…
EXT. MARKET – DAY
A secret dissenter and old friend of the family knows she’s been asking questions. He suggests she asks her sister what happened to her parents.
INT. HOUSE – NIGHT
Plan in action: Natasha confronts her sister and her dirty secret comes out – including the fact that her parents were executed.
INT. HOTEL – DAY
Natasha arrives to pick up Jim and, with “eyes wide open” (she thinks), she plies him with questions about freedom. He is silent – and silences her and they exit –
EXT. STREET – DAY
Jim walks to talk; he knows he’s being watched and tells Natasha she is too. She denies it – surely not as she was honorably assigned to interpret for him, a sort of reward for her good behavior. Walking and talking, he shares bits about America/freedom, and delves into Christianity and faith. She scoffs at that – it’s a fairy tale. He drops the subject.
EXT. STREET – NIGHT
Natasha arrives home after dropping Jim off; she doesn’t consciously notice the KGB stationed nearby.
INT. HOUSE – NIGHT
Awkward interaction with brother, sister. Sister pries for information about “her day” with the American?
INT. BEDROOM – NIGHT
Natasha enters… and decides to check for bugs… discovering one hidden. She doesn’t know if she should tinker with it or not… out of fear, she leaves it so they won’t suspect that she knows. On a whim – and realizing what she saw that did not register at first – she peeks outside and sees the KGB men stationed.
INT. MOSCOW UNIVERSITY – DAY
Plan in action: With Jim; she is quiet with her new revelation. He reads her mood and prods her towards faith again. She refutes it? The forbidden book. Maybe – he prods her even more – it’s what your parents died for.
INT. BEDROOM – DAY
Midpoint turning point: Natasha arrives home. KGB stationed outside; the bug recording anything she says and does. She thoughtfully considers – where would her grandmother’s hidden bible be? She hunts quietly and discovers the hiding place; she holds the forbidden book in her hand and memories come flooding in… of the bible stories – and Queen Esther. She begins reading.
ACT 3: Profound moment – old ways dropping off. New ways forming
INT. HOUSE – DAY
Rethink everything: Natasha carefully hides bible. Is nonchalant with sister and brother as she eats breakfast and leaves. She has a secret now – and her sister could betray her if she’s found out!
EXT. HOTEL – DAY
Meets Jim; they must wash the car; clean car, despite the deep corruption. Her eyes are open to see it now.
INT. BEDROOM – NIGHT
Natasha reads the bible – cover to cover. It’s changing her worldview, her life.
EXT. MOSCOW UNIVERSITY – DAY
Natasha is excited; Alex wonders why. She’s not ready to share yet??
INT. MOSCOW UNIVERSITY CLASSROOM – DAY
She discovers a teacher is a believer; a situation arises and he prays – and the power of God is displayed in a miraculous healing. Further confirms to her the power of God – this is not a fairy tale! Maybe Marinas witnesses it too?? Natasha tries to talk to her and explain, but it doesn’t go well…
INT. BEDROOM – NIGHT
New plan: she knows the truth and her new plan is to secretly share the bible; to share truth with her friends on campus. She carefully tears a page out of the bible to share with Marinas.
EXT. MOSCOW UNIVERSITY – DAY
Marinas shares her secret – she’s so tired of best behavior; will it save her? Natasha shares bible page with her?
INT/EXT. MOSCOW UNIVERSITY – DAY
Natasha is more aware than ever before of the weariness of classmates, the anxiety and stress – and the hunger for truth…. she comes up with a risky plan. (Marina’s idea?? They work together; leaving Alex in the dark; hesitant to ask him.)?
INT. BEDROOM – NIGHT
Natasha cuts bible into bits that she can transport.
EXT. HOTEL – DAY
Picks up Jim; shares her interest in faith? He’s thrilled – but cautionary. They now have a new-found bond…
EXT. MOSCOW UNIVERSITY – DAY
Alex senses the change in the relationship between Natasha and Jim; he’s jealous. Jim has become his enemy. Pride rises up into his relationship with Natasha and he is closed to her; they are no longer a “team” to fight the “bullies.”
EXT. STREET – NIGHT
In a last effort to protect Natasha, Alex warns Jim what his relational involvement could mean for Natasha. Warns him to stay away?
EXT. STREET/CAR – NIGHT
Turning point into Act 4: Alex coerced to become KGB at threat of his being sent away? He is assigned to watch Natasha. He is now her enemy.
ACT 4: Test the change in this character; prove the new ways
EXT. MOSCOW UNIVERSITY – DAY
Although Alex has been cold to her, now he’s come back around – so he can spy on her. She senses his suspicion.
INT. HOTEL – DAY
Jim receives notice of his deadline to leave the country. Natasha is there; she’s concerned… he pulls her outside…
EXT. HOTEL/STREET – DAY
Jim proposes marriage to Natasha and a chance to escape with him to America. He’s recognized the intense scrutiny of the KGB and the moving in of Alex. (and sister danger??) She has feelings for him, but is unsure… They set an agreed upon time and place?
EXT. MOSCOW UNIVERSITY – DAY
Climax: Alex finds solid condemning evidence against Natasha. She’s face to face with her enemy as he tracks her down. (She pleads with him?? For truth, for love??) Can the love they share sway him?
EXT. STREET – DAY
Natasha runs home… fully aware of being watched. She’s desperate now and has one chance to escape with Jim…. her dilemma!
INT. BEDROOM – DAY
Natasha discovers a note in her grandmother’s bible about her faith for Russia to return to Christianity, for an “agent of deliverance” to arise… Natasha – the one.
EXT. MOSCOW UNIVERSITY – DAY
Natasha talks with Marinas – to stay or not to stay?
EXT. STREET – DAY
Alex is hot on her trail…
EXT. AIRPORT – DAY
Jim travels to airport; looking for Natasha at their agreed upon place.
EXT. AIRPORT – DAY
Natasha travels to airport… we wonder if she’s going or not…
EXT. MOSCOW UNIVERSITY – DAY
Alex presses Marinas for information; she’s gone to the airport; he takes off – he’s hurt and pressed; he didn’t want to have to hunt her down… maybe he should just let them take him…
EXT./INT. AIRPORT/RUNWAY – DAY
Resolution: Jim – walks tarmac – turns to see Natasha waving goodbye from inside. She will not desert her country – or her grandmother’s dream.
EXT. MOSCOW UNIVERSITY – DAY
Alex in dilemma… and scrap of bible page floats down from somewhere… he picks it up. And reads.
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Laura Woodworth’s Transformational Events
What I learned doing this assignment is the clarification of the early transformative events challenging the old ways, and the later transformative events training in the new ways.
2. Natalia’s character arc: believing the lie of communism to knowing the truth about the government and about faith and God From a fearful subservient to the lie of the government to a fearless deliverer armed with truth.
3. Old ways:
Ignorant of truth and of faith
Believing the lie of communism
Not a freethinker
Atheistic
Fearful, subservient
Shamed
Accepting the communist dominance
Trying to be “good” to gain favor/protection by Mother Russia
New ways:
Knows the truth about her parents’ execution and of their dissenting faith
Knows the truth of communism a
nd of Christianity
Fearless
Fighting for a cause – the Kingdom of God
Believes she can do anything with God’s help
Believes all can be changed, be saved
She is the “one” – the agent of deliverance for her university campus and for her country – even as she dreamed of being Queen Esther as a child.
4. Sequence the steps from easiest to most difficult.
1. Recognize there is a different reality than what she’s known. (Discovering her parents were killed – why?)
2. Sees the level of power the KGB has and that Alex, as an agent, is her enemy.
3. Realizes there is a spiritual reality.
4. Makes the decision to seek truth.
5. Realizes there is another level of life in God – miracles, answers to prayer.
6. Skilled with the scriptures.
7. Standing up to Alex and the power of the KGB.
8 Choosing Russia over a chance to escape with Jim to America – so she can be the one her grandmother believed for to turn the nation back to God.
5. Brainstorm dramatic events or tests that could cause those changes for the character.
-Discovers her parents were executed as dissidents because of their faith, thus seeing the power of the KGB.
-Meets Jim from America who challenges her thinking and exposes her to freedom outside of communist Russia.
-Discovers her grandmother’s forbidden Bible; she reads it and realizes the spiritual reality; God is real; Christianity is not a fairy tale.
-Determines to share truth on campus; takes steps to share scripture; meets resistance and she goes another route – cutting up the Bible into scraps of scripture that can be easily and secretly shared.
-Alex senses something is wrong and becomes insecure and jealous of Jim. At first he covers for her, but then out of pride, becomes a staunch enemy.
-Jim proposes and offers an escape to America.
-Natalia considers Jim’s proposal, despite her love for Alex. She finds a note in her grandmother’s Bible about her faith for a deliverer to rise up and turn the nation – and she realizes her grandmother believed she was the one.
-Torn, she turns down Jim with faith that Alex can change, that he can turn to God.
-Alex finds a scrap of the Bible… and reads it.
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Laura Woodworth’s 4 Act Transformational Structure
What I learned doing this assignment is to think through the story in the best way possible so I have a strong narrative arc as related to the character arc. I liked this process as I have a tendency to go too quick into story, versus really beating out the important points.
1. Give us the following:
Concept:
A Russian college student’s search for truth lands her on the radar of her KGB boyfriend when she discovers her grandmother’s forbidden Bible and secretly shares it on the campus of the Moscow University.
A Russian college student’s search for truth lands her on the radar of the KGB when she discovers her grandmother’s forbidden Bible and secretly shares it on the campus of the Moscow University.
Main Conflict: The lies told by the communist Russian government versus the truth about life and Christianity
Natalia’s newfound faith versus the communist government and her staunch KGB boyfriend
The truth about faith and freedom versus the lies told by the communist government
Old ways: fearful and subservient; believing the lie of communism about life and faith
New ways: fearless, brave and courageous; walking in the truth about freedom and Christianity
2. Fill in each of these with the answers you have right now.
Act 1: Set up and see the old ways
• Opening: Natalia as a child in a warm and loving family under communist rule.
• Inciting Incident: Natalia’s parents are taken away and executed as dissidents. (Although Natalia does not know they’ve been killed.) Natalia doesn’t know why they’ve been torn away from her and it sets the stage for her journey for truth.
• Turning point into Act 2: She meets Jim, the freethinking American and it sows further seeds of doubt. She’s locked into this journey for truth.
Act 2: Challenges the old ways
• New Plan: Natalia searches for truth from those close to her (brother, sister, neighbors, professors) – but it ends in a frustrating dead end. No one will talk and her questions raise varying reactions (fear, anger, suspicion)
• Plan in action: With Jim, Natalia discovers more – about her country, about her parents execution. Now she’s getting answers.
• Midpoint Turning Point: She discovers her grandmother’s forbidden Bible.
• Rethink everything: She reads the Bible and rethinks everything she knows about faith; also helps her rethink/reconsider Jim’s POV as she now as context to evaluate.
• New Plan: She knows the truth and now her new plan is to secretly share the Bible; to share truth with her friends on campus!
• Turning point into Act 3: (Huge failure/major shift): She has now become suspect by Alex and the KGB. He is now her enemy!
Act 3
• Climax/Ultimate expression of the conflict: She comes face to face with Alex as he tracks her down. The dilemma: trial of her faith to marry and leave with Jim or stay and believe for Alex to change and embrace truth. How strong of a hold does communism have on Alex? How much faith does she have to stay in her country?
• Resolution: She decides to stay and, as a scrap of the Bible floats down in front of Alex, he picks it up and reads.
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Laura Woodworth’s Character Interviews
What I learned doing this assignment is to go deeper with my character development and motivation and relational dynamics. It really gave me greater insight into my character’s story and the narrative arc.
Note: I am traveling and was not able to type up the interviews. Instead, I have multiple pages filled in a legal notepad for my reference.
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Laura Woodworth’s Character Profile Part 2
What I learned doing this assignment is to think more deeply about my characters and what motivates them; working towards layered characters!
2. Fil in Part 2 of the Character Profile for your two lead characters:
Natalia
What draws us to this character? We’ve seen her innocence as a child and we know what she does not know – that her parents are dead.
Traits: Innocent, vulnerable, sweet, kind, deceived
Subtext: She always feels eyes on her and so she turns very polite and “obedient” when she is hiding or not saying something.
Flaw: her naiveté
Values: truth, her duty to the state, rightness, fairness
Irony: she believes in the state and that they will take care of her, and yet they’ve killed her parents, shamed her grandmother and put a wedge within her family. She has to rebel against the state to find true freedom.
What makes her the right character for this role? She had childhood dreams of being bold and brave like Queen Esther; once she gains the truth, she recovers that aspiration.
Jim
What draws us to this character? He is the American. At that point in history in Russia, Americans were still loved by the Russian people because of the war effort. He’s confident in his task and is a risk taker, a free thinker, despite the odds. He’s willing to enter Russia in the time of the Cold War.
Traits: smart, strategic, careful (i.e. he goes through the proper channels with the government to enter the country); patient, trusting and trustworthy.
Subtext: backs off when he is hiding or not saying something. He is okay to pe patient and wait.
Flaw: maybe too much of an optimist
Values: rightness, God, faith, freedom
Irony: he has to “break the law” and the rules the communist government have put on him to help Natalia find true freedom.
What makes this the right character for this role? He brings a strong contrast to the Russian thinking and the American thinking, as well as bringing in the faith element that helps Natalia recover what her grandmother had sown into her life years ago.
3. Make any improvements to Part 1 profile and bring the two parts together:
2. Pick the type of role your Protagonist will play and give us a few sentences on how they will fulfill that role.
Natalia
Hero (victim to deliverer): Natalia, once the lie is revealed, becomes the Queen Esther of her childhood, delivering those caught in the lie of communism and the lie it’s told concerning Christianity.
(Victim of the system; a victim of the lie: she challenges communism to survive and to aid others; (Dreamer: envisions a brighter future and takes action towards it as well.)
3. Pick the type of role y our Antagonist will play and give us a few sentences on how they will fulfill that role.
Antagonist: the oppressive government, and Alex, her boyfriend-turned staunch KGB
Villain/Authority: as a villain, the government has killed her dissenting parents and oppressed her life telling her a lie and creating fear – they have the power to kill her or send her away.
Alex: as an authority figure, he has a job to do. Won’t step out of his role as a KGB agent and becomes her enemy.
5. Pick your genre: Drama.
6. Fill in whatever answers come to you about your lead character profiles:
Natalia
Role: victim/hero
Age: meet her at 5 years old; later at 20 years old
Internal journey: believing the lie (subservient to govt., ambitiously aspiring to lead and remove the shame and guilt) to living for her faith. From fearful, meek and beaten down to bold, fearless leader.
External journey: subservient to government to a dissident and heroic deliverer.
Motivation: Want: to survive. to gain approval as a communist leader; Need: to know the truth.
Wound: the lie the government has told her; the loss of her parents, the feeling of shame and guilt and fear.
Mission: at first to lead in the government, to survive, gaining approval and removing shame; then, once the lie is exposed, to lead as a deliverer, leading others to truth and faith in God. From survival to risking all to save others.
Secret: she feels shame, guilt, fear
What makes her special: her heart of innocence: seeing her as a small child and then the transformation to a supporter of the regime – to knowing the truth and regaining her childlike faith, bold and brave like Queen Esther. Risking all to share the truth and save others.
Alex
Role: antagonist
Age: 20’s ambitious, powerhungry
Internal journey: goes from loving and supporting Natalia, to regarding her as the enemy.
External journey: from boyfriend to staunch KGB agent
Motivation: Want: power, approval. Need: the truth
Wound: the lie of the Russian government, the sense of disapproval he’s grown with.
Mission: to be a good KGB agent, gain approval, gain power, rise above. Also, as a young man, he has pride in seeing ways the KGB could “do better” and he’s out to prove his worth.
Secret: beaten down in his childhood; pride is his weapon.
What makes him special: Sold out – but deceived.
Jim
Role: ally, bearer of the truth
Age: 20’s, American linguist, needs interpreter
Internal journey: unaware of the deep oppression of the government to fully aware and bold in his faith
External journey: a visitor to Russia needing an interpreter to becoming a friend of Natalia, opening her eyes to the true oppression, the lie
Motivation: in country to study languages, translate the Bible in his work and sow seeds of faith
Wound:
Mission: carefully bringing truth to the country through the front of linguistic work
Secret: falls in love with Natalia
Special: American with freedoms
Grandma
Role: truth bearer, spiritual guide for Natlia
Age: 70’s, Russian, has lived from freedom into the oppression of Communism
Internal journey: bold to silent and prayerful for sake of children
External journey: bold witness and raising children in Christianity to silent witness to protect the lives of her grandchildren
Motivation: to help her children know the truth and the freedom they have in God, despite the government
Wound: she carries the sadness of her daughter and husband’s execution
Secret: she knows the lie of the government
Mission: to share her faith, to see her granddaughter become the deliverer
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Laura Woodworth’s Character Profiles Part 1
What I learned doing this assignment was to develop deeper layers to my characters and also I realized the need for other supporting characters (allies) for my story.
1. (audio)
2. Pick the type of role your Protagonist will play and give us a few sentences on how they will fulfill that role.
Natalia
Hero (victim to deliverer): Natalia, once the lie is revealed, becomes the Queen Esther of her childhood, delivering those caught in the lie of communism and the lie it’s told concerning Christianity.
(Victim of the system; a victim of the lie: she challenges communism to survive and to aid others; (Dreamer: envisions a brighter future and takes action towards it as well.)
3. Pick the type of role y our Antagonist will play and give us a few sentences on how they will fulfill that role.
Antagonist: the oppressive government, and Alex, her boyfriend-turned staunch KGB
Villain/Authority: as a villain, the government has killed her dissenting parents and oppressed her life telling her a lie and creating fear – they have the power to kill her or send her away.
Alex: as an authority figure, he has a job to do. Won’t step out of his role as a KGB agent and becomes her enemy.
5. Pick your genre: Drama.
6. Fill in whatever answers come to you about your lead character profiles:
Natalia
Role: victim/hero
Age: meet her at 5 years old; later at 20 years old
Internal journey: believing the lie (subservient to govt., ambitiously aspiring to lead and remove the shame and guilt) to living for her faith
External journey: subservient to government to a dissident and heroic deliverer.
Motivation: Want: to gain approval as a communist leader; Need: to know the truth.
Wound: the lie the government has told her; the loss of her parents, the feeling of shame and guilt and fear.
Mission: at first to lead in the government, gaining approval and removing shame; then, once the lie is exposed, to lead as a deliverer, leading others to truth and faith in God.
Secret: she feels shame, guilt, fear
What makes her special: her heart of innocence: seeing her as a small child and then the transformation to a supporter of the regime – to knowing the truth and regaining her childlike faith. Risking all to share the truth and save others.
Alex
Role: antagonist
Age: 20’s ambitious, powerhungry
Internal journey: goes from loving and supporting Natalia, to regarding her as the enemy.
External journey: from boyfriend to staunch KGB agent
Motivation: Want: power, approval. Need: the truth
Wound: the lie of the Russian government, the sense of disapproval he’s grown with.
Mission: to be a good KGB agent, gain approval, gain power, rise above. Also, as a young man, he has pride in seeing ways the KGB could “do better” and he’s out to prove his worth.
Secret: beaten down in his childhood; pride is his weapon.
What makes him special: Sold out – but deceived.
Jim
Role: ally, bearer of the truth
Age: 20’s, American linguist, needs interpreter
Internal journey: unaware of the deep oppression of the government to fully aware and bold in his faith
External journey: a visitor to Russia needing an interpreter to becoming a friend of Natalia, opening her eyes to the true oppression, the lie
Motivation: in country to study languages, translate the Bible in his work and sow seeds of faith
Wound:
Mission: carefully bringing truth to the country through the front of linguistic work
Secret: falls in love with Natalia
Special: American with freedoms
Grandma
Role: truth bearer, spiritual guide for Natlia
Age: 70’s, Russian, has lived from freedom into the oppression of Communism
Internal journey: bold to silent and prayerful for sake of children
External journey: bold witness and raising children in Christianity to silent witness to protect the lives of her grandchildren
Motivation: to help her children know the truth and the freedom they have in God, despite the government
Wound: she carries the sadness of her daughter and husband’s execution
Secret: she knows the lie of the government
Mission: to share her faith, to see her granddaughter become the deliverer
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Lesson 1 The Transformational Journey
Laura Woodworth’s Transformational Journey
What I learned doing this assignment was to make sure my character arc is solid and the stakes are high enough to be engaging to audiences.
1. (audio)
2. Who is your hero and what is her character arc that represents a transformation?
Internal journey: from trusting the communist government and wanting to gain approval; believing the lie about communism and faith to knowing the truth about the oppressive government and Christianity; from subservient and deceived to knowing the truth and fighting for it and others.
External journey: action and experience. From ambitious and aspiring leader in the communist regime to becoming a bold spiritual leader and deliverer like her childhood Bible hero, Queen Esther.
3. What are the old ways and new ways? (behaviors, emotions, thinking patterns)
Old ways: Believing the lie that the communist government has propagated; believing and treating her grandmother as the enemy, while fighting shame, guilt and fear as she does. Ambitiously aspiring to please the government, gain approval and remove the shame she feels related to her family. Subservient.
New ways: the lie is exposed. She discovers the truth about Christianity and the truth about the oppression of the government. She believes in God and all her grandmother sowed into her life as a small child; she realizes the government is not right and not watching out for her – and she boldly rebels as a dissenter, putting herself at great risk.
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Hi, all! I am a development executive for Cooke Media Group in Los Angeles (currently working out of Kansas City), a script consultant for Stage 32 – and an avid LEARNER! I’ve written 10 or so scripts/teleplays, worked with other producers (thanks to the ScreenwritingU Paid Writing Assignment wisdom gained), had projects produced and won some awards. Happy to be here – ready to elevate my screenwriting skills. Unique? I’m also an author with two books coming out this year from Family Christian Publishing and, I’m a YouVersion Partner with over 200K subscribers to my devotionals on their free Bible app. Fortunately, my writing is finding and engaging an audience. Now let’s do it on a bigger scale with my screenplays!
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Laura Woodworth
I agree to the terms of this release form.
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.
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Laura Woodworth’s Lead Characters
What I learned doing this assignment is I will need to find a way to show the internal/spiritual components of Rachel’s change.
1. Logline: A disillusioned news reporter receives prophetic warnings of terrorist attacks and discovers a new depth of prayer (faith) that stops evil before it becomes the evening news.
2. Change Agent: God. God is calling her to stand in the gap and intercede. His vision: he sees her as able in him to pray the kind of prayers that will stop wickedness. He has dealt with “doubters” before (i.e. Thomas, Peter in the Bible) and he knows she can become who he envisions her to be as a participant in advancing his kingdom in the earth.
3. Transformable character: Rachel: disillusioned from the loss of a child, she feel disqualified, let down, doesn’t see that prayer has helped her situation. And, in her mind, she’s the last person God would entrust with a calling to pray.
4. The Oppression: the evil terrorist plot to bring America to her knees, to take over the government. They keep planning – and increasing the scope of their attacks – and God keeps warning Rachel.
5. Betraying Character: the FBI agents that Rachel’s husband works for who suspect her of being involved or aiding/abetting the terrorists. The very government that she is fighting to save.
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1. Logline for the transformational journey:
A disillusioned news reporter receives prophetic warnings of terrorist attacks and discovers a new depth of prayer that stops evil before it becomes the evening news.
(this needs work….)
2. Old ways:
Disillusioned
Feeling disqualified
Doubtful
Passive
Unbelieving
Weak faith
Avoiding God
Hurt
3. New Ways:
A believer
Strong faith
Confident in God and his calling on her life
Proactive
Committed
Healing
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Laura Woodworth’s First Three Decisions
What I learned doing this assignment is to think outside the box. I’ve done rewrites on this particular story several times, and still did not feel it was right. From today’s lesson, I may change the story world which will infuse more conflict immediately, and also be a better backdrop for my story for connecting audiences to my lead character.
1. What is your profound truth? (I’m still defining this.) God is searching for people who will stand in the gap with prayer to bring his good into the earth and stop evil. God is search for someone to pray.
Being called to pray is about love and self-sacrifice, not qualifications or skill.
2. What is the change your movie will cause with an audience? They will become active participants in bringing God’s will into the earth through their prayers of faith. They will move from passive Christianity to active participants in advancing God’s kingdom in the earth through faith-filled prayers.
3. What is your Entertainment Vehicle that you will tell this story through? Storyworld: What if my lead character were a news producer/director? This immediately is more intriguing than current (she is a bank teller) and infuses this with conflict as she sees her prophetic visions become today’s news headline.
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Laura Woodworth’s Analysis of Groundhog Day
What I learned doing this assignment was to see a deeper meaning with some of the events and dialogue within the film which all lent toward the message of the movie.
1. What is the change the movie is about? What is the transformational journey of this movie? The transformational journey is for Phil as he travels from an egotistical and uncaring man to a man who sees the world around him and really cares for others. Also, he found a deeper way to be happy in his current circumstance, whatever they may be.
2. Lead characters:
Who is the change agent (the one causing the change) and what makes this the right character to cause the change? Technically, the change agent is time – the repeat of one day in his life. Character-wise, the change agent is Rita. She is the right character because of her kind ways – she is good for him.
Who is the transformable character (the one who makes the change) and what makes them the right ccharacter to deliver this profound journey? Phil is the transformable character and his is the right character to deliver this profound journey because he is the guy we love to hate… and in which we each see a little bit of ourselves in. We connect with him – and we actually root for him to make the change and ultimately get the girl. We’re happy when he changes and his change towards happiness in whatever circumstance affects us in a deep way.
3. How are we lured into the profound journey? What causes us to connect with this story? The guy you love to hate… we’re watching to see if he will gain a self-awareness and start realizing the value of the people around him.
4. Looking at the character (s) who are changed the most, what is the profound journey? From old ways to new way of being. Identify their old way. Identify their new way at the conclusion.
Phil: old ways: uncaring, insensitive, sarcastic, egotistical. There is no bright spot in his life and no one he cares more about than himself.
New ways: caring, sensitive, embracing the world around him and working to make things better where he can.
5. What is the gradient of the change? What steps did the transformational character go through as they were changing?
Phil’s change was a step by step gradual process – and we could all relate to each one! From disbelief and “you’ve got to be kidding me” to the realization that he could do whatever he wanted and not bear the consequences to “kill me now” to trying to make a difference, realizing he can’t control/change everything, to doing the good he can do now – slowly becoming a man who truly cares for those around him and who has found the secret to happiness in whatever state he finds himself in.
6. How is the old way challenged? What beliefs are challenged that cause a main character to shift their perspective… and make the change? The old way is challenged as he faces rejection and he is exposed for what he is: a swindling man working for his own good. He realizes his life will never change – unless he changes.
7. What are the most profound moments in the movie?
The moment when he realizes he can’t change the death of the old man, no matter how he tries – but he can impact other’s lives for good.
The moment he brings coffee for the team and really shows he cares – and he sees them.
8. What are the most profound lines of the movie?
“I’ve come to the end of me.”
“What if there is no tomorrow?”
“You make choices and you live with them.”
9. How does the ending pay off the setups of the movie?
The song “I’ve Got You Babe” – he gets the girl!
Rita’s encouragement to: “Try it again, without the sarcasm” – and he “tries life again” with authenticity.
The policeman: “It’s your choice. So what’s it gonna be?” – and life really does become a matter of Phil’s choice and how he chooses to live life.
10. What is the profound truth of this movie? Your choices determine your life. (Life is what we make of it! You can change!)
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Hello, dear fellow screenwriters! My name is Laura Woodworth, I’m a development executive for Cooke Media Group in Burbank, CA and also a script consultant for Stage 32. I’ve written 10 or so feature films/TV pilots and won some awards, as well as had my work produced. I’m very thankful to be in this class; I appreciate the coursework ScreenwritingU offers to help me elevate my craft. (Here’s my disclaimer: I’m in the middle of several deadlines, but will do my best to keep up with the class!) Great to meet you all – Laura
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Laura Woodworth
I agree to the terms of this release form.
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.
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Laura Woodworth’s Outline –
I’ve been using the class teachings to elevate an action thriller script that I had previously worked through the Thriller class. So, instead of an action outline, I’ve been working directly over with my script, so unfortunately, I’ll need to bow out of this exercise.
-Laura
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Laura Woodworth’s Fast Formatting!
What I learned doing this assignment is to really push myself to create the tension and heightened action of the scene. LOL after writing the scene, I’ve already realized there are more places to elevate – but this is a start.
1. I chose to elevate the action scene with Rachel traveling over the I-35 bridge.
Basic formatting – dashes – ellipsis – sound/then explanation – mixing sluglines into action – stacking action – stacking dialogue.
2. I chose images, actions, and sounds to make the scene visceral.
EXT. BRIDGE – UNDERSIDE – NIGHT
Tiny flashlights guiding their work, Ruben, Martin and Majd hang from the underside of the I-35W BRIDGE out of MINNEAPOLIS — a massive eight-lane bridge spanning the Mississippi. They work silently, securing an intricate array of five carefully placed BOMBS while Vegard oversees from the shore.
EXT. MINNEAPOLIS HOTEL – DAY
Starbucks in hand, Rachel and Aisha exit the hotel. They wave cheerily at Joe as they load suitcases into Rachel’s car.
INT. RACHEL’S CAR – DAY – CONTINOUS
Aisha plops into the passenger seat beside Rachel.
AISHA
Boring! I know now everything I never wanted to know about banking.
RACHEL
Maybe you’ll be head teller someday.
AISHA
I’d rather have Joe’s job.
Rachel laughs as she checks the map on her phone.
RACHEL
A straight shot south on I-35. Kansas City here we come!
She tucks her phone in her purse and drives.
EXT. I-35 HIGHWAY/RACHEL’S CAR – CONTINUOUS
Aisha chatters as they cruise down the interstate.
AISHA
We get home quick enough, I’m heading to the lake.
RACHEL
I don’t get it. You wear the hijab, and yet you strike me as a typical American college student.
AISHA
(pointing to her hijab)
This — is out of respect for my family. But it doesn’t define who I am.
RACHEL
So you don’t practice your faith.
AISHA
My family’s overseas. I’m making my own life here in the U.S. This is my first Independence Day!
She rolls the window down as they approach the crowded I-35 BRIDGE and hangs her head out, her hijab fluttering in the breeze.
AISHA
I’m free!
Rachel laughs, then BRAKES as traffic STALLS on the bridge.
RACHEL
Looks like you’re not the only one with 4th of July plans.
Suddenly, an IMAGE FLASHES in her mind —
— The BRIDGE, HEAVING, buckling — COLLAPSING into the raging river below. It catches her breath —
RACHEL
That’s weird. Just weird.
AISHA
Everything alright?
RACHEL
Yeah — I just —
Rachel scans the bridge…
A group of rowdy teens travel in a nearby convertible…
A child in a van traveling northbound bounces a red beach ball off the back of his mother’s seat. He waves as he catches Rachel’s eye. In an almost surreal moment, she waves back…
… as traffic moves excruciatingly slow over the bridge.
EXT. BRIDGE – UNDERSIDE – CONTINUOUS
Out of sight below the lines of traffic, the five pale red detonator lights FLASH…
EXT. BRIDGE – CONTINUOUS
RACHEL
Music?
She flips on the radio and Aisha sings out the window as they inch across the bridge.
EXT. SHORELINE – CONTINUOUS
On the shore, a tall blonde eyes the traffic on the bridge, calculating. Vegard’s fingers twitch over the button on his phone.
EXT. BRIDGE – CONTINUOUS
Impatient drivers BLAST their horns as traffic comes to a stand still. Rachel POUNDS on her horn, adding to the nervous cacophony.
Traffic inches forward… while directly under her —
EXT. BRIDGE – CONTINUOUS
The detonator lights FLASH…
EXT. BRIDGE – CONTINUOUS
The traffic breaks — and Rachel JERKS the car into the other lane —
AISHA
Watch out!
— narrowly missing the bumper of the car in front of her.
RACHEL
Sorry — I’m not usually this claustrophobic —
She pushes the traffic along — and heaves a huge sigh of relief as they reach the other side.
She puts the pedal to the floor on the open highway, SPEEDING away as quickly as she can. She takes a last glance at the bridge as it retreats in her rearview mirror — still standing, still heavy laden with traffic — then shakes her head, laughing at herself as she drives on down the highway.
She CRANKS the music.
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Laura Woodworth’s Great Action Set Piece
What I learned doing this assignment was that I could elevate the tension, anxiety and fear built into this scene by applying the various action techniques. Still have a ways to go, but this action set is now better than where I started.
1. Scenes – the I-35 Bridge attack: building in pre-action, action, post-action.
2. Make it Unique.
3. Create through the 9 Action Emotions.
4. Add in more twists.
5. Rewrite to elevate it.
6. Outline (script):
EXT. BRIDGE – NIGHT
Tiny flashlights guiding their work, Ruben, Martin and Majd hang from the underside of the I-35W BRIDGE out of MINNEAPOLIS — a massive eight-lane bridge spanning the Mississippi. They work silently, securing an intricate array of five carefully placed BOMBS while Vegard oversees from the shore.
EXT. MINNEAPOLIS HOTEL – DAY
Starbucks in hand, Rachel and Aisha exit the hotel. They wave cheerily at Joe as they load suitcases into Rachel’s car. Aisha plops into the passenger seat beside Rachel.
AISHA
Boring! I know now everything I never wanted to know about banking.
RACHEL
Maybe you’ll be head teller someday.
AISHA
I’d rather have Joe’s job.
Rachel laughs as she checks the map on her phone.
RACHEL
A straight shot south on I-35. Kansas City here we come!
She tucks her phone in her purse and drives.
EXT. I-35 HIGHWAY/RACHEL’S CAR – DAY – SAME
Aisha chatters as they cruise down the interstate.
AISHA
We get home quick enough, I’m heading to the lake.
RACHEL
I don’t get it. You wear the hijab, and yet you strike me as a typical American college student.
AISHA
(pointing to her hijab)
This — is out of respect for my family. But it doesn’t define who I am or how I live.
RACHEL
So you’re not a practicing Muslim.
AISHA
My family’s in Pakistan. I’m making my own life here in the U.S.
She rolls the window down as they approach the crowded I-35 BRIDGE and hangs her head out, her hijab fluttering in the breeze.
AISHA
I’m free!
Rachel laughs, then slows as traffic stalls on the bridge.
RACHEL
It’s like everyone’s traveling somewhere today.
Suddenly, an IMAGE FLASHES in her mind of the BRIDGE, lurching, buckling — and COLLAPSING into the raging river. It catches her breath —
RACHEL
That’s weird. Just weird.
AISHA
Everything alright?
RACHEL
Yeah — I just —
Rachel scans the bridge. A child in a van traveling the other direction bounces a red beach ball and waves as he catches her eye. She waves back as traffic inches forward over the bridge.
Out of sight below her 5 twinkling red lights flash.
RACHEL
Music?
She flips on the radio and Aisha sings out the window as they slowly make their way across the bridge.
On the shore, a tall blonde eyes the traffic on the bridge, calculating…
Rachel heaves a huge sigh of relief as they finally reach the other side. She takes a last glance at the bridge as it retreats in her rearview mirror — then shakes her head, laughing at herself as she drives on down the highway.
She cranks the music.
INT. CHURCH – DAY – SAME
The sanctuary is noisy with people milling about after the service. Evan packs up his guitar. Brian approaches shaking his phone at him, concerned.
BRIAN
Did you see this? Have you talked to Rachel today?
Evan glances at a breaking news brief pulled up on Brian’s phone — and immediately calls Rachel.
EVAN
She should be on her way.
Lisa joins them.
LISA
What’s up?
Brian shows her his phone.
LISA
Is Rachel in this?
BRIAN
Don’t know.
Rachel’s phone goes to voicemail and beeps.
EVAN
(on phone)
Have you left the hotel yet? Call me.
He types a text. Where are you? Are you okay?
He waits, watching for the bubble that would show she was responding. Nothing. He scoops up his guitar.
EVAN
Maybe she’s home already.
EXT. INTERSTATE HIGHWAY/RACHEL’S CAR – DAY – SAME
The radio cranked, Rachel sips her coffee as she speeds down the highway while Aisha texts on her phone.
EXT. HOUSE – DAY – SAME
As Rachel pulls into the driveway, Evan, Brian and Lisa rush out of the house to meet her. Wary, she gets out of the car.
RACHEL
What’s up?
EVAN
Are you alright?
RACHEL
I told you I wouldn’t be home for church and I had to drop Aisha off.
LISA
We’ve been trying to reach you!
BRIAN
Evan’s been out of his skin worried.
EVAN
Why didn’t you answer my texts?
She looks at her phone — a string of messages from Evan.
RACHEL
I didn’t hear them come in.
EVAN
You must have missed it then.
LISA
Thank, God!
BRIAN
Man, oh man, thank God.
RACHEL
What? Missed what?
EVAN
The bridge on I-35 collapsed this morning.
BRIAN
The whole stinkin’ bridge.
Evan pulls her suitcase out of the trunk.
EVAN
It’s all over the news.
He grabs her arm as if to not lose her again and they funnel into the house where the news is blaring.
INT. FRONT ROOM – DAY
Horrified, Rachel watches the catastrophe on the TV screen.
NEWS REPORTER
(on screen)
At least seven people are dead and more than sixty injured as rescue teams search the wreckage on this busy 4th of July weekend. At this point, twenty people are still missing.
Behind the reporter, a macabre scene of smoke and fire and the COLLAPSED I-35 BRIDGE. Cars and trucks were sliding into the raging Mississippi and passengers thrown from their cars were stabbed on rebar or crushed between slabs of concrete, or drowning in the river below.
Rachel could see a red beach ball bobbing in the river as helicopters and divers swarmed the area in desperate attempts to save the drowning.
The news switched to the White House lawn and Gleason in his blue suit and red-striped tie.
GLEASON
(on TV)
President Sutton is shocked at the news and offers her sympathies to the state of Minnesota…
BRIAN
Who’s he?
NEWS REPORTER
Gleason, the White House Chief of Staff speaking on behalf of the President —
EVAN
Now you know why we were so concerned. I can’t even think…
He wraps his arm around her, but the touch startles her. She crumbles as the full weight of the news hits her.
RACHEL
Oh God, oh God —
LISA
You’re safe, Rachel. It’s okay.
RACHEL
It’s not okay. I knew.
RACHEL
I knew. God showed me it was going to happen and I didn’t — I didn’t pray. I’m driving over the bridge — that bridge — and I saw it — I saw it breaking and buckling and… Who has thoughts like that? It was unthinkable and yet God showed it to me. I didn’t listen, I didn’t pray. I thought it was just some crazy random thought.
She nears hysteria now as she continues her rant, trying to make them understand. Evan tries to console her but she shakes him off.
EVAN
Rachel —
RACHEL
It’s the bus all over again. I did nothing. Didn’t listen, didn’t pray and now all those children are dead.
EVAN
What are you talking about?
She stares at Evan like he should know.
RACHEL
The school bus and all those little kids killed! God showed me it was coming but I didn’t understand the vision. I thought — I thought it was just the enemy throwing Kayla’s death in front of me again.
(she waves at the TV)
And now more people are dead. This blood is on my hands.
She stands before them trembling —
RACHEL
I’m sorry. I gotta go for a walk.
She gives an apologetic glance as she opens the door — and slips out before the avalanche in her heart smothers her.
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Laura Woodworth’s Unique Action!
What I learned doing this assignment is to really allow myself to brainstorm and imagine the possibilities. In generating fresh ideas, what I gained was a new aspect to my character that could allow me to take my feature film script and expand it to a television series, which has been a consideration.
1. Looking at your entire story, what is unique about each of these places:
• Environment: the supernatural realm; suburban America vs. radical Muslim life
• Rules: When Rachel prays, things change – but not always the way she hoped.
• Villain: Planted in U.S. and in Syria; showing a human side to Muslims with various mindsets and motivations for their involvement and devotion to the cause: greed, true devotion, a better life.
• Mission: to thwart the terrorist attacks God is revealing to Rachel.
• Struggle: the need for Rachel to be aware of what God is revealing to her in the spirit, and the struggle of spiritual warfare.
• Unique skill set: for Rachel it’s prayer that changes things; for villains, it’s high-tech bombs and the weapon of fear.
• Meaning: life or death, love risks all.
• Allies: Rachel’s FBI husband, her Muslim co-worker, FBI force
• Weapon: prayer, insight; bombs.
2. Brainstorm ways to make one or more of those places unique:
What if? – Take to an extreme. – Specific to character or environment. – Shocking or surprising.
Go opposite. – What haven’t we seen?
• Weapon: what if what the villain has is high tech? or activated from overseas? Or extreme: nuclear?
• Weapon: What haven’t we seen? What if the fear of losing U.S. freedoms is the weapon instead of the usual bombs, etc.?
• What if Rachel has been training in Krav Maga in trying to keep up with Evan and his new skill sets in the FBI – and she doesn’t use it! She allows herself to be captured even though she could defend herself.
• What if instead of being queasy with a gun, Rachel is skilled? But – her weapons are not carnal, but are mighty to the pulling down of strongholds.
• What haven’t we seen? A Christian with backbone. Make my hero someone to emulate, a real hero, a Wonder Woman type.
• Shocking or surprising: create angst that Rachel is going to do something incredibly risky! Build the danger of her plan better.
• Rules: extreme: Chicago deaths because Rachel doesn’t pray.
3. Select the parts I like and build them into one or more action sets in my outline. Done.
4. Do #1-3 with as many action sets as you like. Done.
5. Improvements: I’ve improved upon the uniqueness of my Villain and their tactics and, even more importantly, created a hero that is more engaging, unique and motivated!
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Laura Woodworth’s Level 3 Action Emotions
What I learned doing this assignment is that I have a number of places in my current script where the action emotions can be better incorporated! My plan over the long Labor Day weekend is to tear it apart and elevate scenes. This has a long way to go.
Create a scene that uses all three of these Action emotions.
1. A scene that could use danger, excitement, adrenaline: Rachel’s scene where she allows herself to be kidnapped.
2. Outline:
Danger: She sees Martin and Majd as she enters the partk.
Suspense: We see them stalk her.
Excitement: She tries to run, evading them. It seems she’s shaken them…
Adrenaline: But they appear out of nowhere and grab her.
EXT. PARK – DAY
Rachel enters the park. To her left, she notes two dark figures watching her. She turns right and forces herself to maintain her pace, to not let fear dictate her movement.
RACHEL
God forgive me. I don’t know what else to do to stop this.
Martin and Majd split up and she loses sight of them. She breathes a sigh of relief as a group of joggers approach — postponing the inevitable. She picks up her pace and snakes in and out among the joggers. She skirts around walkers and eyes Martin ahead.
She bolts and takes a side path. As she turns a corner —
BAM! The phone is knocked out of her hand as Majd grabs her from behind, jerking her arms back to flex cuff her wrists. Like a dream played out, she goes without struggle — shoved into the back of the familiar dark van as Martin jumps into the driver’s set.
MAJD
What about her cell phone?
MARTIN
So they can track her? Leave it.
Majd jumps in and the van speeds away, Rachel’s cell phone left behind in the grass.
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Lesson 11 Level 2 Action Emotions
Surprise – Shock – Suspense
Laura Woodworth’s Level 2 Action Emotions
What I learned doing this assignment is how to elevate the emotions within my scenes for better engagement, tension and suspense.
Create a scene that uses all three of these Action emotions (Surprise, Shock, Suspense).
1. Choose a scene: The Chicago attack
2. Create an outline:
Suspense: build in with intercuts the suspense of the planned terrorist attack with Rachel getting sick and out of commission. She sleeps while the attack moves forward!
Surprise: set up/pay off:
• Setup: after she is warned of the attack, she’s late with no time to pack her usual lunch.
• Payoff: she gets food poisoning from eating out!
Shock: the bus blows while Rachel sleeps. When she goes to work everything is “weird” – beefed up security, the bank closing, the employee meeting. The shock of seeing the video of the attack in Chicago, with many dead or maimed. This is a major turning point for Rachel as she realizes the weightiness of what God is showing her.
3. Scene: this builds up through several scenes, intercutting.
INT. KITCHEN – DAY
Distraught, Rachel circles a new city on her map.
ON NOTEBOOK: Chicago
She glances at the clock — it’s late. She tucks the notebook away in her bible and hustles to get ready for work.
INT. FBI BULLPEN – DAY
A map covers the front wall. PHILADELPHIA and PHOENIX are circled in BLACK.
MATTHEWS
Cities that start with “p”? There’s no rhyme or reason —
ROBERTS
With a p? And what about O-hio. Minne-sota.
BARNES
Our job is to determine where they’re planning to strike next.
He presses his marker into Ohio and Minnesota.
BARNES
And see if we can connect the dots with solid evidence.
EVAN
And Syria is still our best guess?
BARNES
Although not conclusive.
DIANE
All the current claims bear no legitimacy.
EVAN
Either accidents or misfires, whoever is truly behind this is probably too embarrassed to come forward at this point.
BARNES
Misfires, yes. But we may not be so lucky next time. Dig deeper, look for the ties. Before another incident.
Dismissed, the team gathers their emptied coffee cups. Evan follows Matthews out.
EVAN
Why would Syria push us like this? It doesn’t add up.
MATTHEWS
Nothing makes sense right now. If it’s a big hitter, it’s almost incomprehensible that they would have two foiled attempts.
INT. BANK – LADIES RESTROOM – DAY
Rachel steps out of a stall, pale and shaky. Amber enters —
AMBER
You puke again? Are you alright?
RACHEL
Must have been the sushi.
AMBER
The new place?
Rachel nods weakly as she moves to the sink — and then races back to the stall to vomit again.
AMBER
You’d better go home, girl. I’ll tell Joe. And pass around the warning to stay away from the place.
INT. BEDROOM – DAY
The blinds pulled, Rachel sleeps fitfully in the semi-darkness.
EXT. CHICAGO – WRIGLEY FIELD TRAIN STATION – DAY
The ballgame over, fans spill out of the ballpark. A growing crowd gathers at the train station nearby. A young BRIT calmly steps in among them.
The train arrives and the crowd surges aboard with the Brit among them. The doors squeeze shut and the trains pulls away.
Seconds later — a horrific EXPLOSION as a deadly BOMB rips through the train — thrusting shards of bloodied metal, shattered glass and severed body parts through the air.
On a nearby street, Vegard watches, his lips twitching towards a triumphant smile. One by one, police and emergency vehicles zoom past him, SIRENS BLARING as they race to the nightmarish scene on the tracks. Satisfied, he gets into Ruben’s waiting car and they drive away.
INT. BEDROOM – DAY
Rachel jerks awake, sweating and disoriented. She turns toward the clock and notices a sticky note from Evan.
ON NOTE: Crazy stuff happening. Won’t be home till late -Evan.
She lies for a moment, orienting herself — then slowly gets ready for work, still weak from the food poisoning.
INT. BANK – DAY
Rachel slows as she approaches the bank entrance where a security guard bars the doorway.
SECURITY GUARD
Badge?
Perplexed, she digs her bank badge out of her purse and flashes it at him. He admits her into the empty lobby. Amber and other BANK TELLERS close their windows and pull the blinds on the drive-through. Brian rushes past —
RACHEL
Brian! What’s happening?
He turns, walking backwards to keep moving.
BRIAN
Man, you look like crap!
AMBER
Security meeting. In the conference room.
Rachel follows them.
RACHEL
Why? What for —
BRIAN
We’ve been attacked.
RACHEL
What do you mean, we?
AMBER
Terrorist attack. Chicago.
She follows Brian and Amber and the stream of bank employees into the conference room and takes a seat. The room is noisy with chatter and phones dinging with incoming texts. She pulls up the news on her phone.
ON SCREEN: Chicago blast kills 24; injures 89
She clicks on the video and watches, horrified as the closed caption rolls through.
NEWS REPORTER
(closed caption scroll)
A crowded red line train was the target of a suicide bomber yesterday, just minutes away from Wrigley Field…
Incredulous. Impossible. There seems to be no end to the photos of the carnage in Chicago — each one a dagger in her soul.
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INT./EXT. CAR/HOUSE – DAWN
Rachel pulls into the driveway, cringing at the sight of Evan’s car.
INT. KITCHEN – DAY
Evan distracted flips through the mail pile. He looks up as Rachel enters, his brow wrinkling as his tired mind tries to compute why she would be out this early.
EVAN
Where have you been?
She turns her back to him as she eases the door shut.
RACHEL
I had to run to the store.
EVAN
This early?
She laughs nervously.
RACHEL
Cut myself trying to get the stupid Keurig to work. Needed bandaids.
EVAN
You alright?
RACHEL
Just a tiny cut.
She avoids his eyes and pours water into the Keurig. She inserts a new pod and crunches the lid into it. The machine roars.
RACHEL
Silly me, it’s working fine now. Want coffee?
EVAN
Gotta shower.
He tosses the mail and pulls off his tie as he heads down the hall. Hardly breathing, she can hear him rummaging around in a drawer.
EVAN (O.C.)
Rachel, there’s a whole box right here.
RACHEL
Not sure how I missed that.
She listens for a response. Nothing. And then the water kicks in and she can hear the water splashing off Evan’s tired body. She breathes with relief.
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Laura Woodworth’s Favorite Twists!
What I learned doing this assignment is that there were other opportunities for unexpected twists than what I had already built in. Also, I like the concept of “if possible, we want to create twists that are unexpected yet in hindsight, make sense.”
1. Choose any scene that needs a twist or two.
2. Brainstorm ways to use one or more of these twists:
Danger – safety
New threat – unexpected support
Plan fails – plan succeeds
Identity or plan exposed – identity hidden
Deceived – surprising truth
Attacked – protected
Lost resources – new resources
It just got worse – it just got better
Unexpected weapon – surprising response
Trap/trick – escape
Reversal – reverse the reversal
3. Select the twists you’ll use and build them into your scene.
4. Do #1 to # 3 with as many scenes in your outline as you can.
5. Tell us your FIVE favorites twists listed as setup/twist.
1. Scene in bank: Unexpected Support: Amber helps Rachel, despite her Muslim background.
2. Scene after the reveal of the bridge collapse: It just got better: Her breakdown opens a door for her and Evan to have an honest conversation about their lost child.
3. Scene with Evan in FBI briefing: Make twist stronger: Surprising truth: Rachel knew the situation before the FBI put two and two together.
4. Scene with Rachel encountering Evan after she just make an incognito phone call: Make this twist stronger: Escape: Rachel thought she’d be trapped but she “escapes” his detection more easily than she thought! Emboldens her.
5. Scene with “Bird”: create stronger twist here: Identity hidden: we don’t get the clue to who he is as he orchestrates the White House narrative till later.
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Laura Woodworth’s Likability/Empathy/Justification
What I learned doing this assignment is that I’ve built in these elements in my screenplay (in part because I took it through the Thriller class), but I haven’t felt like my character was “likable” enough, or that I clearly gave the audience a reason to care. Rewrites will help me build this in better.
NOTE ON ASSIGNMENTS: Much of this I’ve done as I took my script through the Thriller class; in this Action class, I’m trying to glean the elements that will elevate my script to an Action Thriller. With that in mind, some aspects of these assignments are being worked straight into the script.
1. Brainstorms answers:
LIKABILITY/LOVABILITY
• A. Other people like or respect the character.
o Husband Evan loves her; Rachel is liked at work by associates and bank patrons
• B. The character shows love for something.
o She shows love to her husband, and to friends Brian and Lisa, and also for someone she doesn’t know (Luke) as she prays for him and cares.
• C. They’re trying to do something good.
o She’s trying to heal herself, pray good things for others, and as she becomes aware of the villain’s plot, to stop evil.
• D. Save the cat — rescue or do something good for someone else.
o She prays for others.
• E. Funny, humorous, witty.
o Playful with Evan.
• F. Kindness.
o Kindness to elderly bank patron, neighbors.
• G. Good moral decisions and actions. Being on the right side.
o She’s fighting for good, to save lives!
EMPATHY / DISTRESS
• A. Undeserved misfortune.
o She’s lost a child.
• B. External Character conflicts.
o Conflict in marriage because of Evan’s career change from ministry to the dangerous life of an FBI agent. The danger, the change in schedule and in the dynamics of their relationship. He can’t tell her things… and now she can’t tell him things.
• C. Plot intruding on life.
o She didn’t ask for these visions! She was trying to lay low and heal, and now God is revealing the villain’s plot to her and she must respond.
• D. Moral dilemmas.
o To report to the FBI and possibly jeopardize Evan’s job (what if I’m wrong?) and later to tell Evan; and then later, to take action or not.
• E. Forced decisions they’d never make.
o She hides her action from Evan. Secrets.
• F. Wound attacked.
o Her trying to stop the evil is a way to stop the death of more children.
JUSTIFICATION
• A. The character or their family abused.
o She is captured and tortured; family and friends are in danger, innocent lives are being taken, including those of children.
• B. Threatened by others.
o Threatened by the FBI as her involvement is suspected. Threatened by Villain as they pinpoint her as the cause of their failures.
• C. The Hero is the victim of attacks.
o She is captured and tortured.
• D. They’ve suffered major losses.
o The lives lost by the villain’s attacks has become personal as God has revealed these incidents to her prophetically.
• E. The Villain or their representatives have trespassed.
o The villain is killing innocent lives in their plot to take over the U.S. Government.
2. Organize into outline: I’ve worked these into an outline/first draft when I took this through the Thriller class.
3. Done (as above – in Thriller class).
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Laura Woodworth’s Story Map
What I learned doing this assignment is to note the place in my current draft of this screenplay where I can infuse more purpose-driven action, with a more defined mission.
Below I’ve inserted the additional Mission/Villain/Action that I need to revise in the screenplay.
1. Opening: Opening image is the bus crash; Rachel senses something is wrong but doesn’t grasp what it is – until she sees the deadly “accident” reported on the evening news and realizes her vision was a prophetic premonition. In the meantime, she prays for a young man Luke and sees a miraculous intervention as her prayers are answered and we realize she has a “super power” of sorts (unique talent) in her prayer life.
Question: Who is Rachel – what is God revealing to her and why?
2. Inciting Incident: “What inciting incident is strong enough to send the hero on the journey?” I must be irreversible.
Rachel “sees” the bridge collapse but passes it off as a crazy idea in her head – until she watches horrified as the catastrophe is reported on live television. She realized God tried to warn her but she didn’t listen and now lives are lost – again. She can’t ignore the prophetic visions any longer. She begins the journey of listening, obedience and prayer: her journey to cooperate with what God is showing her and use her “super power” of prayer to stop the evil.
INSERT VILLAIN: Stronger: the power of fear over the army (here and elsewhere)
3. First Turning Point at End of Act 1 – point of no return. What locks her into the story?
Acting on the prompting of God in her spirit, Rachel prays for Philadelphia and the evil she senses is about to happen. She goes to a new and deeper level of spiritual warfare prayers against what she senses is about to happen. When a suicide bomb attack is thwarted in the Philadelphia subway system, she realizes it was a direct result of her prayers. She has seen her prayers answered in a big way, beyond her normal realm of life. Evil has been thwarted, countless lives saved, and she is resolved to pray when God says pray!
INSERT VILLAIN: Stronger: Inside people at the White House creating the narrative
4. Midpoint: some kind of twist changes the meaning of the story. The journey is the same, but the purpose or meaning has changed.
Sick with food poisoning, Rachel doesn’t pray for the next city that God has shown her. She wakes up to the news that Chicago has been hit: a deadly terrorist act on a crowded bus. The weightiness of the situation increases and she realizes that this isn’t just a one-off situation; there is an evil army force instigating these attacks and her thought that they are all connected is confirmed. This has become a matter of life or death for her and she is willing to risk all to stop this evil. She takes action.
5. Second Turning Point at end of Act 2: Usually this is the point where the Hero’s plan has failed. All hope is lost, the hero feels defeated. The hero has to change to achieve her goal. They have to accept something about themselves or accept that their way of doing things just won’t work anymore.
After the Chicago incident, Rachel’s desperation has driven her to desperate action to warn who she can of the evil planned before it happens. She has come under the radar of the FBI (and Pharoan) and they haul her in as a suspect with no one believing her story of God’s prophetic warnings. Evan’s work career and their marriage is on the line. All hope is lost. She has to change her tactic to achiever her goal. Her way of doing things just won’t work anymore.
INSERT ACTION: Escape/evade in car
INSERT VILLAIN: Go after her FBI husband, or her church (attack what’s dear to her)
6. Crisis/Dilemma: Hero has to make a very tough decision often where she loses something either way.
Shown the big attack that is coming, Rachel must make a tough and dangerous decision. She loses something either way; her life/marriage – or others’ lives. Knowing that the villain is tracking her, she decides to allow herself to be kidnapped by them with a plan to lead the FBI directly to them.
INSERT ACTION Chase/pursuit on foot
7. Climax: the hero and villain come face to face for the showdown and there will be only one winner.
Rachel is captured by Vegard and tortured for information, even while the multiple hospital attacks are in motion. But – her plan works. Evan and the FBI figure out her scribbled notes in her prayer journal and take action to search hospitals and locate the bombs. They locate Rachel and once all the bombs are disarmed, attack and save her, killing Vegard and, in their minds gaining victory. But —-
INSERT VILLAIN: Stronger: launch the most horrific attack while she watches seemingly helpless
Twist: They missed a bomb! The Children’s Mercy Hospital where friends Brian and Lisa are at with their new baby. The FBI and Evan and Rachel race to find and disarm the last hidden bomb – seconds before it explodes! The hospital is saved. They have won.
8. Resolution: The resolution gives us an answer to the question that the inciting incident asked. It tells us how this conflict has been resolved.
Question: Who is Rachel – what is God revealing to her and why?
Rachel’s prophetic visions have been verified and the villain behind the attacks defeated. Her guilt resolved, her reputation cleared, her friends and their child saved, her marriage recovered.
Denouement: The bird commits an “honor” suicide; Vegard slinks off. Rachel is back in church with Evan, friendships restored. They join in on the ceremony to dedicate Brian and Lisa’s baby to the Lord, lifted up with the words, “This child is yours,” which brings a satisfying ending and yet sets the stage for what’s next. A sequel…
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Laura Woodworth’s Action Structure!
What I learned doing this assignment is to make sure the inciting incident is irreversible and that the Act 1 Turning point is truly a point of no return for my hero – and that both of those are clear to my audience. This solidified my structure and gave me insight in revising my current script. Also, I appreciated the teaching and focus on 3-Act structure.
Create the 3-Act Structure for your story:
1. Look through your three tracks (Mission, Villain, and Action) and find the points that could work for this structure.
1. Opening: Opening image is the bus crash; Rachel senses something is wrong but doesn’t grasp what it is – until she sees the deadly “accident” reported on the evening news and realizes her vision was a prophetic premonition. In the meantime, she prays for a young man Luke and sees a miraculous intervention as her prayers are answered and we realize she has a “super power” of sorts (unique talent) in her prayer life.
Question: Who is Rachel – what is God revealing to her and why?
2. Inciting Incident: “What inciting incident is strong enough to send the hero on the journey?” I must be irreversible.
Rachel “sees” the bridge collapse but passes it off as a crazy idea in her head – until she watches horrified as the catastrophe is reported on live television. She realized God tried to warn her but she didn’t listen and now lives are lost – again. She can’t ignore the prophetic visions any longer. She begins the journey of listening, obedience and prayer: her journey to cooperate with what God is showing her and use her “super power” of prayer to stop the evil.
3. First Turning Point at End of Act 1 – point of no return. What locks her into the story?
Acting on the prompting of God in her spirit, Rachel prays for Philadelphia and the evil she senses is about to happen. She goes to a new and deeper level of spiritual warfare prayers against what she senses is about to happen. When a suicide bomb attack is thwarted in the Philadelphia subway system, she realizes it was a direct result of her prayers. She has seen her prayers answered in a big way, beyond her normal realm of life. Evil has been thwarted, countless lives saved, and she is resolved to pray when God says pray!
4. Midpoint: some kind of twist changes the meaning of the story. The journey is the same, but the purpose or meaning has changed.
Sick with food poisoning, Rachel doesn’t pray for the next city that God has shown her. She wakes up to the news that Chicago has been hit: a deadly terrorist act on a crowded bus. The weightiness of the situation increases and she realizes that this isn’t just a one-off situation; there is an evil army force instigating these attacks and her thought that they are all connected is confirmed. This has become a matter of life or death for her and she is willing to risk all to stop this evil. She takes action.
5. Second Turning Point at end of Act 2: Usually this is the point where the Hero’s plan has failed. All hope is lost, the hero feels defeated. The hero has to change to achieve her goal. They have to accept something about themselves or accept that their way of doing things just won’t work anymore.
After the Chicago incident, Rachel’s desperation has driven her to desperate action to warn who she can of the evil planned before it happens. She has come under the radar of the FBI (and Pharoan) and they haul her in as a suspect with no one believing her story of God’s prophetic warnings. Evan’s work career and their marriage is on the line. All hope is lost. She has to change her tactic to achiever her goal. Her way of doing things just won’t work anymore.
6. Crisis/Dilemma: Hero has to make a very tough decision often where she loses something either way.
Shown the big attack that is coming, Rachel must make a tough and dangerous decision. She loses something either way; her life/marriage – or others’ lives. Knowing that the villain is tracking her, she decides to allow herself to be kidnapped by them with a plan to lead the FBI directly to them.
7. Climax: the hero and villain come face to face for the showdown and there will be only one winner.
Rachel is captured by Vegard and tortured for information, even while the multiple hospital attacks are in motion. But – her plan works. Evan and the FBI figure out her scribbled notes in her prayer journal and take action to search hospitals and locate the bombs. They locate Rachel and once all the bombs are disarmed, attack and save her, killing Vegard and, in their minds gaining victory. But —-
Twist: They missed a bomb! The Children’s Mercy Hospital where friends Brian and Lisa are at with their new baby. The FBI and Evan and Rachel race to find and disarm the last hidden bomb – seconds before it explodes! The hospital is saved. They have won.
8. Resolution: The resolution gives us an answer to the question that the inciting incident asked. It tells us how this conflict has been resolved.
Question: Who is Rachel – what is God revealing to her and why?
Rachel’s prophetic visions have been verified and the villain behind the attacks defeated. Her guilt resolved, her reputation cleared, her friends and their child saved, her marriage recovered.
Denouement: The bird commits an “honor” suicide; Vegard slinks off. Rachel is back in church with Evan, friendships restored. They join in on the ceremony to dedicate Brian and Lisa’s baby to the Lord, lifted up with the words, “This child is yours,” which brings a satisfying ending and yet sets the stage for what’s next. A sequel…
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Laura Woodworth’s Action Track!
What I learned doing this assignment is to explore other areas of action that would be appropriate for my story. I also discovered certain set pieces that could be more action-oriented with some thought.
1. Answer the Action Questions:
A. Considering the concept from Lesson 1, what action could naturally show up in this movie?
Concept: A prophetic intercessor made aware of a terrorist plot intended to overthrow the U.S. government takes action to stop the evil, unwitting the Syrian army.
• Chase/pursuit: on foot, on foot/car
• Shootout: SWAT/FBI snipers, Even with the FBI raiding the drug house, close range with Vegard and suspected moles on their team
• Dangerous situations: Rachel captured, suicide bomber/innocent bystanders, hospital attack, bombs set and blown
• Interrogation/Torture: Vegard and his men suspecting the mole, Vegard with Rachel (restrained, tortured), Rachel with FBI (intimidation); people in Syria tortured/executed
• Escape/Evade: Rachel with phone situation, Rachel evading Vegard’s men, suicide bomber with police
• Rescue: Evan with Rachel, Evan/Rachel rescuing Brian and Lisa/baby at hospital
B. Considering the Mission and Villain Tracks, what action could work for this track?
• Villain track: dangerous situations, shoutouts, evade, competition, chase/pursuit, torture
• Mission track (Rachel’s mission to stop evil/save lives!): prayer (wrestling, fighting, declaring in prayer), escape/evade, dangerous situations, interrogation, torture, life on the line
C. How can the action start well, build in the 2nd Act, and escalate to a climax in the 3rd Act?
Rachel – begins with prayer and builds to actively engaged to stop the attacks, to facing off Pharoan with the FBI behind her. (NOTE: this is an area for me to really explore and make sure that my action is truly escalating and engaging the audience in it.)
2. Select the types of action you’ll use:
• Chase/pursuit
• Shootout
• Rescue
• Escape/evade
• Dangerous situations
• Interrogation
• Torture
3. Sequence the action scenes to deliver your story. Give us your list of action scene and the purpose of each scene.
Since I already have a draft of the script, this activity is going to take some time. I intend to go through each scene to determine and elevate the action and make sure it’s meaningful/has purpose.
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Laura Woodworth’s Villain Track!
What I learned doing this assignment is that there were more possibilities for me to explore to bring forth my Villain’s character in a way that better reveals the true danger to my hero.
1. Ask the Villain Track questions to discover your Villain’s plan, decisions, and actions.
A. What might be the Villain’s plan to accomplish an evil outcome or to annihilate the hero?
A long-term plan to terrorize the U.S. to the point of submission with their main in place for the takeover of the U.S. government and the new reign of a Muslim radical.
B. How many ways can the Villain attack or destroy the hero?
Terrorist attacks on U.S. that kill innocent civilians
Kill who they think is the mole in their midst
Track her down by the phone calls she makes to alert authorities to the danger
Kidnap her/try to bring her in
Go after her FBI husband, friends or her church (attack what’s dear to her)
Capture her, torture her for information
Launch the most horrific attack while she watches, seemingly helpless to do anything
Kill her
(There is really nothing they can do to her, as she is not afraid of death. She is invincible in her faith in God to intervene and in her willingness to die for others to live.)
C. What advantage does the Villain have and how can they exploit this in this movie?
Inside U.S. people supplying the Syrian military with arms/weapons/funding
Inside people in the White House creating the narrative that serves their purpose
Inside people with influence over the U.S. President
Inside people with access
A desperate and dedicated Syrian army
The power of fear over tehir army
A long term plan in place
The fear and passivity/naivete of the American people
The lack of morality/no parameters on their evil acts.
D. What would be a “fitting end” for this Villain where they pay for what they’ve done?
In an honor/shame culture, a fitting end would be the shame of being defeated/outwitted by a female, by the infidels. True goodness prevailing over deceptive evil. Years of long-term planning failed/exposed. Suicide of main man who was true to the cause (Bird), with Pharoan, who was a hireling slinking away in defeat.
2. Include labels with each step of their plan. Develop your own set of labels, but clearly show decisions, plans, and actions your villain takes.
Plans – Decisions – Actions
(See my Thriller map from previous class for more defined plans, decisions, actions)
Plan: men in position
Action/Attack: blow up bridge
Plan: men in place
Action/attack: suicide bomber in place
Mistake: Plan failed
Decision: regroup, replan
Action/attack: next hit
Mistake: plan failed
Control: control the White House narrative with man in place
Dilemma/Decision: find the mole
Plan/attack: bus attack – works!
Action: continue to seek out the mole
Plan/attack: fails
Decision: find the mole!
Discovery/plan: Rachel is the one alerting authorities
Action: kidnap her – but – FBI get their first
Dilemma: FBI get there first
Decision: move forward with long term plan
Action/Attack: next attack – fails
Capture: get her; they capture her, not fully realizing it was her trap
Action/Decision: their attack plan fails while she is with them; kill team member as mole
Fitting ending: as their entire plan falls apart and their capture is imminent, Bird commits an “honor” suicide; Pharoan slinks away.
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Use the Mission Steps to outline the mission:
Clear mission: to stop evil and save lives. To thwart the terrorist attacks God is revealing to her.
Motivation: she missed God’s warning of the attack on the bridge and lives were lost. She won’t let it happen again. Internal: grieving the loss of her own child. External: the mama bear is rising up in her to do something to save others.
Inciting incident: the bridge collapse. She realizes that God was trying to warn her and she missed it!
First Action: tries to warn the FBI but backs off because of the fear of “what if I’m wrong?”
Obstacle: the enemy is bigger than she thought. These reveals from God are not just “accidents” but planned terrorist attacks.
Escalation: as the attacks fail, the terrorists think there is a mole in their ranks and are determined to root it out.
Overwhelming odds: when the terrorists pinpoint Rachel as the source, they go after her – at the same time as the FBI suspects her involvement and they also go after her.
New plan: Realizing she is wanted by both sides, Rachel devises a plan that will lead the FBI to the terrorists.
Apparent defeat: Rachel is captured, tied to a chair and the FBI have no leads except to know a major attack is planned – and she’s the only one that knows what it is.
Twist: Evan realizes what Rachel has done in allowing herself to be taken.
Apparent success: the FBI figure out Rachel’s notes and work to disarm the multiple bombs planted across the city’s hospitals.
Full out attack: the FBI home in on the terrorists, killing them and saving Rachel.
Twist: Rachel realizes they missed a bomb!
Escalation: they rush to the hospital with seconds to disarm the bomb.
Success: the bomb is disarmed and the day is saved.
Denouement: the terrorists disown their men in the field; the main guy in the White House commits suicide.
Resolve and hook: in a church service, the baby of their friend whose life was saved through Rachel’s intervention is held up before God… this child is yours. The promise of a new adventure…
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Laura Woodworth’s Hero and Villain
What I learned doing this assignment is that I need to strengthen the unique skill set of the Hero (and find out how to convey it well), make sure I have no gaps in the hero/villain roles, and make sure I am keying in on elements that dig at my hero’s wound/secret.
Concept:
Hero morally right: Rachel is fighting to save innocent lives
Villain morally wrong: Pharoan’s plan is to take down America with terrorist tactics
Hero:
A. Unique Skill Set: Rachel knows what Pharoan is planning through prophetic visions; she uses her wits, she is unafraid to die.
B. Motivation: she missed the first warning from God and children died; she will not let it happen again.
C. Secret or wound: her wound is the lost/stillborn baby; her secret is a previous abortion that she feels caused the loss.
Villain:
A. Unbeatable; he has unlimited resources and disposable people: secret plants in the U.S. as well as the Syrian army with trained terrorists.
B. Plan/goal: long held plan to terrorize the U.S. and bring her down.
C. What they lose if Hero survives: failure of the plan, probable death for him and his family.
Impossible mission:
A. Puts hero in action: the bridge collapse/disaster makes it clear to Rachel that God is giving her inside knowledge – and she could have prayed and prevented the loss of lives. The blood is on her hands and she will not let it happen again.
B. Demands they go beyond their best: this is unlike anything Rachel has faced before and she must find a way to outwit the villain; move out of her comfort zone and literally risk her life to save others.
C. Destroy the villain: by leading the FBI to the killers, she brings down the operation.
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Laura Woodworth’s Conventions!
What I learned doing this assignment is to open my mind to other ways I can elevate my story. I’m still having a hard time with wording the concept/logline in a way that will grab attention.
Concept: A prophetic intercessor made aware of terrorist attacks planned against the U.S. takes action to stop the evil before it happens, outwitting the Syrian army.
Conventions:
Highly skilled Hero: Rachel – skilled in spiritual warfare and the prophetic
Demand for Action: God makes her aware of the wicked plot aimed against the U.S.
Mission: To stop the evil that God reveals to her and save lives.
Antagonist: Pharoan, the Muslim leader of Syrian forces
Escalating Action: Pharoan’s attacks on America increase as he tries to outwit the “mole” who is outwitting him and his plan to bring America to her knees
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Hi, everyone! Nice to meet you all.
I’ve written 10 scripts (on spec and for producers) including TV, film and VR, winning some awards along the way. For this class, I’m bringing in a script that I’ve already workshopped in the Thriller class, and now hope to add in stronger action elements for an action/thriller.
One of my favorite projects to write on was a VR script written on assignment for the UK Bible Society. I developed a template in Final Draft to accommodate the 360 degree immersive experience.
-Laura Woodworth
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Laura Woodworth. I agree to the terms of this release form.
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.
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This reply was modified 2 years, 9 months ago by Laura Woodworth.
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This reply was modified 2 years, 9 months ago by
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Laura Woodworth’s Necessary Questions
What I learned doing this assignment is keeping the story focused on the concept and key dramatic question. It was valuable to me to determine the dramatic question and the true dilemma for my lead character.
1. Concept:
When a Russian student discovers her grandmother’s contraband bible, it sparks a spiritual awakening across a Moscow university, but endangers her babushka’s life and she must evade the KGB to smuggle her out of Russia.
When a Russian student discovers her grandmother’s contraband bible, it opens her eyes to the dangers of the communist government, sparking a spiritual awakening in her life and across a Moscow university, but when her grandmother’s life is endangered, Natalia must decide between her love relationship with the KGB agent tracking her grandmother or saving her babushka and smuggling her out of Russia.
Dramatic Question: Will Natalia choose love over freedom?
Main Conflict: The conflict between Natalia and her new understanding of true freedom and Victor and his communist loyalties.
Dilemma: If Natalia chooses love and her relationship with Victor, she betrays her grandmother (to probable jailtime or execution as a traitor to the state).
If Natalia chooses freedom and smuggling her grandmother out of the country, she loses Victor and her chance at true love.
Theme: This story is about loyalties and the value of personal freedom over a love relationship.
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Laura Woodworth’s Dramatic Plots 2
What I learned doing this lesson: I feel like this is forcing me to think of the strongest way to portray the story. It’s also helping me to start thinking through my main character and chosen character structure.
1. Two possible plots: Maturation, Ascension
2. My original concept: When a Russian student discovers her grandmother’s contraband bible, it sparks a spiritual awakening across a Moscow university, but endangers her babushka’s life and she must evade the KGB to smuggle her out of Russia.
(still needs refining)
3. Maturation plot: Naïve to the true oppressive nature of the Russian government, a Russian college student shuns her babushka as the old, outdated generation, but when she discovers her grandmother’s hidden illegal bible, it sparks a spiritual awaking at a Moscow university. The contraband book puts her grandmother in dangerous peril as the KGB seek her out as the source, and Natalia must come to terms with the grim realities of communism as she tries to evade the KGB to smuggle her grandmother out of Russia to safety.
Ascension plot: Groomed by the communist government as one of their youth leaders, when a Russian college student discovers her grandmother’s contraband bible, it sparks a spiritual awakening in her life, challenging her beliefs as she comes to terms with the realities of communist Russia. When her grandmother becomes hunted by the KGB as the source of the illegal bible, Natalia must fully abandon her loyalty to Russia as she attempts to smuggle herself and her grandmother out of Russia to embrace the concept of a free society.
4. Best choice of plot: I think I’m going to go with the maturation plot as the one that will allow for the best conflict/drama:
Maturation plot: Naïve to the true oppressive nature of the Russian government, a Russian college student shuns her babushka as the old, outdated generation, but when she discovers her grandmother’s hidden illegal bible, it sparks a spiritual awaking at a Moscow university. The contraband book puts her grandmother in dangerous peril as the KGB seek her out as the source, and Natalia must come to terms with the grim realities of communism as she tries to evade the KGB to smuggle her grandmother out of Russia to safety.
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This reply was modified 3 years, 3 months ago by Laura Woodworth.
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This reply was modified 3 years, 3 months ago by
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Laura Woodworth’s Dramatic Plots 1
What I learned doing this assignment: It was fun to try the different plot possibilities out and see where it takes the story.
1. Possible plots: Quest, underdog
2. Paragraphs with each plot possibility.
Quest: A Russian college student goes in search of her life purpose in the oppressive society of 1960’s Russia and discovers her grandmother’s hidden illegal Bible. It sparks a spiritual revival in Natalia as well as the student body at a Moscow university. But the popularity of the forbidden book jeopardizes her grandmother’s life as she comes on the radar of the KGB as the source of the illegal bible. Natalia seeks to smuggle her out of the country, but her grandmother instead ensures Natalia’s escape, giving her life for her granddaughter, and bringing Natalia to a new grasp of the real meaning of life.
Underdog: When a Russian college student discovers her grandmother’s illegal bible, it sparks a spiritual awakening on a Moscow university, but draws the attention of the KGB. With her grandmother’s life jeopardized as the source of the forbidden book, Natalia must outwit the powerful KGB and smuggle her grandmother out of the country before they can execute her.
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Day 1 Assignment: Outlining and Your Character Structure
Laura Woodworth’s Character Structure
What I learned doing this lesson: my first thought on this concept was to go with an ensemble cast. After thought, I’m going with a dramatic triangle instead for greater marketability and engagement with the characters.
1. Concept: (still working to hone this)
When a Russian college student discovers her grandmother’s illegal Bible, it sparks a spiritual awakening at a Moscow university but jeopardizes her grandmother’s life when she comes on the radar of the KGB.
When a college student discovers her grandmother’s illegal Bible, it sparks a spiritual awakening across a Moscow university but endangers her family’s life and she must find a way to evade the KGB and smuggle her grandmother out of Russia.
2. Character Structure: Dramatic Triangle
3. Lead Characters:
Natalia is a college student at a Moscow university who discovers her grandmother’s hidden copy of the bible.
Babushka is Natalia’s grandmother whose illegal copy of the bible puts her on the radar of the KGB.
Victor is a KGB agent who discovers the grandmother as the source of the forbidden bible being passed around among students at a Moscow university.
4. I see the character structure playing out similarly to Star Wars/Casablanca with the grandmother mentoring the KGB agent years before he became part of the KGB and anti-religion. Natalia, her granddaughter, is also mentored by her babushka in spiritual matters, but her zeal to share the bible on campus endangers her grandmother, putting her on the radar of the KGB. Natalia tries to smuggle her grandmother out of the country to save her, but in the end, it’s the grandmother who saves Natalia – helping her escape out of the country while giving up her life instead.
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What I learned during the opening teleconference – I gained a new perspective in several areas; here are my biggest takeaways:
- The concept of Kaizen: constant improvement, 1% per day. I can do that.
- Constantly search for the breakthroughs; be willing to step out of the box.
- James Justin’s quote, “I know what I’m up against.” Having lived in LA and now working remotely, I very much know what I’m up against. I’ve seen some successes but need to get that breakthrough with a quality high-concept marketable script. “With the right concept you can break in.”
- Get projects to as many production companies as you can. I think I”ve held back so it doesn’t appear that my project has been shopped around and “rejected.”
- The different types of work in each type of draft. An important reminder to me to explore, discover and create.
- The input on note-giving. As a script consultant, this was a good guide for note-giving. I get good feedback from my clients, but I can improve on giving more actionable notes that will “make them a better writer and move the project forward.”
Still processing the notes and created some sticky note reminders for myself. Thank you!
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Hi, all!
So glad to meet everyone. I’m a produced screenwriter and also a producer-director, a script consultant for Stage 32, and a development executive for Cooke Media Group in Los Angeles. I’ve written 7 features, 2 TV pilots and several short films and won some awards along the way.
I’ve found ScreenwritingU’s courses to be extremely valuable in honing my craft and elevating my writing. My schedule’s packed (whose isn’t?) and it’s a stretch to take the ProSeries at this time, but I know it will be well worth it.
Interesting fact – my involvement with the film and TV industry spurns from my passion to bring hope and light into the world. I come from a missions background, and I am still on a mission, using the power of media to reach beyond my natural sphere of influence.
Best of success to all!
-Laura
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Laura Woodworth. I agree to the terms of this release form.
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.
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This reply was modified 3 years, 4 months ago by Laura Woodworth.
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This reply was modified 3 years, 4 months ago by
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Laura Woodworth’s transformational journey
Who is your hero and what is their character arc that represents a transformation?
Internal Journey: For Dell: from weak, afraid, hiding in insignificance and happy with that place – to strong, fearless, brave and committed like her grandmother Adelle
External Journey: For Dell: from a small-time photographer to a White House photographer, positioned to be the one who can save the country.
What are the Old Ways and New Ways?
Old Ways for Dell:
· Ignorant of the corruption around her
· Naïve of the devices of the enemy and their deceptive friendship, using her
· Small time photographer
· Afraid, hiding behind her camera
· Doesn’t believe in herself and what she is capable of outside of her photography
· Naïve of her Jewish heritage and the bravery of her grandparents in the resistance movement of WWII
· Wary of Michael’s friendship and his Christian family
· Accepts things “as they are” and doesn’t see deeper into the corruption behind the government
New Ways for Dell: She becomes a modern-day Esther who can save the nation
Sees the corruption in the government, in the White House
Sees the deception of those using her, manipulating her
Recognizes the true friendship of Michael and his family, the Christian believers resisting the government
Understands the importance of the resistance and the cause
Finds out her heritage and the courage of her ancestors
Becomes courageous, brave and committed, willing to risk her life and position to save the nation
What I learned doing this assignment is to clearly define the transformational arc my lead character must go through for this story to be engaging. It also helped me better define the role of my character in this story.
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Hello, all! I’m a screenwriter based in Los Angeles and Kansas City. Besides my own writing projects, I work for Cooke Media Group in Burbank. Recent work that I co-wrote just won 3 Telly Awards, so I’m excited about that! (TBN “Inexplicable: How Christianity Spread to the Ends of the Earth” Episode 5 – “Asia: The Great Wall and Beyond”)
Happy to be in the class. Best of success to all of us!
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Fun to know – and nice to meet you.
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To you as well, Sean!