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SCREEN WRITING CLASS MODULE 7


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#1 aroundworld

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Posted 25 November 2012 - 12:09 PM

Module 7


The Hook, Through-Line and Place Markers

Student Outcomes:

Understand the importance of the hook when telling a story.

Use a through-line in a narrative.

Understand what a cute meet is in screenwriting.

Utilize place markers when writing.

Assignments:

1. Discussion Exercise: Cute Meet
2. Assignment: Place Marker Sketch

Discussion:
1. Talk about any issues or problems you have had with identifying Through-Lines or using Place Markers.


There is no try, only do or do not.

 

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START HERE:  http://www.moviestor...showtopic=13153


#2 aroundworld

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Posted 25 November 2012 - 12:13 PM

Welcome to MOD 7!



we're hallway home. Give yourselves a pat on the back for hanging in there!!!

Before we begin covering the material for MOD 7, please finish the assignment from MOD 6 and post it here.


There is no try, only do or do not.

 

Learn story telling in the MOVIESTORM education forum. 

 

START HERE:  http://www.moviestor...showtopic=13153


#3 aroundworld

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Posted 27 November 2012 - 07:53 AM

The Hook



In this module, we’re going to look at a more refined story skill, the all-important Hook.
There are several interpretations of this term so let’s start with the first:

To hook the audience is nothing more than the simple act of withholding information that will make them want to continue watching (or reading) to learn more.

Remember the INTERRUPTION OF ROUTINE. we know the interruption changed the characters life in some way, but THE HOOK, is the lingering question of how the consequences of that interruption play out in the character's life in the story.

A hook moves the story forward. If a story becomes stagnant, you’re finished.
Scenes should have a ripple effect. One scene should carry us into the next. They should be somehow connected. We should be eager to see what’s going to happen in the following scenes.

Review from Module 3: Lack of Payoff

Pay-offs we know about from Module 2's lesson. To reiterate, it’s when something is called back into a story that was planted earlier on. Quite often, novice story tellers will string together events that seem unconnected. There is little cause and effect from one scene to another and a ripple effect is otherwise absent.

Ripple Effect:

Think of tossing a stone into a pond and watching concentric circles ripple out across the water’s surface from the place where the stone struck. This idea applied to storytelling creates a ripple effect from one scene to another. In essence, something that happens in one scene carries over into the next and so on.

There is no try, only do or do not.

 

Learn story telling in the MOVIESTORM education forum. 

 

START HERE:  http://www.moviestor...showtopic=13153


#4 kkffoo

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Posted 27 November 2012 - 03:29 PM

ACT I

We meet your character.

Peasant cottage lit by an oil lamp. MAGGY TREVALYCK is scraping bristles from pigskin and singing. BRENDA RAMSBOTTOM slaps her and Maggy stops singing. The slap has revealed a peculiar shaped birthmark hiding under Maggy's fringe. Maggy quickly hides it again.

What happens in between meeting your character and the midway point?

Maggy witnesses James' men evicting a peasant family, and stealing a half loaf of bread in the confusion. She is incensed.

MIDWAY

Their life is interrupted, but they learn something that saves them in ACT III

Maggy stands by Foley Manor gates. One gatepost has a strange carving under the lettering 'Foley Manor'. MAGGY lifts her fringe unknowingly to touch her birthmark. The shape of the carving and birthmark match. Just then JAMES and his men gallop through. JAMES laughs as MAGGY is pushed into a muddy ditch.

What happens from midway to the first plot point?

Maggy sneaks into Foley hall, she plans to steal some food for the peasants, but has to hide when she witnesses James set fire to the mansion. A henchman discovers her and threatens to expose her if he can't have his evil way. She breaks free , finally leaping through the flames into Lady Foley's bedroom.


PLOT POINT I

The Manor is in flames. Maggy stumbles through smoke, choking for air. Her dirty foot brushes against a dead woman's hand. It's Lady Foley. She's repulsed until flames glint off the woman's jeweled necklace. Maggy grabs the necklace and heads for the window - James bursts into the room, As Maggy open the window to leap out leaps from the window, a rush of air rushed through the room, lifting papers and fanning the flames.

The dead woman's fringe is blown back and we see an identical birthmark on her forehead. James jumps through the flames and follows Maggy out the window, swinging form a vine and lands in a pool of hounds and men on the driveway. The gang chase Maggy into the woods, where she is rescued by TOMMY, who pulls her out of their path at the last moment.

ACT II

Your character tries to grasp what has happened to them. (remember our earlier exercise).

Maggy and Tommy are hiding out. Maggy shows Tommy the necklace, with the clasp in the same shape as the Foley birthmark. Tommy is horrified..Maggy doesn't understand the value of the item she took, they may both be hanged.

What happens between the first scene of ACT II and first turn around?

Maggy and Tommy are spotted by James and flee across fields and woods.


TURN AROUND 1

They have an encounter with the enemy but in the process meet someone that will help them. (remember our earlier exercise).

The Hounds pick up Maggy's scent and chase the pair to the edge of a lake. Tommy drags Maggy to a boathouse on a small island. Tommy is surprised to see a sleeping roll and possessions. On the wall they see an old carved heart with initials GF and RP. They decide to leave but the ragged MR PINKWHISTLE, carrying snared rabbits, blocks their exit.

What happens between the first and second turn around?

He takes them for common thieves when he spots the bracelet, but after they tell their story he reveals he also is trying to thwart James, who had cost Mr P his job and reputation.

TURN AROUND 2

Your character's are seemingly defeated. (Remember our earlier exercise)

Mr Pinkwhistle offers to help Maggy and Tommy prevent James from taking over Foley Manor. The Hounds return and Mr Pinkwhistle can not divert them. James knocks the game keeper unconscious, then ties up Tommy and Maggy in a small boat, knocks a hole in it and pushes them out on the lake. They sink beneath the water .

PLOT POINT II

REFER TO EARLIER EXERCISE.

James imagines they are gone & leaves, but Tommy uses the bracelet to cut through the ropes underwater, and he and Maggy swim to a nearby reedbed, where they find Mr P unconscious but alive. They drag him out of the water. They hear James talking about hiding incriminating documents in the clock tower, for his accomplice, a crooked lawyer, to pick up later . Maggy's wet hair reveals her birthmark, and Tommy and Mr P suddenly realise the significance (separately).


What happens between the second turn around and the beginning of ACT III?

Maggy cannot accept that she might be a Foley, she and Tommy fight and he accidentally drops the bracelet. They leap into hiding as James approaches, the butler finds the bracelet in the grass.


ACT III

THE FIGHT WITH YOU ENEMY ENSUES.

Tommy climbs up to the Inn bedroom window and sees James is examining the bracelet with an eyeglass. Mr P pretends to be drunk and herds some noisy geese into the inn and along the corridor , bumping open James' door. As James argues with the disguised Mr P , Tommy and Maggy slip into the room.

In the rush Maggy's dress is caught on a nail and James returns before they can take the bracelet. The two heroes are nearly caught & hide in a wardrobe, where Maggy finds a grand ballgown. She swaps her torn clothes and TOMMY is amazed by the transformation, she looks just like Lady Foley.
James issues orders to his chief henchman to hide & watch the clock tower and make sure Benson finds the documents. Benson will be disguised as the nightwatch, doing his rounds.
MAGGY leaps out of the wardrobe in the middle of the night, pretends to be the ghost of Lady Foley and tricks JAMES into giving up the bracelet.

What happens between the first scene of ACT III and the victory?

Tommy pretends to be the watchman to avoid the watching henchmen, Maggy hides under his cloak as he walks. They reach the tower, but can't find the documents, so they wait in the clock tower until midnight, when the crooked lawyer, BENSON appears, disguised as a watchman. The henchmen are suspicious at two watchmen and start to climb the stairs. Benson retrieves the documents from behind a loose stone in the tower wall.


PLACE YOUR ENDING SCENE HERE

James finds Maggy's discarded clothes, and he realizes he has been tricked. He realize Mr P, Tommy and Maggy will be at the clock tower.


OUTCOME

Tommy is struggling with Benson to grab the documents when the henchmen appear with guns. There is some confusion as they don't know which man is the lawyer. Maggy swings round and grabs a gun, holding the chief henchman hostage.
James shoots Tommy, then is knocked onto the ledge as Benson falls back out of Tommy's grip.
Maggy tries to hold James' hand, but both he and Benson grabs for the bracelet, both fall to their deaths on the cobbles below. Tommy is badly injured.
The London Police and assorted peasantry arrive, having been alerted by Mr Pinkwhistle.
In the grand dress all the local peasantry can see that Maggy looks just like the Foley family,


What happens between the victory and the resolution?

Mr Pinkwhistle tells Maggy and Tommy that he used to be Lady Foley's butler, before James framed him for stealing. He was very fond of Maggy's mother (it is implied he might be Maggy's father) & breaks down in tears as he reveals how Maggy's mother was disowned and died in childbirth after becoming entangled with someone 'beneath her station'.

The London police recognise James's body as a known trickster, wanted for many crimes. A london lawyer who has accompanied the police reads the recovered documents, and they prove that Lady Foley was her grandmother.

RESOLUTION


Maggy and Tommy are married (Tommy with bandage), with Mr P taking her arm as father in the ceremony. They throw a huge feast for the peasants in the nearly rebuilt manor house. Brenda has to watch from the stocks.



#5 JosephKw

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Posted 28 November 2012 - 08:09 AM

ACT I

We meet your character.


BRUCE DETT, 25, dressed in black ninja assassin garb, is attacked by brawny men with knives and staves. Dett dispatches them in a flurry of blows, and kicks down the door they were guarding.

MASS SIN, 40, a Chinese man with a long Fu Manchu mustache stands in front of a large window, holding a sword. Sin slashes his own throat and falls out the window. Detts notices the blood and sword are fake. Outside, Sin is gone.


MIDWAY

Their life is interrupted, but they learn something that saves them in ACT III

Dett, still in his assassin's garb, stands before WU, 60. Dett reports his failure in slaying Sin. Wu slides a yellow slip of paper to Dett, who signs it. Wu places it in a wall safe behind him.

Suddenly Sin's men leap through the window on ropes and battle Wu and his men. After a melee, the attackers escape, leaving Wu dead. Outside, Dett watches the assassins flee, with Sin driving away in a black sedan.

Fat dapper, MR. RONG, age 50, in a handsome suit enters Wu's office, smoking a cigar, and Wu's men bow to him. Rong sits in Wu's chair.

PLOT POINT I

PLACE YOUR OPENING SCENE HERE. (the one you worked earlier in the semester) This is now your inciting incident that launches your character into act 2.

A cigar is raised by Rong. Cigar-shaped batons are held, one each, by four burly men in wife-beaters, standing two each to the side of Mr. Rong. Dett, now in misfitting casual wear and his face fully-revealed, walks around a corner to face Rong and his men. Dett stops as the burly men spread out to surround him.

The men raise their batons, and glance at Mr. Rong, who nods. The batons descend. The sound of fighting ensues. One by one each baton falls to the floor. Dett stands among four motionless bodies. Mr. Rong drops his jaw--the cigar falls out and hits the floor. Dett's foot descends upon it, crushing it. A pool of water reflects the fleeing Mr. Rong.


ACT II

Your character tries to grasp what has happened to them. (remember our earlier exercise).

Dett reveals that he is an assassin to Rong. Rong demands a refund for his failure in slaying Sin, which Dett cannot do.

TURN AROUND 1

They have an encounter with the enemy but in the process meet someone that will help them. (remember our earlier exercise).

Dett, again masked, attacks Sin's lair, leaving behind a fat cigar. Sin, believing it is the work of Rong, wages war on Rong's holdings.

Rong summons Dett and instructs him to deliver a money bag to Sin to cease the mob war--in return all debts by Dett will be forgiven.


TURN AROUND 2

Your character's are seemingly defeated. (Remember our earlier exercise)

Dett delivers the money bag, but Sin opens it to find it filled with newspaper, and a bomb. The bomb goes off with Sin and Dett in the room.


PLOT POINT II

REFER TO EARLIER EXERCISE.

Dett climbs out from under a huge metal bell which decorated Sin's lair. He finds Sin's black sedan and takes it.

Dett changes his appearance with a haircut, new outfit, and glasses. He buys a jar of "tung oil" from a Chinese herbalist, and dips a yellow marker sheet into it. At one of Rong's casinos, he deliberately loses badly, and makes out a marker using the black sedan as collateral. The marker makes its way from the casino, to Rong's building, and into the wall safe. Once secure in the wall safe, the treated marker smolders and bursts into flame.

ACT III

THE FIGHT WITH YOUR ENEMY ENSUES.

Dett packs up his bags to leave, but is struck on the head as he steps out of the door.

PLACE YOUR ENDING SCENE HERE

Dett is brought in to Mr. Rong. Thugs stand all around. Dett slowly regains consciousness to see a smiling, smoking Rong. Dett is tied to a chair. Dett claims his debt is paid, and demands to see the marker. Rong opens the safe to find only ash and smoke.

Enraged, Rong draws a knife to slay Dett. Dett disarms Rong, and uses the knife to free his bonds. Rong sees he's losing, and breaks to get away. Dett's got him and swings him through a plate glass window. Dett watches as Rong plunges to his death.

OUTCOME


RESOLUTION

The police arrive to find a mass of bodies. They ignore Dett, dressed in one of the casual clothes of Rong's men, who saunder off into the dark.



#6 aroundworld

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Posted 01 December 2012 - 08:15 PM

ASSIGNMENT



Please look over your story and highlight in bold where your HOOKS (withholding information) are in your story.

Please share a film you've seen where information was effectively held back and kept you HOOKED on the film till the end. BE SPECIFIC! smile.gif

There is no try, only do or do not.

 

Learn story telling in the MOVIESTORM education forum. 

 

START HERE:  http://www.moviestor...showtopic=13153


#7 JosephKw

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Posted 03 December 2012 - 04:41 AM

QUOTE (JosephKw @ Nov 28 2012, 8:09 AM) <{POST_SNAPBACK}>
ACT I

We meet your character.


BRUCE DETT, 25, dressed in black ninja assassin garb, is attacked by brawny men with knives and staves. Dett dispatches them in a flurry of blows, and kicks down the door they were guarding.

MASS SIN, 40, a Chinese man with a long Fu Manchu mustache stands in front of a large window, holding a sword. Sin slashes his own throat and falls out the window. Detts notices the blood and sword are fake. Outside, Sin is gone.


MIDWAY

Their life is interrupted, but they learn something that saves them in ACT III

Dett, still in his assassin's garb, stands before WU, 60. Dett reports his failure in slaying Sin. Wu slides a yellow slip of paper to Dett, who signs it. Wu places it in a wall safe behind him.

Suddenly Sin's men leap through the window on ropes and battle Wu and his men. After a melee, the attackers escape, leaving Wu dead. Outside, Dett watches the assassins flee, with Sin driving away in a black sedan.

Fat dapper, MR. RONG, age 50, in a handsome suit enters Wu's office, smoking a cigar, and Wu's men bow to him. Rong sits in Wu's chair.

PLOT POINT I

PLACE YOUR OPENING SCENE HERE. (the one you worked earlier in the semester) This is now your inciting incident that launches your character into act 2.

A cigar is raised by Rong. Cigar-shaped batons are held, one each, by four burly men in wife-beaters, standing two each to the side of Mr. Rong. Dett, now in misfitting casual wear and his face fully-revealed, walks around a corner to face Rong and his men. Dett stops as the burly men spread out to surround him.

The men raise their batons, and glance at Mr. Rong, who nods. The batons descend. The sound of fighting ensues. One by one each baton falls to the floor. Dett stands among four motionless bodies. Mr. Rong drops his jaw--the cigar falls out and hits the floor. Dett's foot descends upon it, crushing it. A pool of water reflects the fleeing Mr. Rong.


ACT II

Your character tries to grasp what has happened to them. (remember our earlier exercise).

Dett reveals that he is an assassin to Rong (the HOOK is not knowing who this mysterious assassin is, and the reveal here kinda acts like a plant/payoff surprise).. Rong demands a refund for his failure in slaying Sin, which Dett cannot do.

TURN AROUND 1

They have an encounter with the enemy but in the process meet someone that will help them. (remember our earlier exercise).

Dett, again masked, attacks Sin's lair, leaving behind a fat cigar. Sin, believing it is the work of Rong, wages war on Rong's holdings.

Rong summons Dett and instructs him to deliver a money bag to Sin to cease the mob war--in return all debts by Dett will be forgiven.


TURN AROUND 2

Your character's are seemingly defeated. (Remember our earlier exercise)

Dett delivers the money bag, but Sin opens it to find it filled with newspaper, and a bomb. The bomb goes off with Sin and Dett in the room.


PLOT POINT II

REFER TO EARLIER EXERCISE.
Dett climbs out from under a huge bell which decorated Sin's temple room (the HOOK is leading the audience to think Dett was killed in the explosion). He finds Sin's black sedan and takes it.

Dett changes his appearance with a haircut, new outfit, and glasses. He buys a jar of "tung oil" from a Chinese herbalist, and dips a yellow marker sheet into it. At one of Rong's casinos, he deliberately loses badly, and makes out a marker using the black sedan as collateral. The marker makes its way from the casino, to Rong's building, and into the wall safe. Once secure in the wall safe, the treated marker smolders and bursts into flame.

ACT III

THE FIGHT WITH YOUR ENEMY ENSUES.

Dett packs up his bags to leave, but is struck on the head as he steps out of the door (the HOOK is leading the audience to think this is the end for Dett).

PLACE YOUR ENDING SCENE HERE

Dett is brought in to Mr. Rong. Thugs stand all around. Dett slowly regains consciousness to see a smiling, smoking Rong. Dett is tied to a chair. Dett claims his debt is paid, and demands to see the marker. Rong opens the safe to find only ash and smoke.

Enraged, Rong draws a knife to slay Dett. Dett disarms Rong, and uses the knife to free his bonds. Rong sees he's losing, and breaks to get away. Dett's got him and swings him through a plate glass window. Dett watches as Rong plunges to his death.

OUTCOME


RESOLUTION

The police arrive to find a mass of bodies. They ignore Dett, dressed in one of the casual clothes of Rong's men, who saunder off into the dark.





Please share a film you've seen where information was effectively held back and kept you HOOKED on the film till the end. BE SPECIFIC!

It seems the iconic films are those which always come to my mind (rather than recent ones). "THE MATRIX" effectively portrayed "normal" urban life with elements of superhuman feats (eg. Trinity jumping across a six-lane street) and freaky psychic premonition (eg. Morpheus mailing Neo a cell phone and it rings just as he opens the envelope, and then warns him of impending danger and provides step-by-step instructions on how to evade it). These odd abilities were an effective HOOK. Even though the explanation was revealed mid-way through the movie, the second HOOK of Neo being "the One" kept me intrigued until the end.

#8 kkffoo

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Posted 03 December 2012 - 08:32 AM

QUOTE (kkffoo @ Nov 27 2012, 3:29 PM) <{POST_SNAPBACK}>
ACT I

We meet your character.

Peasant cottage lit by an oil lamp. MAGGY TREVALYCK is scraping bristles from pigskin and singing. BRENDA RAMSBOTTOM slaps her and Maggy stops singing. The slap has revealed a peculiar shaped birthmark hiding under Maggy's fringe. Maggy quickly hides it again.

What happens in between meeting your character and the midway point?

Maggy witnesses James' men evicting a peasant family, and stealing a half loaf of bread in the confusion. She is incensed.

MIDWAY

Their life is interrupted, but they learn something that saves them in ACT III

Maggy stands by Foley Manor gates. One gatepost has a strange carving under the lettering 'Foley Manor'.[/b] MAGGY lifts her fringe unknowingly to touch her birthmark. The shape of the carving and birthmark match. Just then JAMES and his men gallop through. JAMES laughs as MAGGY is pushed into a muddy ditch.

What happens from midway to the first plot point?

Maggy sneaks into Foley hall, she plans to steal some food for the peasants, but has to hide when she witnesses James set fire to the mansion. A henchman discovers her and threatens to expose her if he can't have his evil way. She breaks free , finally leaping through the flames into Lady Foley's bedroom.


PLOT POINT I

The Manor is in flames. Maggy stumbles through smoke, choking for air. Her dirty foot brushes against a dead woman's hand. It's Lady Foley. She's repulsed until flames glint off the woman's jeweled bracelet. Maggy grabs the bracelet and heads for the window - James bursts into the room, As Maggy open the window to leap out leaps from the window, a rush of air rushed through the room, lifting papers and fanning the flames.

The dead woman's fringe is blown back and we see an identical birthmark on her forehead. James jumps through the flames and follows Maggy out the window, swinging form a vine and lands in a pool of hounds and men on the driveway. The gang chase Maggy into the woods, where she is rescued by TOMMY, who pulls her out of their path at the last moment.

ACT II

Your character tries to grasp what has happened to them. (remember our earlier exercise).

Maggy and Tommy are hiding out. Maggy shows Tommy the necklace, with the clasp in the same shape as the Foley birthmark.[/b] Tommy is horrified..Maggy doesn't understand the value of the item she took, they may both be hanged.

What happens between the first scene of ACT II and first turn around?

Maggy and Tommy are spotted by James and flee across fields and woods.


TURN AROUND 1

They have an encounter with the enemy but in the process meet someone that will help them. (remember our earlier exercise).

The Hounds pick up Maggy's scent and chase the pair to the edge of a lake. Tommy drags Maggy to a boathouse on a small island. Tommy is surprised to see a sleeping roll and possessions. On the wall they see an [b]old carved heart with initials GF and RP
. They decide to leave but the ragged MR PINKWHISTLE, carrying snared rabbits, blocks their exit.

What happens between the first and second turn around?

He takes them for common thieves when he spots the bracelet, but after they tell their story he reveals he also is trying to thwart James, who had cost Mr P his job and reputation.

TURN AROUND 2

Your character's are seemingly defeated. (Remember our earlier exercise)

Mr Pinkwhistle offers to help Maggy and Tommy prevent James from taking over Foley Manor. The Hounds return and Mr Pinkwhistle can not divert them. James knocks the game keeper unconscious, then ties up Tommy and Maggy in a small boat, knocks a hole in it and pushes them out on the lake. They sink beneath the water .

PLOT POINT II

REFER TO EARLIER EXERCISE.

James imagines they are gone & leaves, but Tommy uses the bracelet to cut through the ropes underwater, and he and Maggy swim to a nearby reedbed, where they find Mr P unconscious but alive. They drag him out of the water. They hear James talking about hiding incriminating documents in the clock tower, for his accomplice, a crooked lawyer, to pick up later . Maggy's wet hair reveals her birthmark, and Tommy and Mr P suddenly realise the significance (separately).


What happens between the second turn around and the beginning of ACT III?

Maggy cannot accept that she might be a Foley, she and Tommy fight and he accidentally drops the bracelet. They leap into hiding as James approaches, the butler finds the bracelet in the grass.


ACT III

THE FIGHT WITH YOU ENEMY ENSUES.

Tommy climbs up to the Inn bedroom window and sees James is examining the bracelet with an eyeglass. Mr P pretends to be drunk and herds some noisy geese into the inn and along the corridor , bumping open James' door. As James argues with the disguised Mr P , Tommy and Maggy slip into the room.

In the rush Maggy's dress is caught on a nail and James returns before they can take the bracelet. The two heroes are nearly caught & hide in a wardrobe, where Maggy finds a grand ballgown. She swaps her torn clothes and TOMMY is amazed by the transformation, she looks just like Lady Foley.
James issues orders to his chief henchman to hide & watch the clock tower and make sure Benson finds the documents. Benson will be disguised as the nightwatch, doing his rounds.
MAGGY leaps out of the wardrobe in the middle of the night, pretends to be the ghost of Lady Foley and tricks JAMES into giving up the bracelet.

What happens between the first scene of ACT III and the victory?

Tommy pretends to be the watchman to avoid the watching henchmen, Maggy hides under his cloak as he walks. They reach the tower, but can't find the documents, so they wait in the clock tower until midnight, when the crooked lawyer, BENSON appears, disguised as a watchman. The henchmen are suspicious at two watchmen and start to climb the stairs. Benson retrieves the documents from behind a loose stone in the tower wall.


PLACE YOUR ENDING SCENE HERE

James finds Maggy's discarded clothes, and he realizes he has been tricked. He realize Mr P, Tommy and Maggy will be at the clock tower.


OUTCOME

Tommy is struggling with Benson to grab the documents when the henchmen appear with guns. There is some confusion as they don't know which man is the lawyer. Maggy swings round and grabs a gun, holding the chief henchman hostage.
James shoots Tommy, then is knocked onto the ledge as Benson falls back out of Tommy's grip.
Maggy tries to hold James' hand, but both he and Benson grabs for the bracelet, both fall to their deaths on the cobbles below. Tommy is badly injured.
The London Police and assorted peasantry arrive, having been alerted by Mr Pinkwhistle.
In the grand dress all the local peasantry can see that Maggy looks just like the Foley family,


What happens between the victory and the resolution?

Mr Pinkwhistle tells Maggy and Tommy that he used to be Lady Foley's butler, before James framed him for stealing. He was very fond of Maggy's mother (it is implied he might be Maggy's father) & breaks down in tears as he reveals how Maggy's mother was disowned and died in childbirth after becoming entangled with someone 'beneath her station'.

The London police recognise James's body as a known trickster, wanted for many crimes. A london lawyer who has accompanied the police reads the recovered documents, and they prove that Lady Foley was her grandmother.

RESOLUTION


Maggy and Tommy are married (Tommy with bandage), with Mr P taking her arm as father in the ceremony. They throw a huge feast for the peasants in the nearly rebuilt manor house. Brenda has to watch from the stocks.


#9 kkffoo

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Posted 03 December 2012 - 08:41 AM

I'd like to use an example that Shirley referred to earlier in the course.
Close Encounters.
The lead character is driven mad by an image he can't understand (the mountain).
We are drawn along into the mystery, and want to find out what is causing all the strange happenings .
The desperation of the main character increases the tension, and draws us in even more.
The scene that really sticks in my mind, is when Richard Dreyfuss carves the mountain out of potato at the family dinner, and his wife thinks he is going mad. It is so well done, and despite this being a film about fantasy (aliens) this part is wholly about everyday fears...going mad, being abandoned, losing control, obsession, which gives it much more power than ye olde laser shoot out peril.

#10 aroundworld

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Posted 03 December 2012 - 11:46 PM

QUOTE (JosephKw @ Dec 3 2012, 4:41 AM) <{POST_SNAPBACK}>
Please share a film you've seen where information was effectively held back and kept you HOOKED on the film till the end. BE SPECIFIC!

All of your examples of a HOOK in Dett story are DEAD ON, JK! This is exactly what keeps a an audience engaged. For this genre, you have nailed it! Take a bow!



It seems the iconic films are those which always come to my mind (rather than recent ones). "THE MATRIX" effectively portrayed "normal" urban life with elements of superhuman feats (eg. Trinity jumping across a six-lane street) and freaky psychic premonition (eg. Morpheus mailing Neo a cell phone and it rings just as he opens the envelope, and then warns him of impending danger and provides step-by-step instructions on how to evade it). These odd abilities were an effective HOOK. Even though the explanation was revealed mid-way through the movie, the second HOOK of Neo being "the One" kept me intrigued until the end.


Great example! I loved the first MATRIX. The effects became a character rather than a distraction and enhanced the question, " What happens? While keeping the audience HOOKED.

Always SPOON FEED the audience. A little information at the right time will keep them engaged.

Great example, good work!





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#11 aroundworld

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Posted 04 December 2012 - 12:00 AM

Your story HOOKS reveal Maggy's identity UP FRONT and lead the audience to want to know how she's going to regain and prove her royalty to the community.

I mentioned this before, but this set up is called, PAYING IT FORWARD. The HOOK or lack of information isn't in who Maggy is, but HOW she's going to prove it. BRILLIANT! Take a bow!




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#12 aroundworld

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Posted 04 December 2012 - 12:22 AM

QUOTE (kkffoo @ Dec 3 2012, 8:41 AM) <{POST_SNAPBACK}>
I'd like to use an example that Shirley referred to earlier in the course.
Close Encounters.
The lead character is driven mad by an image he can't understand (the mountain).
We are drawn along into the mystery, and want to find out what is causing all the strange happenings .
The desperation of the main character increases the tension, and draws us in even more.
The scene that really sticks in my mind, is when Richard Dreyfuss carves the mountain out of potato at the family dinner, and his wife thinks he is going mad. It is so well done, and despite this being a film about fantasy (aliens) this part is wholly about everyday fears...going mad, being abandoned, losing control, obsession, which gives it much more power than ye olde laser shoot out peril.



Again, this is another example of PAYING IT FORWARD. We know about the aliens. The question is, how's this going to effect Dreyfus? Is he going to sacrifice his beautiful family for this crazy pursuit? Is he going to fall in love with the other woman that knows what he knows? How will he make it to Devil's tower?

Because we know WHO the creature, bad guy...etc is, we want to know HOW Dreyfus is going to do this and WHAT is going to happen as a result.

And the subtext you pointed out (going mad, being abandoned, losing control, obsession) is very powerful indeed, and was a major factor in keeping the audience engaged. We'll recovering subtext later on in a another MOD.

Great work and observation!





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#13 aroundworld

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Posted 05 December 2012 - 04:10 AM

Any questions , observations or comments?

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#14 aroundworld

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Posted 07 December 2012 - 07:58 PM

The Through-Line



Our next storytelling concept is the Through-Line. A through-line is the driving force
behind a story. It is the main thrust of the narrative.
The concept of the through-line, I believe, stems from Konstantin Stanislavski—the great
acting teacher—who suggested that actors should not only understand their character’s
goals but be aware of a much larger, shared goal that will unite them in the overall thrust
of the story.

For storytelling purposes, through-line—which also has been called the story spine or
super-objective—refers to the common, overall goal of the characters in your story. It is
the background from which your story springs to life and it impacts all aspects of the
overall narrative.

For example, the through-line of the first Star Wars movie was for the characters to
defeat the Evil Empire. Each character might have had different goals but overall they
shared the common need to overcome the Empire as part of the Rebel Alliance.
In Raiders of the Lost Ark, to cite another example, the through line is Indiana Jones’
need to secure the Ark before the Nazis do. This drives the story forward.
Now ask yourself, “What will drive my story forward?”

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#15 kkffoo

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Posted 09 December 2012 - 10:47 AM

QUOTE (aroundworld @ Dec 5 2012, 4:10 AM) <{POST_SNAPBACK}>
Any questions , observations or comments?


Just to let you know have read, and am thinking about the 'through line' smile.gif


#16 aroundworld

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Posted 09 December 2012 - 03:43 PM

QUOTE (kkffoo @ Dec 9 2012, 10:47 AM) <{POST_SNAPBACK}>
Just to let you know have read, and am thinking about the 'through line' smile.gif


Wonderful! Thank for your diligence!!


Everybody.

Read over the HOOK again, then read THROUGH LINE. Keep these alive in your thinking. It will help you in upcoming assignments.

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#17 aroundworld

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Posted 13 December 2012 - 11:51 PM

Place Markers



When we’re creating stories we often realize that we need a certain type of scene yet we
don’t know exactly how we’re going to write it. A useful tip is to use place markers for
the scenes. Place markers allow you to continue to shape the structure of the story rather than obsess
over a single scene that you haven’t yet figured out.

For example, if you were writing a romantic comedy and you needed a second scene after the main characters meet you could simply write, “Second Romantic Meeting” as a place marker and continue on with
the rest of the story’s structure. Now you’re free to return to this place marker later and come up with something really dazzling. It’s also very liberating to know that you need a scene and take the time to let
the idea percolate.

I’ve come up with scene ideas while driving, while working out or even while watching the
news. You’d be surprised what the subconscious is capable of once you’ve learned to allow
it to work for you. After the idea strikes, it’s easy to go back and plug it into your story where the place
marker is waiting for you.

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#18 aroundworld

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Posted 08 January 2013 - 08:16 PM

REVIEW



HAPPY NEW YEAR EVERYONE, and welcome back!!

CUT AND PASTE THE QUESTIONS TO YOUR POST.. please answer each question. Take your time.


we're going to finish MOD 7. But first I want to review what we went over in previous mods. If you didn't take notes. please look over the material we have covered so far. Below I would like you to CU AND PASTE the questions and just give a brief answer to each one. This will be painless, I promise. smile.gif


What is an INTERRUPTION TO ROUTINE, why is it used?

What is the PLANT AND PAY OFF, why is it used?

AUDIENCE EXPECTATION.... what is it?

HOOK..... what is it?

THROUGH LINE... what is it?

PLACE MARKER.... what is it?

PLOT POINT ONE... what is it and where is it placed?

PLOT POINT II.... what is it and where is it placed?

FIRST TURN AROUND....what is it and where is it placed?

SECOND TURN AROUND...what is it and where is it placed?

THE CENTRAL QUESTION... what is it?

THE INCITING INCIDENT....what is it?

PAYING FORWARD... what does it mean? Why is it used.


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#19 JosephKw

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Posted 09 January 2013 - 07:37 AM

Is this an open book exam, or is it a gauge to see how our retention of info is?

#20 aroundworld

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Posted 09 January 2013 - 07:34 PM

HI Joseph!!!

I would prefer that you guys challenge yourselves, but you can do this by memory or go open book. My primary concern is that you all have these concepts firmly in mind. As long as MS forum is running these notes will be here. SO you can access them anytime. Thanks for asking, and welcome back!!!! smile.gif)


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