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Gotham Class 1: INTRO TO PLOT Instructor: Jeremy Wechter

STORY: A character overcoming obstacles towards a desired goal.
Story is how we internalize & organize the chaos of the world around us into meaning.

GOAL STORYLINE
CORE PROBLEMS
What kinds of problems are the characters dealing with? What is the core problem of
your story?

OBTACLES
Problems manifest as obstacles. What kinds of obstacles are battled in your story?

Character vs. Self - Internal Obstacles (ex: fear, anger, shyness, self-doubt):
Character vs. Character - Relationship Obstacles (ex: friends, family, romance, work):
Character vs. Institution - Societal Obstacles (ex: government, police, corporations):
Character vs. Nature - Environment Obstacles (ex: wild animals, hurricanes, the heat):
Character vs. Object - Physical Obstacles (ex: broken heel, locked door, traffic jam):

GOAL - The story goal is to overcome obstacles and solve the core problem. What is
the measurable, external goal of your story? Measurable: Can whether the goal is
accomplished be answered with a “yes” or “no?” The final act is when the outcome of
the story goal is determined.

CONSEQUENCES / STAKES
What happens if the goal is not achieved? Why is achieving the goal important?

INCITING INCIDENT - What event/ decision unbalances status quo to start the story?

PROTAGONIST - A character who’s actively attempting to achieve a particular goal.

Who is your protagonist?

ANTAGONIST - A character who works against the protagonist achieving their goal.
(NOTE: Not all movies have a specific character serving as antagonist, but all movies
should have antagonism from various obstacles.) If there is one, who is the antagonist?

Turning Points
Turning Point: A change which propels your story forward and/ or in a new direction.

Kinds of Turning Points

ACTION / DECISION — or — REVELATION (uncovering new info)
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Please email the class your story map as a PDF.

STORY MAP TEMPLATE

Your Screenplay’s Working Title:__________________________
Genre:____________________
Reference Movies: __movies similar (in some way) to your script______
Premise: ____________________
Character List: (include a list of character names with character descriptions.)

Main Dramatic Questions:

PLOT: Will “name of your protagonist” achieve their “name of goal?”
CHARACTER: Will your “name of main character” flip or remain consistent?

ACT 1
(Ordinary World - Establish Characters & Plot Dynamics)
Status Quo:

Inciting Incident (Turning Point):

Progress in Act I:

1st Act Turning Point:

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ACT 2A
(World turned upside down or Special World,
Escalating Obstacles & Progressive Complications)
Progress in Act 2A:

Midpoint Major Event:

ACT 2B
Progress in Act 2B:

2nd Act Turning Point:

ACT 3
(Final Battle - New World)
Progress in Act 3:

3rd Act Turning Point (Climax):

Resolution (The New Status Quo):

Your list of questions, concerns, plot holes and issues about your story
1. Example: How can I get my character from point A to point B at the end of the
second act before the antagonist attacks?
2. Example: In what ways can I make my main character more empathetic?
3. Example: Is the revelation at the end to confusing? Is it predictable?
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Story Map Example

WORKING TITLE: MIDNIGHT RUN
GENRE: Action/ Comedy
MOVIE REFERENCES: The In-Laws and 48 Hours
PREMISE: A former cop turned bounty hunter will get one hundred grand if he can
bring in The Duke, a man who embezzled from the mob, by midnight in five days.
Problem is: the mob, the FBI, and a rival bounty hunter are also after The Duke.
CHARACTER LIST
Jack Walsh (main character/ protagonist) - A gruff, loner ex-cop turned bounty hunter.
The Duke (influence character) - A mild-mannered, but wily criminal accountant.
Jimmy Serano (antagonist) - The cruel head-mobster that The Duke embezzled from.
Dorfler - a rival bounty hunter
FBI - In pursuit of The Duke
(Please list your central characters’ names, character descriptions and dramatic functions
(protagonist, antagonist, impact character etc).

Main Dramatic Questions:

PLOT: Will Jack Walsh be able to bring in The Duke in before the deadline?
CHARACTER: Will Jack Walsh flip for the better because of The Duke’s influence?

**** This is a very brief story map. Your story map can be many
pages. Please include all relevant details and scenes. ****

ACT 1
Status Quo: Jack Walsh is an ex-cop turned bounty hunter. He doesn’t like his job.

Inciting incident (Turning Point): Jack gets an assignment to pick up the Duke, an
accountant who embezzled money from the mob. If he delivers the Duke to the LA jail
by midnight Friday, he will get one-hundred grand, enough money for him to get out of
the crummy bounty hunting business. Walsh wants this score… badly. Jack accepts
the assignment.

Progress in Act 1: Jack overcomes various obstacles in his search for the Duke.
Through some clever detective work, Walsh uncovers where The Duke is hiding. Jack
breaks in, deals with ferocious dog by hiding in the shower.

1st Act Turning Point: Walsh apprehends the Duke in New York City. The Duke is a
mild-mannered fellow, but wily. Now Walsh has to get the Duke to LA.

ACT 2A
Progress in Act 2A: Walsh and the Duke must travel by train and bus cross-country
because the Duke is afraid to fly. Three forces are in hot pursuit of them. Jimmy Serano,
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the mobster that the Duke embezzled from, a really nasty fellow. The FBI, who want the
Duke as a government witness. Dorfler, a rival bounty hunter who wants the bounty
money for himself. To make things more difficult, the Duke is a really nice guy who is
trying to make friends with Walsh. A loner, secretly pining for an ex-wife, Walsh wants
no friends.

ACT 2B
Mid-point Major Event: In Chicago, the mob and FBI converge on Walsh and the
Duke. The mob’s bullets almost get the Duke, but Walsh manages to drag him away just
in time. Walsh and the Duke keep heading west.

Progress in Act 2B: Despite his loner nature, Walsh can’t help but start liking the Duke.
And the Duke makes Walsh face his two deepest demons 1) he won’t be getting back
with his ex-wife 2) he let Jimmy Serano (the same mobster the Duke embezzled from)
cause him to lose his job as a cop in Chicago. Walsh realizes he owes it to himself to
focus more on getting Serano than on collecting the money for the Duke.

2nd Act Turning Point: The mob has caught the Duke and they mean to kill him.

ACT 3
Progress in Act 3: In order to get the Duke back from the mob, Walsh offers to trade
some incriminating (and phony) computer disks for the Duke’s life.

3rd Act Turning Point (CLIMAX): Walsh meets Serano in the Vegas airport, hands
over the disks—and (as arranged) the FBI arrests Serano for tampering with
government evidence. Walsh decides to let the Duke go. The Duke rewards Walsh with
300 grand that he has kept concealed in a money belt.

Resolution (New Status Quo): They part as friends. The Duke to go into hiding. And
with his new influx in cash, Walsh aims to retire from the bounty hunting business.

Your list of questions, concerns, plot holes and issues about your story
1. Example: How can I get my character from point A to point B at the end of the
second act before the antagonist attacks?
2. Example: In what ways can I make my main character more empathetic?
3. Example: Is the revelation at the end to confusing? Is it predictable?

**** This is a very brief story map. Your story map can be up to 10 pages. ****

Please email the class your story map as a PDF.

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SAMPLE PREMISES
Back to the Future
When a smart-alecky high school kid is transported back in time by a mad scientist, his high-
school-age mother falls in love with him.

The Fugitive
A doctor convicted of murdering his wife escapes while being transported to prison. He must
find the true killer before he is apprehended.

When Harry Met Sally

An egocentric man and a finicky woman stay friends throughout the years and after numerous
failed romances, they begin wondering if they should become romantically involved with each
other.

About Schmidt
A man struggles with the meaning of life after he’s forced to retire, his wife dies, and his
daughter gets engaged to a nincompoop.

Groundhog Day
A quirk of fate causes a cynical weatherman to relive the same day over and over.After some
initial frustration, he takes advantage of the situation in the most devious ways.

True Lies
A mild-mannered man conceals from his family his thrilling and dangerous life as a high-level,
high-tech super spy. Eventually these two worlds collide.

Rosemary’s Baby
When a naïve woman is tricked by her husband and neighbors into being impregnated by the
Devil, she tries desperately to escape the evil surrounding her.

Lost in Translation
An aging actor and a young woman, both unhappy in their marriages, befriend each other while
visiting Tokyo.

Bull Durham
A sexy baseball fan can’t decide which player on her hometown minor league baseball team to
have an affair with—a crazy rookie or a jaded veteran.

The House of Sand and Fog

A Persian immigrant and aimless young woman both believe they are the rightful owner of a
home. Both have a legitimate claim, neither will relent.
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KEY RELATIONSHIP STORYLINE

Main Character - The audience identifies with the main character and experiences the
story from the main character’s perspective. We “stand in their shoes” and “see through
their eyes.”

What is the main character’s internal problem or internal drive? What is the main
character’s outlook/ approach? Describe your main character:

Influence Character - The main character (and audience) experiences the influence
character as “the other.” The influence character has a different outlook/ approach than
the main character.

How does the influence character interact with the main character? What is the
influence character’s outlook/ approach compared to the main character’s outlook
approach? Describe your influence character:

FLIPS or CONSISTENT?

Early in the journey, the main character encounters the influence character. They have
very different outlooks/ approaches towards the stories core problem. These two
characters have an ongoing back and forth regarding which of their outlooks/
approaches is the most effective. By the end of the story either the main character or
the influence character adopts the other’s outlook/ approach as their own.

FLIPS: The character flips their approach/ outlook by story’s end. If they flip for the
better, they need to internally start something good or internally stop something bad.

CONSISTENT: The character may waiver, but is ultimately consistent with their
approach/ outlook when comparing the beginning of the story to the end of the story. If
they’re consistent for the better, they need to hold out for an external something good to
start or an external something bad to stop.

Does your main character ultimately flip as a result of their interaction with the influence
character by adopting the influence character’s outlook/ approach?
- OR-
Does your main character ultimately remain consistent while influencing change in the
influence character’s outlook/ approach?

Subjective: Good or Bad?

Is the above dynamic good or bad for the Main Character by the end of the story?
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Main Character VS. Influence Character Chart

Which character ultimately flips their approach? Is that good or bad?

MC Flips for the Better due to IC’s influence

Movie Main Character Influence Character

Star Wars Luke Skywalker Obi-Wan Kenobi

When Harry Met Sally Harry Sally

Finding Nemo Marlon Dory

The Matrix Neo Morpheus/ Trinity

Casablanca Rick Elsa

A Fish Called Wanda Archie Leach Wanda

Groundhog Day Phil Rita

Jerry MacGuire (Romance) Jerry MacQuire Dorothy Boyd

As Good as It Gets (Carole) Melvin Carole

Rainman Charlie Babbitt Raymond Babbitt

The Terminator Sarah Connor Kyle Reese

Tootsie Michael Dorsey Julie

The Shawshank Redemption Red Andy

Mad Max: Fury Road Mad Max Furiosa

American Beauty Lester Burnham Ricky Fitz

There’s Something about Mary Ted Mary

MC Flips for the Worse due to IC’s influence

Movie Main Character Influence Character

Wall Street Bud Fox Gordon Gekko

The Godfather Michael Corleone Don Vito Corleone

Network Max Schumacher Diana Christensen

Hamlet Hamlet Ghost of Hamlet’s Father

Platoon Chris Taylor Sargent Barnes

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MC is ultimately Consistent for the Better (and ends up flipping IC)

Movie Main Character Influence Character

The Fugitive Dr. Richard Kimble Agent Samuel Gerard

Jerry MacGuire (Sports Story) Jerry MacGuire Rod Tidwell

As Good as It Gets (Simon) Melvin Simon

Erin Brockovich Erin Brockovich Ed

Rocky Rocky Balboa Adrian

The Devil Wears Prada Andy Sachs Miranda Priestly

Back to The Future Marty McFly George McFly

The Sound of Music Maria Captain Von Trapp

Enchanted Giselle Robert

Revenge of the Nerds Lewis Gilbert

The Sixth Sense Malcolm Crowe Cole Sear

MC is ultimately Consistent for the Worse (ends up flipping IC)

Movie Main Character Influence Character

Brokeback Mountain Ennis Del Mar Jack Twist

Reservoir Dogs Mr. White Mr. Orange

Chinatown Jake Gittes Evelyn Mulwray

Romeo and Juliet Romeo Juliet

West Side Story Tony Maria

Memento Leonard Teddy

MC = Main Character IC = Impact Character

EFFECTIVENESS BAROMETER
Plot-Oriented Stories - The effectiveness of a character flipping or remaining consistent is
demonstrated in their ability to solve the story’s problems while striving to achieve the goal.

Character-Oriented Stories - The effectiveness of the character flipping or remaining consistent

is demonstrated in the quality of their relationships (other than with just the influence character).
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Gotham Class 2: CHARACTER

WHAT’S YOUR MAIN CHARACTER’S CORE PROBLEM?

- Do you want your main character to learn a lesson by the end (flip) or remain consistent?

- If you want your main character to flip for the better (or be consistent for the worse), what’s
your character’s ongoing PROBLEMATIC approach or outlook (laziness, greedy, selfishness)?
NOTE: This problematic approach is often a result of a wound from their past (backstory).

- If you want your main character to remain consistent for the better (or flip for the worse),
what’s your character’s PROPER approach or outlook (proactive, generous, giving)?

How Plot and Character are Connected

Characters’ choices determine plot. We learn from conflict encountered on the journey. When
we desire something and there’s an obstacle, we learn to overcome it or whether that desire is
healthy in the first place. True deep character is revealed when a human makes a choice under
pressure (plot obstacles). How does the journey to achieving your story goal force your main
character to engage with their PROBLEMATIC (or PROPER) approach or outlook?

THE KEY RELATIONSHIP

Battle between the MAIN & INFLUENCE characters’ Outlook/ Approach
Over the course of the story, the character can flip for better or worse. This flipping of their
outlook or approach is often referred to as the “character arch.”

Main Character What is your main character’s outlook/ approach? Which character presents
an opposing outlook/ approach? This is your influence character.

Influence Character What is your influence character’s outlook/ approach? Does your
influence character ultimately influence your main character to flip their outlook/ approach? Or
does your main character ultimately remain consistent and eventually influences your influence
character to flip their outlook/ approach? Is this dynamic good or bad for the main character?

The Key Relationship ISSUE

Fill in the blanks with your issue (for example: greedy to generous)

By the very end of the journey, either your Main Character or your Influence Character will flip
their outlook/ approach. This character flips from ___________________________(approach/
outlook) to __________________________(opposite approach/outlook). This second issue is
the core of what the consistent character brings to the relationship dynamic.

Evolving Relationship Tool

This tool ensures all your relationship storylines have dynamic shape with ups and downs.
These stages can be placed in any order, repeated or skipped. It’s totally up to you. In addition
to the key relationship storyline, what are all the other relationship storylines in your movie?

Main Character/ Influence Character Evolving Relationship

What are the various ups and downs in the relationship story?

Status Quo — Disruption — Escalation — Separation — Union

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REALISTIC STORIES vs. SYMBOLIC STORIES

Some stories look to mimic reality and therefore characters tend to be more complex, layered, and
realistic. Other stories tend to be more symbolic, like allegories, and therefore characters tend to be more
archetypal, so the audience can immediately recognize them and dive into the plot. And some stories are
somewhere in the middle.

Dramatica Archetypes

PROTAGONIST: The traditional Protagonist is the driver of the story: the one who forces the action. We
root for it and hope for its success. (ex: Luke Skywalker)
Pursue/ Consider

ANTAGONIST: The Antagonist is the character directly opposed to the Protagonist. It represents the
problem that must be solved or overcome for the Protagonist to succeed. (ex: Emperor Palpatine)
Prevent or Avoid/ Reconsider

REASON: This character makes its decisions and takes action on the basis of logic, never letting feelings
get in the way of a rational course. (ex: Princess Leia)
Logic/ Control

EMOTION: The Emotion character responds with its feelings without thinking, whether it is angry or kind,
with disregard for practicality. (ex: Chewbacca)
Feeling/ Uncontrolled

SKEPTIC: Skeptic doubts everything — courses of action, sincerity, truth — whatever. (ex: Han Solo)
Disbelieve/ Oppose

SIDEKICK: The Sidekick is unfailing in its loyalty and support. The Sidekick is often aligned with the
Protagonist though may also be attached to the Antagonist. (ex: C-3PO/ R2-D2)
Faith/ Support

GUARDIAN: The Guardian is a teacher or helper who aids the Protagonist in its quest and offers a moral
standard. (ex: Obi-Wan Kenobi)
Conscience/ Help

CONTAGONIST: The Contagonist hinders and deludes the Protagonist, tempting it to take the wrong
course or approach. (ex: Darth Vader)
Temptation/ Hinder

The Writer’s Journey Mythic Structure

Character Archetypes
by Christopher Vogler

Hero
The word "hero" comes from a Greek root that means to protect and serve. The hero is connected with
self-sacrifice. He or she is the person who transcends ego, but at first, the hero is all ego.
The hero’s job is to incorporate all the separate parts of himself to become a true Self, which he then
recognizes as part of the whole, Vogler says. The reader is usually invited to identify with the hero. You
admire the hero's qualities and want to be like him or her, but the hero also has flaws. Weaknesses,
quirks, and vices make a hero more appealing. The hero also has inner conflict, the more the better: love
and duty, trust and suspicion, hope and despair. In the Wizard of Oz, Dorothy is the story's hero, a girl
trying to find her place in the world. (another example: Luke Skywalker)
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Herald
Heralds issue challenges and announce the coming of significant change. Something changes the hero’s
situation, and nothing is the same ever again.
The herald often delivers the Call to Adventure, sometimes in the form of a letter, a phone call, an
accident.Heralds provide the important psychological function of announcing the need for change, Vogler
says.The school marm at the beginning of the Wizard of Oz makes a visit to Dorothy's house to complain
that Toto is trouble. Toto is taken away, and the adventure begins.
(another example: R2-D2 transmitting the Princess Leia hologram)

Mentor
Mentors provide heroes with motivation, inspiration, guidance, training, and gifts for the journey, often
information or gadgets that come in handy later. Mentors seem inspired by divine wisdom; they are the
voice of a god. They stand for the hero’s highest aspirations, Vogler says.
The gift or help given by the mentor should be earned by learning, sacrifice, or commitment.
Yoda is a classic mentor. So is Q from the James Bond series. Glinda, the Good Witch, is Dorothy's
mentor in the Wizard of Oz. (another example: Obi-Wan Kenobi)

Threshold Guardian
At each gateway on the journey, there are powerful guardians placed to keep the unworthy from entering.
If properly understood, these guardians can be overcome, bypassed, or turned into allies. These are not
the main villain, but are often lieutenants of the villain. They are the naysayers, doorkeepers, bouncers,
bodyguards, gunslingers, according to Vogler. On a deeper psychological level, threshold guardians
represent our internal demons. Their function is not necessarily to stop the hero but to test if he or she is
really determined to accept the challenge of change.

Heroes learn to recognize resistance as a source of strength. Threshold Guardians are not to be
defeated, but incorporated into the self. The message: those who are put off by outward appearances
cannot enter the Special World, but those who can see past surface impressions to the inner reality are
welcome, according to Vogler. Think of the doorman at Oz, the wicked witch's monkeys.
(another example: Han Solo standing in the way of getting on his spaceship)

Shapeshifter
The shapeshifter is a catalyst for change, a symbol of the psychological urge to transform. The role
serves the dramatic function of bringing doubt and suspense into a story. It is a mask that may be worn by
any character in the story, and is often expressed by a character whose loyalty and true nature are always
in question, Vogler says. Think Scarecrow, Tin Man, Lion. (another example: By the end of the trilogy,
Darth Vader is revealed to be a Shapeshifter and the mask literally comes off).

Shadow
The shadow represents the energy of the dark side, the unexpressed, unrealized, or rejected aspects of
something. The negative face of the shadow is the villain, antagonist, or enemy. It may also be an ally
who is after the same goal but who disagrees with the hero’s tactics.
Vogler says the function of the shadow is to challenge the hero and give her a worthy opponent in the
struggle. The best shadows have some admirable quality that humanizes them. Most shadows do not see
themselves as villains, but merely the hero of their own myths. External shadows must be destroyed by
the hero or redeemed and turned into a positive force. The Wicked Witch is the obvious shadow in the
Wizard of Oz. (another example: Emperor Palpatine in Star Wars)

Trickster
The trickster embodies the energies of mischief and the desire for change. He cuts big egos down to size
and brings heroes and readers down to earth. He brings change by drawing attention to the imbalance or
absurdity of a stagnant situation and often provokes laughter. The Wizard in Oz is both a shapeshifter and
a trickster. (another example: R2-D2)
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CHARACTER DYNAMICS
A multi-dimensional character means creating contrast between surface characterization and deep
character. Plot provides progressively building pressures (obstacles) that force characters into more
difficult dilemmas where they must make more and more difficult risk-taking choices and actions.

The following questions can be applied to ALL of your lead characters.

Character Objective
What does the character externally want?

Character Methods
What tactics does the character use to get what they want? (ex: bully, seduce, beg, trick, bribe)

Character Motivation
What does the character internally/ emotionally need? (Why are they going after their want?)

Character Flaw
What is the character’s weak spot/ achilles heel?

Character Strength/ Special Skill

What is the character’s unique attribute?

Character Personality
What kind of surface does the character project to the world?

Character Inner-self
What is really going on below the surface?

Character Introduction
How do you introduce each character of your core cast? In addition to their specific
description, what are the circumstances? Their unique behavior? How do you give the reader/
audience a strong impression of the essence of this character? (Plus, what is the final/ farewell
scene for each character?)
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CHARACTER QUESTIONNAIRE
(These questions can be applied to ALL of your lead characters. This is not an exhaustive list.)

1) Character Name:
2) General appearance:
3) Body type:
4) Birthdate:
5) Birthplace:
6) Hair color:
7) Sex/ gender identity:
8) Religion:
9) Race:
10) Sexual orientation:
11) Marital status:
12) Grooming (clean, sloppy, etc.):
13) Nationality:
14) Scars (physical, mental, emotional):
15) Educational background:
16) Occupation:
17) Best friend, and why:
18) Other friends:
19) Enemies, and why:
20) Parents:
21) Stupidest thing character has ever done:
22) Strongest and weakest character traits:
23) Sees self as:
24) Is seen by others as:
25) Frustrations, chief disappointments:
26) Temperament:
27) Extrovert or introvert:
28) Type of sense of humor:
29) Moral/ ethical standards:
30) Greatest fear:
31) Greatest strength:
32) Hobbies:
33) Skills and talents:
34) Favorite music, books, color etc:
35) Greatest regret:
36) Deepest ambitions:
37) Place/time where character lives:
38) Something character does when home alone:
39) Biggest secret character holds:
40) Most unique aspect of character:
41) Reason character is most likely to achieve goal:
42) Reason character is least likely to achieve goal:
43) Sex life:
44) Romantic life:
45) Biases or prejudices:
46) Economic class:
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Feedback Tips
Write down your feedback including both positive and constructive feedback.

Plot – the sequence of events

• Is the plot interesting? Compelling? Dramatic?
• Is there enough conflict?
• Does enough “happen”?
• Does the protagonist have a strong desire?
• Does the protagonist grow or change?
• Is there a logical flow to the plot with cause and effect?
• Does the story move forward? Does the tension increase?
• Are the turning points effective?
• Is there a strong enough climax?
• Are any parts of the plot unnecessary? Are any necessary parts missing?
• Is the story well-structured?
• Does the story offer enough visual opportunities?
• Is exposition provided effectively?

Characters – the people in the story

• Are the characters interesting? Empathetic?
• Are the characters dimensional, or one-note?
• Are the characters expressed effectively through their action and dialogue?
• Are the characters distinctive, different from each other?



Scenes (& Sequences – scenes that are linked together to form a whole)
• Is any scene especially effective? Especially dull?
• Are any scenes too long? Too short?
• Is information being conveyed visually?
• Are there sections that should be cut, or moved through more quickly?
• Are there sections that should be slowed down?
• Do the scenes flow smoothly from one to the next?
• Is any sequence especially effective? Especially dull?
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Dialogue – what the characters say

• Is there too much dialogue or not enough?
• Does the dialogue sound natural?
• Is the dialogue rambling?
• Does the dialogue reflect the characters?
• Is the dialogue too “on the nose” – where characters always say what they
mean?

Description – the descriptions of characters and action

• Are the descriptions effective?
• Is there too much or too little description?
• Do the descriptions let you “see” the film?

Subplot – a smaller storyline that’s interwoven with the main storyline

• Is there an effective subplot?
• Is there an unnecessary subplot?
• Does the subplot enhance the main plot?

Setting – the place and time

• Is the story grounded enough in place? In time?
• Is there too much or too little setting description?
• Does the setting enhance the emotion or mood of the story?

Theme – the underlying meaning

• Does there seem to be a point to the story?
• Is the theme too heavy handed?
• Is the theme dramatized by the plot?
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Gotham Class 3: Screenplay Writing Style/ Formatting

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ACTIVE VERBS ARE ACTION WORDS

INT. JOE’S APARTMENT – NIGHT

Joe enters, crosses to the couch and takes a seat. He is exhausted

after a long shift at work.

Above uses perfectly functional – but bland – stage direction. Now let’s replace the weak verbs
with strong, active ones:

INT. JOE’S APARTMENT – NIGHT

Joe trudges in, drops his keys on the floor, collapses on the couch.
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Here’s a basic and totally acceptable script writing style one might employ when tackling
the adrenaline shot scene in Pulp Fiction:

Vincent holds the needle above his head, ready to plunge it in Mia’s chest.

VINCENT

Count to three.

LANCE

One… Two… Three!

Vincent plunges the needle hard into her chest. Mia’s eyes pop open
and she bolts upright, screaming.

Here’s an advanced writing style. This is how Tarantino actually wrote the scene:

Vincent lifts the needle up above his head in a stabbing motion. He

looks down on Mia.
Mia is fading fast. Soon nothing will help her.
Vincent’s eyes narrow, ready to do this.

VINCENT

Count to three.

LANCE

One…

RED DOT on Mia’s body.

Needle raised ready to strike.

LANCE (O.S)

…two…

Jody’s face is alive with anticipation.

NEEDLE in the air, poised like a rattler ready to strike.

LANCE (O.S)

…three!

The needle leaves frame, THRUSTING down hard.

Vincent brings the needle down hard, STABBING Mia in the chest.
Mia’s head is JOLTED from the impact.
The syringe plunger is pushed down, PUMPING the adrenalin out through
the needle.
Mia’s eyes POP WIDE OPEN and she lets out a HELLISH cry of the
banshee. She BOLTS UP in a sitting position, needle stuck in her chest
– SCREAMING
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Gotham Class 4: ANATOMY of a SCENE

Dramatized = Conflict + Change (+ Causality to connects scenes to form storylines)

CONFLICT - focuses our attention and poses the question: how will this turn out?

What is the character’s objective in the scene? What are the obstacles to their objective? Does
another character have an opposite objective? How do these obstacles create conflict?

Character A’s Objective > < Character B’s Objective

What techniques/ tactics does the character use to achieve their objective?
How is this scene objective connected to the bigger story goal?

If nothing changes in the scene, get rid of it. If the reason it’s included is for exposition find a
way to dramatize the scene or weave the exposition into a scene that is already dramatized.

CHANGE - aka TURNING POINTS - which propels story forward and/ or in a new direction.

Kinds of Turning Points

ACTIONS / DECISIONS — or — REVELATIONS (uncovering new info)

Sizes of Turning Points

Average scenes are minor turning points
Sequence climax scenes are moderate turning points
Act climax scenes are major turning points
A movie’s climax scene is a gigantic final turning point

By the end of the scene, does the value switch from positive to negative? Or negative to
positive? (+/-) This switch is the turning point. What value changes in your scene?

Value switches (+/-) in a scene include emotional, physical, status & relationship changes like:
unemployed/ employed, healthy/ sick, unpopular/ popular, life/ death, loyalty/ betrayal, hope/
despair, honesty/ deceit, freedom/ restrained, money/ no money, together/ break-up

SCENE ANALYSIS from “Story” by Robert McKee

Step One: Define Conflict
Who drives the scene’s objective? Who reacts?

Step two: Note opening Value and Emotion

Value at Stake: (ex: a date, a wallet, love, knowledge, loyalty, a job, etc.) What is the emotion at the beginning?

Step Three: Break the scene into Beats

A beat is an exchange of action/ reaction in character behavior resulting from their main objective.

Step Four: Note Closing Value and Emotion / compare with beginning
Did the value change from positive to negative or negative to positive? Did the emotion change by the end?
(ex: having money switches to stolen wallet?/ unemployed switches to hired on the spot?)

Step Five: Survey Beats and Locate Turning Point

Note the various beats and which point the value switches from positive to negative.
 22

Gotham Class 5: Dialogue

Even if your dialogue is on the realistic side of the spectrum, it’s still an illusion of reality,
because dialogue needs to be concise & purposeful. Real conversations can be rambling,
repetitive and sometimes pointless. Dialogue functions: Action, Exposition, and Characterization

VERBAL ACTION
What would your character say to get what they want? What words or phrases are used to
carry out their tactics and reactions?

EXPOSITION
Is your exposition seamlessly woven into dialogue?

CHARACTERIZATION
Does the character’s dialogue bring them to life? Do their word choices make them seem like a
real, specific person?

CHARACTER VERBAL STYLE

Distinctive voices: Do your characters each have their own way of speaking based on their
personality and other factors such as age, socio-economic status, background (colloquialisms)?

TEXT VS. SUBTEXT

What is said and done is different than what is thought and felt.
TEXT is the specific words spoken in dialogue.
SUBTEXT is the meaning and emotions underneath that is not being said out loud.

Dialogue should imply it’s subtext, not explain it.

Text should be coded. Subtext should be loaded. And the context should be specific.

Is your dialogue to “on the nose?” Are characters saying exactly what they deeply mean?
Consider burying the meaning a few layers down. It will feel more real to the audience and
allow them to participate as they intuit what your characters are really meaning/ feeling.
Bonus: Can you incorporate moments when characters misinterpret each other?

CONCISE
Cut the fat. Can any extraneous words in the dialogue be trimmed? Like a Haiku.

SCENE LENGTH
Enter late. Get out early. Consider removing the first couple lines of dialogue and the last
couple lines of dialogue of a scene. Does that improve the scenes impact?

WORD CHOICE
Be specific and visual. For instance, instead of the character saying “We just had lunch” they
say “We just devoured juicy burgers.” Dialogue should include “word-pictures.”

Homework: Take the scene you wrote in last weeks assignment and improve the dialogue by
applying what you learned in class keeping the above concepts in mind.

Optional HW: Listen to a real life conversations (eavesdropping is okay when you're a writer).
Write it down. Compare and contrast the real life conversation with well-crafted dialogue.
 23

Gotham Class 6: SUBPLOTS

SUBPLOTS
Subplots are smaller stories connected in some way to your larger, central plot.
(ex: Matrix, Star Wars, When Harry met Sally, Rainman, Trading Places, Frozen)

NO SUBPLOTS
A rare movie doesn’t have a subplot at all. It’s one big central plot. (ex: The Fugitive)

PROTAGONIST IN SUBPLOTS
Subplots might have a protagonist that is a different character than your main plot
protagonist. (ex: Casablanca, Finding Nemo, American Beauty, Boogie Nights).

MULTI-PLOTS
Multi-plot stories don’t have a single central plot. They weave many subplot statured
storylines together with each one having their own main character/ protagonist.
(ex: Parenthood, Magnolia, Love Actually, Do the Right Thing)

Four Functions of Subplots

PLOT REASONS
1. Subplot used to complicate main plot. (ex: The Verdict, Frozen, Mean Girls)
2. Subplot used to delay the main plot’s inciting incident because the inciting incident
needs to be set up properly. (ex: Rocky, The Godfather)

THEMATIC REASONS
3. Subplot used to match the theme of main plot to resonate with variations on a theme.
(ex: Midsummer Night’s Dream, When Harry Met Sally)
4. Subplot used to contradict the theme and enrich with nuance, irony and “realism.”
Perhaps the main story ends on a negative note and so you have the subplot end on a
positive note. (ex: Silence of the Lambs, Crimes and Misdemeanors)

Developing Your Subplots

Are your subplots fulfilling one of the four functions above? If not, how does your
subplot enhance your screenplay? Can your subplot be removed? Does removing a
subplot make your story stronger? If not, can you integrate your subplot into your
screenplay even more?

List the various subplots in your screenplay. Give each subplot it’s own title/ label.
Identify the protagonist, inciting incident, turning points and climax of your various
subplots. Create a subplot diagram with your central plot as the top horizontal line and
various subplots as parallel lines below it. Mark the various turning points.
 24

Image from Robert McKee’s Story

Subplot Diagram
Create your own subplot diagram by separating your various storylines. Identify the
inciting incident, turning points & climax for each storyline. How do they line up with
each other? Give each storyline it’s own label (ex: Han & Leia Romance or Nemo
Escapes Tank).
25
 26

Gotham Class 7: PLOT DYNAMICS (Engine Tune Up)

Hooking the Audience on Two Levels: HEART AND HEAD
If we ask the viewer to engage in logic, we are asking that viewer to participate. If not, the
viewer is just a mere observer. Suspense is emotional curiosity, combining heart and head.

LOGIC - EVOKE CURIOSITY

Questions are raised for your audience: What happens next? How will it turn out? What is the
truth? Will they survive? Will they find love? Will they escape? Will they achieve their goal?

EMOTION - EVOKES EMPATHY

I hope she succeeds, but I fear she won’t. How do you evoke empathy for your protagonist?

RATCHET UP THE TENSION WITH OPTION-LOCK OR TIME-LOCK

Using at least one of these will help create urgency as your protagonist strives for their goal.
Is your protagonist running out of time (Silence of the Lambs) -or- running out of options
(Dunkirk)? Which do you use?

ALTERNATING CHARGES (Requirements & Forewarnings)

Do your major turning points have an effective pattern of positive and negative charges (aka
good things happening verses bad things happening). A double negative charge can be enough
of a contrast to a negative charge (and same thing for a double positive charge). Does your
penultimate turning point have the opposite charge as the climax of the storyline? Just as Goals
have requirements (showing your protagonist is getting closer to achieving the goal),
Consequences have forewarnings (showing achieving the goal is slipping away).  Use both!

SUBCONSIOUS DESIRE
In some storylines, the constant spine is not the conscious goal, but an subconscious desire. In
these cases, the external goal switches, but it all stems from the subconscious desire.

CAUSE AND EFFECT

Do the various events of your story result from the previous events/ decisions of the story?
If you can remove an event from your story and it has no impact on later events in your story
then that is a strong indication that there is not enough of a cause and effect dynamic occurring.

“And then” -versus- “But/ Therefore”

AND THEN - If the events of your story are connected as follows: Something happens “AND
THEN” this happens “AND THEN” that happens “AND THEN” this happens and so on, there
might NOT be enough of a cause and effect dynamic occurring.
BUT/ THEREFORE/ BECAUSE OF THAT - If the events of your story are connected as follows:
Something happens “THEREFORE” this happens “BUT” it backfires so that happens
“THEREFORE” this happens and so on, the cause and effect dynamic in your story is strong.

THE STORY GAP

expectations verses results
Split open the gap between a character’s (and audience’s) expectations of an action and the
result of that action. The world responds differently than anticipated forcing the character to dig
deeper and take another action to solve the problem. Always ask “what’s the opposite of that?”
What’s a good turn of events that turns out to be a bad thing? What’s a bad happening that
turns out to be a good thing? Think: backlash, reversals, blessing in disguise, backfires
27
 28

THE HERO’S JOURNEY

The Writer’s Journey by Christopher Vogler
Write down the events in your story that resemble these archetypal stages. Remember this is
just a general guideline, so your story might have a different order or perhaps skip some stages.
Use these archetype events to help inspire areas of your screenplay that need work.

Ordinary World:

Call to Adventure:

Refusal of the Call:

Meeting with the Mentor:

Crossing the First Threshold:

Tests, Allies, Enemies:

Approach to the Innermost Cave:

Ordeal:

Reward (Seizing the Sword):

The Road Back:

Resurrection:

Return with the Elixir:

 29

Gotham Class 8: THEME / GENRE

THEME
A theme is just a comparison between two human qualities to see which is ultimately
better in the given situations of the story. This is the message of your screenplay.


Robert McKee’s controlling idea is a clear and consistent way to discuss theme.

Controlling Idea = CAUSE that leads to the STORY OUTCOME

Cause - What actions caused the story’s end to become positive or negative?
Story Outcome - What’s the end of your movie? Is it a positive or negative outcome?

CAUSE - Often times, the cause will be directly tied to whether your main character
was ultimately consistent or flipped their approach as a result of interacting with their
influence character. For example your main character might have a greedy approach
and their influence character has a generous approach.

A story might wish to deal with greed. But, greed by itself is just a topic. It doesn’t
become a theme until you weigh it against its counterpoint which is generosity. Then
"prove" which is the better quality to possess by showing how they each fare over the
course of the story.

One story’s message might be that generosity is better, but another story might wish to
put forth that in a particular circumstance, greed is actually better. We determine
“better” by how the main character’s chosen approach leads to a positive ending or a
negative ending.

IDEA VS. COUNTER IDEA

don’t slant your argument, prove it

Make sure you include the counter idea to your controlling idea, so your movie doesn’t
feel heavy handed or preachy. The most effective messages are delivered stealthily.
Including the counter idea also challenges you to prove your message verses just
stating it.

YOUR THEME (aka CONTROLLING IDEA)

ASSIGNMENT:
What is your story outcome?
What actions causes your story outcome to ultimately turnout positive or negative?
Considering the story outcome and cause, write the controlling idea for you screenplay:

Do you include the counter idea in your screenplay? This is often represented by the
challenge character. Does your story go back and forth exploring both the good and
bad sides of both approaches throughout your story?
 30

GENRE
Genre conventions are specific settings, roles, events, dialogue style and values
in a story that an audience expects from previous experience

GENRE EXAMPLES
Love Story, Horror, Epic, Western, Musical, Action/ Adventure, Art Movie, Comedy,
Drama: maturation plot, redemption plot, punitive plot, education plot, disillusionment

Genre Hybrid Examples

Dramedy, Epic Love Story, Horror Comedy Musical, Historical Action, Sci-Fi Western

YOUR GENRE
What is the genre of your screenplay? Does your screenplay employ a hybrid of
genres?
What elements of settings, roles, events, dialogue style and values in your screenplay
determine the genre or genre hybrid?

Fulfill and Subvert

It’s important to fulfill your audiences genre expectations so they feel oriented.
It’s also okay to subvert some genre expectations to stay fresh and original.

How do you fulfill the audiences genre expectations with your screenplay?
How do you subvert the audiences genre expectations with your screenplay?

TONE SPECTRUMS

Real <——————> Stylized

Dark <—————————> Light
Serious <———————————> Humorous
Intimate <——————————————> Epic

Where on the various tone spectrums does your screenplay live?

What feeling do you want your audience to have? What mood do you want to create?

What is the first image of your movie?

What is the last image of your movie?

Is there an image in your movie that epitomizes the essence of your story?
For example, the feather imagery in Forrest Gump.
 31

Gotham Class 9: REVISIONS

The Art of Writing is Re-writing

WRITE AN OUTLINE AND SCREENPLAY
After your story map, create a complete outline with Acts, Sequences and all Scenes.
Write the full screenplay in screenplay format based off the outline.

Then move back and forth between screenplay and outline. As the screenplay evolves
and changes, go back and revise the outline to track the changes and make sure the
changes are structurally sound.

REVISION TIPS AND QUESTIONS

This is a visual medium. You want to show not tell.
Are the scenes too dialogue oriented? Can you turn some dialogue into action or
behavior?

Make description and dialogue as active and visual as possible.

Does your dialogue lack subtext? Then add layers of subtext.

Is your protagonist actively pursuing a goal?

Are the stakes high enough?

Is every scene necessary? If not, cut it or revise it.

Is every character necessary? If not, cut them, consolidate them or revise them.
Is every subplot helpful? If not, cut, consolidate or revise.

Is all the exposition helpful? If not, cut it. Can you delay including some exposition until
later in the screenplay? If so, do it. Does your script begin where the story begins? Or
is there tons of time wasted on set up?

Is your second act episodic/ repetitive or does the drama grow in progressive
complications?

Is your force of antagonism as fierce as it can be?

Is the lowest point of your main character as low as it can be?

Ensure all character names are distinct, so readers don’t get confused.

Trim dialogue and description. Evaluate and reduce word by word. Sometimes deleting
the beginning and end of dialogue or description makes it stronger.
 32

SCRIPT ANALYSIS
Analyze your current screenplay/ outline through the lens of the previous 8 lessons.
These 8 lessons are now your story analysis tools. It’s very likely you’ll need to step
back and make sure some of the basic foundation is solid enough for you to continuing
building your screenplay on.

Class 1: PLOT I
Class 2: Character
Class 3: Description/ Outline
Class 4: Scene
Class 5: Dialogue
Class 6: Subplot
Class 7: PLOT II
Class 8: Theme/ Tone

SOLICIT FEEDBACK
Give your screenplay to a select few readers/ friends to give you feedback. It’s best to
find people who are knowledgeable about storytelling. Ask for both positive feedback
and constructive criticism. Utilize the feedback that is helpful and disregard the rest.

OPTIONAL: Screenplay Reading - If your screenplay feels complete, you can

organize a screenplay reading. Organize actors/ friends to read the dialogue and
description out loud in front of a group of reviewers/ friends. Afterwards, gather
feedback from those involved.

Homework Assignment

List all of the issues/ plot holes/ problems etc. with your screenplay.

Write a series of questions regarding issues/ problems etc.

Devise a game plan on how you plan to resolve the problematic issues.

Create a calendar with specific writing goals to be reached on specific days. Include the
day you want the entire screenplay finished. Revise calendar as needed.

a journey of a thousand miles begins with a single step

 33

OUTLINE TEMPLATES

Act Outline: Four Quarters

1st Quarter: setup characters/ plot dynamics

Act 1

____________________________________________________________

____________________________________________________________

2nd Quarter: obstacles

Act 2A

____________________________________________________________

____________________________________________________________


3rd Quarter: escalation of obstacles

Act 2B

____________________________________________________________

____________________________________________________________

4th Quarter: final battle

Act 3

____________________________________________________________

____________________________________________________________
 34

Sequence - Several scenes bundled together that tell a mini-story.

Sequence Outline
Act 1

Sequence 1:__________________________________________________________________

Sequence 2:__________________________________________________________________

Sequence 3:__________________________________________________________________

Act 2A

Sequence 4:__________________________________________________________________

Sequence 5:__________________________________________________________________

Sequence 6:__________________________________________________________________

Act 2B

Sequence 7:__________________________________________________________________

Sequence 8:__________________________________________________________________

Sequence 9:__________________________________________________________________

Act 3

Sequence 10:_________________________________________________________________

Sequence 11:_________________________________________________________________

Sequence 12:_________________________________________________________________
 35

Scene Outline
(The number of scenes will vary in your screenplay. The following is just an example.)

Act 1
Sequence 1:
1.
2.
3.
4.
5.
6.

Sequence 2:
7.
8.
9.

Sequence 3:
10.
11.
12.
13.
14.
15.
16.
___________________________________________________
Act 2A
Sequence 4:
17.
18.
19.
20.
21.

Sequence 5:
22.
23.
24.
25.
26.
27.
28.
 36

Sequence 6:
29.
30.
31.
32.
___________________________________________________
Act 2B
Sequence 7:
33.
35.
36.
37.

Sequence 8:
38.
39.
40.

Sequence 9:
41.
42.
___________________________________________________
Act 3
Sequence 10:
43.
46.
47.

Sequence 11:
48.
49.
50.

Sequence 12:
51.
52.
 37

Gotham Class 10: The Business of Screenwriting

It’s call Show Business (not Show Art)

THE PITCH
You wrote a screenplay. Now what? To present your script to producers, agents,
contests, fellowships, prepare the following:

LOGLINE
One sentence encapsulation of your entire story (maximum two sentences). Your story
in a nutshell. Every word counts. Compact and compelling. (Includes the protagonist,
basic story idea, goal and major obstacle)

ONE-PARAGRAPH SYNOPSIS
Around 125 words. Even more details emerge as you convey your story.

ONE-PAGE SYNOPSIS
No longer than 500 words (one single-spaced page) The longest version of your written
pitches gives a fuller sense of how your movie unfolds. Layout your inciting incident,
major turning points and climax.

Verbal Pitch - Your ability to convey the above verbally in a very entertaining manner.

Logline Examples
Die Hard
A New York cop visiting L.A. is the only one who can stop the terrorists who have invaded a
high-rise and taken the people inside hostage - including the cop’s wife.

Tootsie
A struggling actor becomes a soap opera star by disguising himself as a women, only to fall in
love with the leading lady.

Thelma & Louise

Two southern women - a no-nonsense waitress and a sheltered housewife - turn into outlaws
when a weekend away spins out of control. Running for their lives, they find their souls.

The Shawshank Redemption

A mild-mannered banker must find an endless reserve of strength while serving a life sentence
for murder inside the menacing Shawshank prison.

Sideways
An insecure novelist and his womanizing friend learn hard lessons about love, cheating, and
Pinot Noir through a series of misadventures on a weeklong road trip through the California
wine country.

Homework Assignment: Write a Logline, One-Paragraph Synopsis

and One-Page Synopsis for your screenplay.
 38

Keep on Keeping On
Script Doctors - Script Coverage - Writing Groups - Writing Partner - Writing Classes

When your script is done protect your work:

Writers Guild of America (East)

https://www.wgaeast.org/

United States Copyright Office Department of the Library of Congress

http://www.copyright.gov/

Possible paths for your screenplay include:

Sale
Your screenplay is bought. Yay!

Option
Your screenplay is licensed for a set amount of time for a set amount
of money. Yay! If it doesn’t get produced, you’re free to pitch your
script to someone else (sort of like a rental).

Do It Yourself
Produce a short or feature movie yourself. Yay!

Recommended Reading:

STORY:
“Substance, Structure, Style and Principles of Screenwriting”
by Robert McKee

The Writer's Journey

“Mythic Structure for Writers”
by Christopher Vogler

WRITING MOVIES
“The Practical Guide to Creating Stellar Screenplays”
Edited by Alexander Steele
 39

Ways of Thinking About Story

ODDS and ENDS
GIFT OF STORY
Opportunity to live lives beyond our own.

COMPACT STORY
When… then… but… until… and finally…
1. When: Inciting Incident
2. Then: 1st Turning Point
3. But: Midpoint Major Event
4. Until: 2nd Turning Point
5. And Finally: Climax

PROGRESSIVE COMPLICATIONS
Story advances through conflict. A character desires an object and takes action.
Conflict = minimal action provokes unwanted, unexpected conflict/ antagonism until
turning point. Resolution is the new state for the character. Then the protagonist
responds and gets another unexpected result. Always ask: “Action… what is the
opposite of what is expected?”

HOW STORY RELATES TO THE WORLD

Genre = The World’s Vibe
Plot = Events/ Methods towards Goal
Theme = Differing Value Standards
Character = People’s Motivations

STORYS ARE MODELS ON HOW TO SOLVE PROBLEMS

Main Character -- POV of how to deal with a problem

Influence Character -- opposing way of dealing with problem/ influence on main

character and everyone else

Key Relationship -- area of argument between main character and influence character

Overall Story -- practical argument about ALL the various character approaches to
solving the problem (including main character and influence character)

INTERNAL SOLUTIONS VERSUS EXTERNAL SOLUTIONS

1. INTERNAL solution -- changing something in self to fix a problem
2. EXTERNAL solution -- changing something in the environment to fix problem

CHARACTER > DESIRES > ACTION > CONFLICT > CLIMAX > RESOLUTION
 40

So You Want to be a Screenwriter?

resources for aspiring screenwriters

Free Script Formatting and More

https://storywriter.amazon.com/
https://screencraft.org/writerduet/

The Craft of Screenwriting

http://thescriptlab.com/
https://screencraft.org/

Dr. Format - Dave Trottier

http://www.keepwriting.com/

Screenwriting Blogs
https://gointothestory.blcklst.com/
http://johnaugust.com/
www.sellingyourscreenplay.com/

Get Your Script Into the World

www.blcklst.com
www.inktip.com/
www.virtualpitchfest.com/

Filmmaking/ Screenwriting Communities/ Info

www.indiewire.com
www.nofilmschool.com
www.stage32.com
www.vimeo.com
www.meetup.com

Fundraising
www.indiegogo.com
www.kickstarter.com

Screenplay Contests
www.coverfly.com

Academy Nicholl Fellowships in Screenwriting

http://www.oscars.org/awards/nicholl/
 41

HOMEWORK

Each homework assignment helps you further explore and discover your story. This
material helps you flesh out and shape your story map. While I only officially assign
reading one screenplay, I highly recommend reading many more screenplays.

Class 1: INTRO TO PLOT - Answer questions on pages 2 (plot) and 8 (character).

Read the assigned script for our upcoming discussion. Start filling out your story map.

Class 2: CHARACTER - Answer questions on pages 11,14, & 15 to further explore your
characters and their relationships. Continue designing your character constellation/
cast design. Assign archetype functions to your characters where appropriate.

Class 3: FORMATTING - From your story, write one or more script pages utilizing
proper screenplay formatting. Also, pick a scene from a movie you like. Reverse
engineer it. Without looking at the original screenplay, write your version of the scene
utilizing proper screenplay formatting. Then compare and contrast with original script.
Screenplay formatting software is a must.

Class 4: ANATOMY OF THE SCENE - Write a properly formatted scene with the
structural dynamics from the lesson. Then break the scene down by identifying the
characters’ objectives, various tactics, and the scene’s turning point.

Class 5: DIALOGUE - Improve dialogue from previous week’s scene taking into
consideration subtext, verbal style, conciseness, rhythm, and more from the lesson.

Class 6: SUBPLOTS - Continue developing your subplot diagram. For every storyline
identify the inciting incident, climax, and the various major turning points in between.

Class 7: PLOT DYNAMICS - Revise your story map taking into consideration curiosity,
empathy, increasing tension, cause & effect, and the story gap. Adjust your story design
by including archetypal heroes journey events where appropriate.

Class 8: THEME / GENRE - Determine the thematic controlling idea for each storyline.
Brainstorm the opening image and the closing image for your movie. Revise story map.

Class 9: REVISIONS - Create and/ or update your story questions list. Revise your
story map accordingly. When appropriate start developing your act outline, sequence
outline, and scene outline.

Class 10: THE BUSINESS OF SCREENWRITING - Continue revising your logline.

Write both a one paragraph and a one page synopsis for your pitch. Use your story
map and outlines to write your screenplay.