  Are there choices, risks, or roads you sometimes wish you had taken? If your life were a movie, what would your parallel self be doing at this moment and would that path ever intersect with your current reality? Journal 9/16/13

  The most common method of storytelling.  Linear time is just like real life in that characters start at Point A and move sequentially toward Point B.  Examples: Linear Storytelling

  Where we initially meet characters after the main event has already occurred; the event itself is told in flashback, followed by a return to the same time period as was shown at the film’s start.  Examples: Nonlinear: Bookend

  A character’s momentum suddenly splits into two simultaneous journeys which may or may not arrive at the same destination.  Examples: Nonlinear: Parallel Universe

  A device that uses multiple flashbacks and points of view which all revolve – like a maypole – around a common event or theme.  Examples: Nonlinear: Maypole

  The layers of plot and character are revealed in backwards, repetitive, or serpentine fashion.  Examples: Nonlinear: Reverse Engineering

  In music, a “beat” is a rhythmic accent that defines the tempo of the piece being played. “Beat” is also a word used in screenplay structure and refers to accented scenes that move the story from start to finish. A clothesline is perfect for understanding the placement of beats Story Beats

1.The set-up that introduces the main character 2.The catalyst/inciting incident that will impact the hero’s status quo 3.The first major problem/complication 4.The point of no return – the hero must see his/her objective through 5.The second major problem/complication 6.A complication that threatens to cost the hero everything 7.The resolution of the conflict

Story Beats – The Wizard of Oz

  Reverse engineer a timeline that starts with your character taking a final exam and ends with what he or she was doing 24 hours previous. Note: With each incremental step backwards, your character has knowledge or insights gained from events the audience has not “linearly” witnessed. Journal 9/17/13

  Just as a catchy tune can be played in a variety of different tempos with different instruments, a story could be written in many different ways based on each writer’s opinions and personal frame of reference.  The message that a writer wants to get across with his or her audience is the “theme” of the story. The theme is supported throughout the script by characters, dialogue, and events. Theme

  In each of the following films, identify the underlying theme.  Shrek  Twilight  Titanic  Jurassic Park Journal 9/18/13

  Hooks – at the beginning of the story – leaves the audience asking “what happens next?!”  Foreshadowing – hints and ideas that are introduced early (and subtly) to tease our curiosity.  Uh-oh’s – just when the finish line looms in sight, there’s suddenly one final obstacle. The uh-oh circles back to a film’s initial hooks and foreshadowing. Hooks, Foreshadowing, and Uh-Oh’s

  Read an Aesop’s fable – what is the theme? What are some other films or books with the same theme or message? Homework

  Identify three films you have seen which had powerful hooks. What were they and why did they immediately grab your attention? What type of hook do you plan to use in your own film to immediately grab the audience’s attention. Journal

  Identify three films or TV programs which contained foreshadowing. Did the information imparted seem like a clue at the time or was its placement not made clear to you until later on in the story? Do you plan to use foreshadowing in your own story? Explain how. Journal

  Identify three films in which something unexpected happened just before the end (e.g., a character you thought was dead turned out not to be). Does your own script contain an uh-oh? Is this uh-oh plausible based on the sequence of events that led up to its occurrence? Journal