#Week 1
Storytelling is a way of connecting to audiences with your story.
It is unlike scriptwriting, which is complex.
Storytelling is a useful skill to learn.
Assignments in this class will use:
1.Present tense
2.3rd person
3. Visual voice
1. 3rd Person- A character in a story is narrating
-Example: “Mark picks up the gun and holds it in his hand. It begins to tremble, as if it’s alive.”
-Common in: screenplays
-Foster a more urgent and immediate feel to the story as well as engaging audiences while story unfolds.
-Genres: thriller/ suspense
2. Passive vs. Active voice
Passive voice
-Uses weak verbs.
-Tell us what’s happening in a character’s head
-Distances the reader from the story
Active voice
-Uses strong action verbs
-Shows readers the action
-Immediate sentence structure
-Conveys story in lively manner
Important: Write in Active voice
Problems when writing:
Never stop if you’re stuck halfway while writing in the night.
Solve the problem by starting to write something.
Have a good night sleep that is better for you after solving the problem.
Exercise titled: “OPENERS”
Write with this in mind for the opener:
-Whose story am I telling?
-What is the point of this story?
-Engage audience constantly.
-Write 12 openers, catchy and appealing.
“Li walks into Bukit Timah police post wearing nothing but a hula skirt. Heads turn immediately at the arrival of LI. The atmosphere gets tense suddenly, whispering and loud giggles fill the room in less than three seconds. A homosexual advance towards Li with his seductive smile. Li attempts to retreat but barely made it more than an inch(because he is too shock to even move). Just at that instant, Li’s hula skirt fly up like a wave because of the on-coming wind from the ajar door. Guess what happen next?
…
…
…
The homo jumps on him! “
#Week 2
The role of conflict
-The central feature of the screenplay
-Man against man
-Man against environment
-Man against self
-Variations of sex, age religion and culture which provide variety to conflict
Conflict= Change
Change is common to everyone
- Is universal
- Bodies change
- Seasons change
- Lives change
- Relationships change
- Feelings change
- Location change
- Technologies change
People resist change for fear of the unknown.
People must learn to cope with change if they want to survive.
Action in drama depends on conflict.
Definition of conflict
-Oppositions of persons or forces
-Interaction of opposing ideas, interests, wills and thus creates the plot
Plot cannot be constructed without conflict. As your character comes into goals, they come into conflict with each other. The end of the story nears when the protagonist and antagonist approach their goals. Conflict rises to generate maximum suspense and excitement.
2 Short films watched in class:
“The Call home“
Man vs. man:
-Kasi against his supervisor
-Kasi vs. his roommates
-Kasi vs. wife
Man vs. environment
-Kasi vs. phone card
-Kasi vs. SG
Man vs. himself
-Kasi vs. his self-esteem problem
*Main conflict in movie:
Man vs. environment
“The secret heaven”
Man vs. man:
-Mother vs. daughter
-Daughter vs. teacher
Man vs. environment
-Daughter vs. piano (doesn’t want to go for piano lessons)
-Daughter vs. home
Man vs. himself
-Playtime vs. piano time
Writing for an audience
Screenwriter= storyteller
-The cinematic experience is not just made up of words you out on paper, but the audiences’ emotion to that material.
Which one’s relevant?
1. Director to people
2. Writer to people
3. Camera to people
Answer: All not true, its people to people
Writer’s purpose:
-Themselves
-Their unique vision
-The material
-Drama
-Others
Audiences want to be transported by a screenplay.
Where do you look for a story?
-Inside yourself
-Everything to learn about other people is already in u
Now you need to figure out how to connect to it
*Assignments:
-Reflections
-5 stories of exactly 50 words each
Fact: Shortest story ever told,
“For sale, baby shoes; never used” – Ernest Hemingway.
—————————–
#Week 3
Reflections on “50 word stories” :
Difficulties- what were they?
Restraints- did they help?
Do constraints help u to become a better writer?
Storytelling tool 1: Observation
Observe in a conscious way-
Develop the ability to see and record movements, physical characteristics and settings
When observing:
-Adopt a keen eye
-Develop a natural sense of curiosity
-An observed event, when subject to simple questions, can set up a sequence of possibilities that will develop into a story worth telling.
Whom am I writing about?
Who is my character?
What is he/she like?
What does he/she do?
What happens to him/her/it in the story?
-People rarely observe familiar people or things closely
-Most people pass through the day with 20%-30% awareness
Mindless observation vs. True observation
-Their movements-
Their physical characteristics
-The setting/places they’re in
Assignment:
People-Watch:
1. Walk into a canteen/library, etc, and watch people pass by
2. Eventually, one will catch your attention.
3. Write down as many details as possible through observation.
4. Repeat steps 1-3 for a second character
5. Transcribe all these details into the “people-watch” page that you will create on your blog.
Week #4
Definition of tragedy:
6 parts of tragedy:
1. Plot
2. Characters
3. Thought
4. Diction
5. Melody
6. Spectacle
According to Aristotle, tragedy…
-Creates a cause-and-chain effect that clearly reveals what may happen
Arouses not only pity but also fear
-Because members of audience can imagine themselves within the cause-and-effect chain.
Plot- most important feature of tragedy
- Arrangements of incidents
- Not the story itself, but e way incidents are presented to the audience
- Structure of the play
Beginning:
-The incitive moment
-Must start the cause and effect chai
Middle:
Must be caused by earlier incidents and itself cause the incidents to follow it
End:
The resolution
Must be caused by the preceding events but not lead to other incidents
The end should resolve the problem created during the incitive moment.
According to Aristotle, the worst kind of plots- EPISODICS
The acts succeed one another w/o probability or necessity
The only thing tying together the events in such a plot is the fact that they happen to the same person
Simple vs. complex plots
Simple has only “a change of fortune”
-complex has a reversal of intention “Peripeteia: and recognition “Anagnorisis” connected with the catastrophe
character
-supports the plot
personal motivations are connected to the cause-and-effect chain
the protagonist in a tragedy should be renowned and prosperous, so his change can be from good to bad.
In the ideal tragedy. The protagonist will mistakenly bring about his own downfall-not because he is sinful or weak, but because he does not know enough
Lack of self-knowledge is called “hamartia”.
Katharsis
Mimesis
Anagnorisis
Perepeteia
Hamartia
3 act structure:
- 1st act: setup
- story begins with goal-oriented character introduced at point of crisis
- the charc meets roadblocks produced by the plot and antagonist
2nd act: confrontation
-action intensified
an event that happened which forcees the charac
to make his or her choice
3rd act:
Resolution
Level of effort rises to new heights
Both plot and character is resolved
Main character either achieves or does not achieve his goals
Assignments:
-Reflection
-Visual trigger
-Find an image and tell a story that comes to your mind as you sees it.
Pictures should not be taken for purpose- use pics u can find
Incorporate principles of tragedy into ur writing!
That doesn’t mean smth bad happens and the story eds. It means something bad happens as a result of a flaw in your character, and u show how this tragic fall forces ur charac to learn smth about himself/herself.
Week #6
Purpose of this exercise
This process of change is an essential ingredient of any effective story.
In dramatic writing, the very essence is character change.
Storytelling tool 2: Experience
A storyteller should be concerned with the potential of every experience.
Everything about you- where you were born, what food you eat, the bump on your forehead- your experiences are unique and irreplaceable.
Many of your experiences are universal and translatable and can be used in any location.
If you do not know what to do with a character, make him or yourself for a while.
See how he relates to the world he has been thrown into.
→ Plunder your own personal background
The things that happen to you as you grow up and the things that are currently happening to you make terrific story sources.
* All people have fragments of stories
- These potential ideas prompt your desire to know more
- Respond emotionally and intellectually to what you heard.
- Good stories are born in the heart, not the head.
- Remember the role of an audience
- After all, you ARE the audience
1. Observation
2. Experience
3. Memory
Your memory is a wonderful cabinet of past incidents which you have experienced or been told.
These memories are points of reference to your own past existence.
TIP: write what you do not know because you will find some part of you that does not know.
There is always room for personal discovery
What is the difference between memory and difference?
How do we use memory to build creative content?
Write 2 short stories
- one is completely true
- one os completely false
only the author knows which is which!
→ reflections
True and false stories
Post these under a page called true or false?
Go into classmate below u on the blogroll and vote for which story you think is true, which you think is false.
Week #7
Purpose of this exercise
A true story is not necessarily a good story.
Good stories have to be worked and re-worked.
Life is unpredictable
In a story, we can and must control the events and sequences so that it gives the appearance of being like life.
Characterization: defining the character
-Every story starts with a character
The character is the heart, soul and nervous system of your story.
Without a character, there is no action.
Without action, you have no conflict
Without conflict, there is no story
Without story, u have no screenplay
1. Establish your main character.
2. Characters should have a 3 dimensional structure.
a)Physiology b)Sociology c)Psychology
physiology:
-sex
-age
-height, weight
-colour of hair, eyes, skin
-posture
-appearance
-defects, abnormalities, deofrmations, birth marks, diseases
-heredity
sociology:
-class: lower, middle, upper
occupation
education
home life
religion
race, nationality
place in the community
political affiliations
amusements: hobbies, books, newspapers, magazine he/she reads
Psychology:
-Sex life, moral standards
personal premise, ambition
frustrations, chief disappointments
temperament: choleric, easy-going pessimistic, optimistic
attitude towards life: resigned, militant, defeatist
complexes: obsessions, inhibitions, superstitions, phobias
personality: introvert, extrovert
abilities: language, talents
qualities
IQ
What is the deep and personal secret this character has which he is desperate to protect/hide?
Developing characters
1. Separate the components of his life into 2 basic categories
a) Interior
b) Exterior
Interior: it is a process that forms character. (when you start formulating your character from birth, you see your character build in body and form)
Exterior:
It is a process that reveals a character.
You must create your characters un relationship to other people or things
All dramatic characters interact in 3 ways:
1. they experience conflict in achieving their dramatic need.
2. They interact with other characters (either in an antagonistic, friendly or indifferent way)
3. They interact with themselves (overcame his fear of being caught by puling it off the robbery successfully)
How do you invent characters?
Try turning them upside down.
A monk who is devoted to his religion…
But is a football fanatic
A serial killer…
…Whose obsession is to kill other serial killers.
A common street rat… who loves to eat and cook only fine food
Week #8
Elements of dialogue
- Dialogue reveals character
- A character will talk about himself ad other people will talk about him
- Dialogue establishes relationships between characters
Once you have established your character’s POV, you can use dialogue with other characters to show that they have other attitudes, creating opposite/alternative POVs.
This helps to create and sustain the elements of conflict between characters.
Good effective dialogue will move the story forward.
Dialogue communications faces and information to the audience
It conveys essential exposition
Characters will talk about what happened, establishing the storyline
Dialogue comments on the action
Dialogue ties the script together
- It is one of the devices that YOU as a writer can use to expand and enlarge your characters
“if you can see it or hear it, don’t write it.” – Neville smith
Dialogue should be used sparingly.
Never tell the audience what they can see for themselves
Dialogue is no substitute for action
Common mistake
- Students sometimes never achieve a level of competence as they tend to reproduce conventional spoken language, long statements of “REAL TALKING”, and defend their decision by telling us that:
- Good dialogue is not someone’s ability to write authentic speech as heard in real life.
- If that was all there was to it, you can just push a button on the tape recorder and then go collect your Oscar (YES!!!)
- Good dialogue is the illusion of reality.
- You’ve got to know how to edit what people say without losing any of the spirit.
Common mistake
- Students tend to create radio shows with images.
Film is a VISUAL MEDIUM
A screenplay is a story told in pictures
Role-Play:
-2 students to play the roles from their stories.
The REAL EXERCISE:
- repeat “THE EXPERIMENT” but:
- Husband and Wife are YOUR own parents.
-Get two people to read the dialogue.
-Record the reading
-Post it to your blog( using Youtube, Multiply, etc.)
Week 9
REVIEW EXERCISE 3: DIALOGUE
PURPOSE OF THE EXERCISE
WE WRITE BEST WHAT WE KNOW WELL
DYNAMIC ACTION
<< STORY IS ACTION >>
Action encompasses any kind of movement, activity and interaction between the characters and also between the characters and their surroundings.
Talking about how one feels is not as powerful as illustrating why one feels the way they do through action.
<< FILM IS BEHAVIOUR >>
Action is the manifestation of behaviour.
The complexity of the human psyche and interaction is better understood when it is possible to watch the actions, nuances and reactions of the characters.
<< DYNAMIC ACTION >>
Has the potential to enrich the experience of the audience by heightening the stakes and increasing the tension.
MOVING PICTURES
THE POWER OF ANY STORY LIES IN THE NARRATOR’S ABILITY TO PROJECT A MENTAL PICTURE FOR THE AUDIENCE
EXERCISE: Translating emotional responses into actions.
2 Students are to act out their emotion set by a simple narrative according to the following:
The couple have just met. This is their first evening spent together. He is very shy. She desires him.
The young man has decided to leave her.
He has another woman friend. She is also eating at the restaurant.
She is pregnant. She can’t bring herself to tell him.
> PURPOSE OF THE EXERCISE
Addresses the problem many newbies have to screenwriting:
How to convey visually any sense of inner conflict of emotion.
STORY ASSIGNMENT
Write a 1ST Draft of an Original 1 – 2 page Story.
(Note: Give your story a title)
Write it in 3rd Person Narrative / Present Tense
Use 12-pt Courier / Single Spaced
No Less than 1 page and No More than 2 pages
Besides writing your Name, Student Number and Tutorial Group, also label your story as “1ST DRAFT”.
Due Week 10 (next week!!!) at Tutorial
* Remember Film is a Visual / Aural Medium *
“ SHOW ” VERSUS “ TELLING ”
Week 10
Location
What is a location?
A physical place
The place in your story where events occur and characters interact
Interactive Location
a setting and surrounding that interacts with the characters of the film by adding importance to their actions
An environment which impacts the action and heightens the stakes
Location: Jurassic Park is a zoo/amusement park located on an island off the coast of Central America.
Interactive Location: The island is completely isolated, and anyone on it will be trapped until assistance from the mainland arrives.
“The Heisenberg Principle”
Written and Directed by Chris Jones
Australia, 8:00
The Godfather, Part II
Written by Francis Ford Coppola and Mario Puzo
Directed by Francis Ford Coppola
USA, 3:20:00
3 Dimensional Characters Notes:
1. ESTABLISH YOUR MAIN CHARACTER
CHARACTERS SHOULD HAVE A THREE DIMENSIONAL STRUCTURE:
1. PHYSIOLOGY
2. SOCIOLOGY
3. PSYCHOLOGY
1. PHYSIOLOGY
• Sex
• Age
• Height and Weight
• Colour of hair, eyes and skin
• Posture
• Appearance
• Defects, Abnormalities, Deformities, Birth Marks, Diseases
• Heredity
2. SOCIOLOGY
• Class : lower, middle, upper
• Occupation: type of work, hours of work, income, condition of work, attitude towards organization, suitability for work
• Education: amount, kind of schools, marks, favourite subjects, poorest subjects, aptitudes
• Home Life: parents living, earning power, orphan, parents separated / divorced, parents’ habits, parents’ mental development, parents’ vices, neglect, character’s marital status
• Religion
• Race, Nationality
• Place in the Community; leader among friends, clubs, sports
• Political Affiliations
• Amusements: hobbies, books, newspapers, magazines he/she reads
3. PSYCHOLOGY
• Sex Life, Moral Standards
• Personal Premise, Ambition
• Frustrations, Chief Disappointments
• Temperament: choleric, easy-going, pessimistic, optimistic
• Attitude Towards Life: resigned, militant, defeatist
• Complexes: obsessions, inhibitions, superstitions, phobias
• Personality: extrovert, introvert
• Abilities: languages, talents
• Qualities: imagination, judgement, taste, poise
• I.Q
• What is the deep and personal secret this character has which he is desperate to protect/hide
2. SEPARATE THE COMPONENTS OF HIS LIFE INTO 2 BASIC CATEGORIES: INTERIOR & EXTERIOR
>>> INTERIOR
• The interior life takes place from birth until the moment your film begins.
• It is a process that forms character. [when you start formulating your character from birth, you see your character build in body and form]
• How old is he when the story begins?
• Where does he live?
• Does he have siblings?
• What kind of childhood did he have?
• What was his relationship to his parents?
• What kind of child was he?
• Is he married, single, widowed, separated or divorced?
>>> EXTERIOR
• The exterior life takes place the moment your film begins to the conclusion of the story. It is a process that reveals character.
• Who are they and what do they do?
• Are they sad or happy with their life?
• Do they wish their life was different, with another job, another wife?
>>> YOU MUST CREATE YOUR CHARACTERS IN RELATIONSHIP TO OTHER PEOPLE OR THING
THE WRITERS’ BIBLE CHECKLIST!!!
THE WRITER’S BIBLE / CHECKLIST
1. WHOSE STORY OR SCENE IS IT?
2. WHAT IS THE MAIN CONFLICT?
3. IS THE CONFLICT SPECIFIC AND CLEARLY DEMONSTRATED?
4. WHAT DOES THE MAIN CHARACTER NEED OR WANT?
5. WHO IS STOPPING HIM ACHIEVE THIS NEED OR WANT?
6. WHAT IS THE MOMENT OF HIGHEST TENSION?
7. IS THERE A MOMENT WHERE THE MAIN CHARACTER CLEARLY HAS HOPE, FEAR, UNCERTAINTY?
8. WHAT ARE THE STAKES? WHAT CAN THE MAIN CHARACTER LOSE?
9. WHAT WILL THE MAIN CHARACTER GAIN IF HE IS SUCCESSFUL?
10. IS THE MAIN CHARACTER REALLY LOCKED INTO THE PROBLEM?
11. CAN WE SEE THE PROBLEM HAVING AN ACTIVE EFFECT ON THE MAIN CHARACTER?
12. DO WE CARE FOR THE MAIN CHARACTER?
13. ARE THE OBSTACLES HE FACES STRONG ENOUGH?
14. ARE THE OBSTACLES ORIGINAL OR CLICHED?
15. IS THERE A CLEAR RESOLUTION?
16. IS THERE A SURPRISE OR TWIST IN THE RESOLUTION?
17. IS THE BACK STORY PRESENT AND CLEAR?
18. WHAT ARE THE ELEMENTS THAT ESTABLISH AN AUDIENCE RESISTANCE. ARE THEY DEVELOPED SUFFICIENTLY?
19. IS THE NATURE OF THE FILM ESTABLISHED EARLY ENOUGH?
20. WHAT IS THE CENTRAL PROBLEM, PREDICAMENT OR COMPLICATION FACING THE MAIN CHARACTER?
21. WHAT IS THE THEME OF THE STORY?
22. IS THERE A VOICE OVER? IS IT INTRODUCED EARLY ENOUGH?
23. DOES THE STORY NEED A VOICE OVER?
24. DOES THE MAIN CONFLICT COME OUT OF THE MAIN CHARACTER? THIS DEPENDS ON HIS VICES, PHOBIAS, WEAKNESSES, CONTRADICTIONS, ETC.
25. WHAT IS THE CHARACTER ARC?
26. IS THE MAIN CHARACTER’S PREDICAMENT VISUAL?
27. DOES THE SCRIPT SUFFER FROM EXCESSIVE DESCRIPTION OF MOOD, PROBLEMS, EMOTIONS?
28. IS THERE TOO MUCH RELIANCE ON DIALOGUE?
29. CAN THE DIALOGUE BE CUT?
30. IS THERE SUFFICIENT AWARENESS OF THE PRESSURE OF TIME ON THE MAIN CHARACTER?
31. IS THE STORY VISUAL?
32. WHAT DOES THE MAIN CHARACTER WANT CONSCIOUSLY?
33. WHAT DOES THE MAIN CHARACTER NEED (ON AN UNCONSCIOUS LEVEL)
34. IS IT POSSIBLE TO MAKE THE CHALLENGE ON THE MAIN CHARACTER MORE DIFFICULT, YET MAINTAIN THE NARRATIVE CREDIBILITY?
35. WILL THE AUDIENCE BE ABLE TO STEP INTO THE SHOES OF YOUR MAIN CHARACTER? WILL THEY IDENTIFY WITH HIM?
36. WILL THE AUDIENCE BE INVOLVED?
37. DOES THE AUDIENCE KNOW MORE THAN THE MAIN CHARACTER? THIS CONTRIBUTES TO THE BUILDING UP OF SUSPENSE.
38. WILL THE AUDIENCE SEE THE REACTIONS OF THE MAIN CHARACTER? OR DO THEY RELY ON DIALOGUE, MONOLOGUE / VOICE-OVER? THE REACTIONS OF THE MAIN CHARACTER MUST BE SHOWN BECAUSE THIS IS THE ONLY WAY THE AUDIENCE CAN KNOW THE FEELINGS AND EMOTIONAL DEPTH OF THE MAIN CHARACTER.
39. DOES THE AUDIENCE SEE THE RUN-UP OR PREPARATION FOR THE MAIN CONFLICT AND RESOLUTION?
40. IS THERE TENSION? DOES THE AUDIENCE EXPERIENCE HOPE OR FEAR FOR THE MAIN CHARACTER?
41. IS THE MOMENT OF TENSION STRETCHED TAUT ENOUGH?
42. AFTER THE TENSION IS RELEASED, DOES THE STORY END FAST ENOUGH?
43. WHAT DOES THE MAIN CHARACTER CARRY WITH HIM FROM HIS PAST? WHAT IS HIS EMOTIONAL BAGGAGE?
44. IS THE MAIN CHARACTER’S PAST ORIGINAL AND SPECIFIC?
45. DOES THE STORY BEGIN LATE AND END EARLY?
46. IS THERE SUFFICIENT CONTRAST BETWEEN THE CHARACTERS?
47. ARE THE EMOTIONAL RESPONSES OF THE MAIN CHARACTER CLEAR AND LOGICAL?
48. DOES THE MAIN CHARACTER FIND IT HARD TO OBTAIN INFORMATION? COULD THE SEARCH BE TOUGHER?
49. IF THE STORY IS A MYSTERY, COULD IT BE MORE DIFFFICULT FOR THE AUDIENCE TO GET INFORMATION?
50. WOULD IT BE BETTER IF THE AUDIENCE LEARNED AT THE SAME TIME AS THE MAIN CHARACTER OR EVEN LATER THAN HE DOES?
51. IS THE MAIN CHARACTER GIVING MOST OF THE EXPOSITION? IF SO, COULD IT BE TRANSFERRED TO ANOTHER CHARACTER?
52. IS IT POSSIBLE TO CREATE INDIRECT EXPOSITION? WE CAN LEARN CERTAIN INFORMATION FROM SPECIFIC ENVIRONMENTS, SOCIAL CODES, ETC.
53. DOES THE MAIN THRUST OF THE NARRATIVE COME OUT OF THE MAIN CHARACTER?
54. WHAT IS THE EFFECT YOU WANT TO CREATE IN THE AUDIENCE?
55. DOES THE END OF EACH SCENE AND THE FINAL ENDING REINFORCE THAT EFFECT?
56. DO WE SEE THE WORLD OF THE STORY THROUGH THE EYES OF THE MAIN CHARACTER? THE REALITY OF THE MAIN CHARACTER MUST BECOME THE REALITY OF THE AUDIENCE.
57. DOES EACH SCENE HAVE A SPECIFIC OUTCOME?
58. HAVE YOU REMEMBERED THAT THE AUDIENCE REMEMBERS LESS THAN 2% OF THE DIALOGUE?
59. IS THE SCRIPT ROUGHLY 75% ACTION 25% DIALOGUE?
60. DOES THE AUDIENCE SEE CLEARLY THE MOMENT WHEN THE MAIN CHARACTER HAS THE IDEA THAT WILL HELP HIM SOLVE HIS PROBLEM?
61. IF THE STORY IS A COMEDY, IS THERE IRONY?
62. IN A COMEDY, CAN THE AUDIENCE CONSCIOUSLY SEE AND FEEL ELEMENTS THAT THE MAIN CHARACTER DOES NOT KNOW? THIS MAKES THE AUDIENCE FEEL SUPERIOR TO THE MAIN CHARACTER.
63. IN A COMEDY, CAN THE AUDIENCE SEE THE CONTRADICTIONS AND WEAKNESSES IN THE MAIN CHARACTER?
64. IN A COMEDY, CAN THE AUDIENCE SEE A CONTRAST BETWEEN WHAT AND WHO THE MAIN CHARACTER THINKS HE IS, AND WHO HE REALLY IS?
65. ARE THERE PROPS IN THE NARRATIVE THAT ARE SYMBOLIC OF SOMETHING/SOMEONE?
66. DO THE LOCATIONS HAVE A SPECIFIC CHARACTER THAT ENHANCES THE MOOD AND TENSION OF THE STORY?
67. HAVE YOU WRITTEN CLEARLY HOW THE CHARACTERS FEEL AND REACT? AUDIENCE PARTICIPATION RELIES ON REACTIONS BY THE MAIN CHARACTERS.
68. DOES THE SCRIPT GIVE ACTORS THE CHANCE TO ACT?
69. EVERY TYPE OF STORY PROMISES A “KEY SCENE” AND “TURNING POINT” DOES THE SCRIPT PROVIDE IT?
70. DOES THE AUDIENCE KNOW HOW LONG THE STORY WILL LAST – ITS TIME SCALE?
71. WHAT IS THE SINGLE MOST POWERFUL EMOTION THE STORY LEAVES WITH THE AUDIENCE?
