Sean Lawrence

:: Activity Week 4 Instructions -- Subplots ( Due: Sun, 24 Apr | Status: Not Completed ) Subplot Instructions 1. Watch The Subplot Video and Keynote 2. Read Chapter 3 in Seger 3. Understand the following concepts: • Subplots add emotional complexity to you story • They are usually a relationship story • Subplots have a beginning, middle and end. They are a mini-story within the main story. • Subplots must intersect and affect the main story • Your main subplot should extend through all acts of the story • Think about what subplots you have in your story and how they are affecting the main story 4. Discussion Board: Summarize you subplot or “B” story (150-250 words). Post your summaries to the discussion board and tell us what you learned from examining your subplot. 5. Assignment 5: Write or rewrite 2 scenes that are part of your subplot or extend your subplot. Due Sun. 11:59 EST

Creative Writing Portfolio I - Online :: Activity Week 4 Instructions: Foreshadowing (OPTIONAL) ( Due: Sun, 24 Apr | Status: Not Completed ) Foreshadowing & Payoffs Instructions 1. Watch “Foreshadowing” Keynote 2. Read Ch. 7 in Seger 3. Consider the following concepts: a. Foreshadowing is an integral part of scriptwriting. b. Viewers want to be surprised, but they also to feel like the clues have been left for them to find. c. Foreshadowing gives your script a sense of unity and coherence. d. Look at what happens in your Act III. • Is everything you paid off, foreshadowed or setup in an earlier act? • Have you foreshadowed without giving away the ending? • Have you foreshadowed by putting the information in a different context than it will appear when paid off? • Have you let enough time pass between the setup and the payoff? • Do you have setups that seem very important but have no payoff? If so, you need to pay them off or cut them. 4. Discussi...

Week 4 Discussion - Foreshadowing (OPTIONAL) ( Due: Sun, 24 Apr | Status: Not Completed ) Discussion Board Instructions: 1. Look at your script. • What have you foreshadowed and what is the payoff? • Or visa versa – what twist or revelation do you have in Act Three and how have you foreshadowed this in an earlier part of the script? • Have you let a substantial amount of time elapse between the setup and the payoff? • Have you hidden the setup or foreshadowing in plain sight, not making it too obvious that it’s a setup? 2. Tell us (200 words) what payoffs you have, how and where you have foreshadowed these payoffs, and what changes you will make to strengthen this setup/payoff system. Due Wednesday 11:59 EST. Two comments due Sunday 11:59 EST

Creative Writing Portfolio I - Online :: Activity Week 4 Assignment - Foreshadowing (OPTIONAL) ( Due: Sun, 24 Apr | Status: Not Completed ) Assignment – Foreshadowing and Looking at the Whole Script Goals: Foreshadowing and payoffs require that you look at the script as a whole. Objects and information that you have setup in the first part of the script affect and are paid off toward the climax. To make foreshadowing work, ask yourself if you have let a good amount of time elapse between the setup and the payoff? Have you hidden the setup or foreshadowing in plain sight, not being too obvious that it’s a setup? Foreshadowing is a great way to create unity and show mastery of storytelling technique, but in order to do this you must look at your script as a whole. Instructions 1. First look at Act Three. What payoffs do you have? Make sure you have foreshadowed these payoffs in an earlier act. Then look at your earlier acts to see what you have set up – have you paid of...

Sean Lawrence The dramatic narrative synopsis of the opening scene:         In fall classes on the campus of Louisiana state university, DEAN hear over the intercom system that “classes are canceled” for the rest of the week, due to the approaching  storm heading towards them. Dean is on campus working on an upcoming project for a fall class.  DAVID is working at the Herbert Law Center with his classmates. Dean runs to see what his brother is doing in his law studies class. As the two brothers move towards the campus parking lot they start discussing whether or not to call their parents to see if they need help getting ready for the storm. David calls their father who encourages the boys to get to their place and not to worry about him or their mother. Summarizing the action of Act I:         As they head home from the hardware store they start the process of preparing for the stor...

Character Development 1. Watch Keynote: Character Development 2. Read Ch. 5 in Wright 3. Questions to consider: a. Why is it important to develop characters into three-dimensional personalities? b. How does plot and action come from character? c. How does character arc help move the story forward? d. How do the main character’s flaws help create the final climatic scene in a script. e. Think about some of your own experiences: • most embarrassing moment • biggest fear • something funny that happened to you • your knowledge of subcultures and other worlds such as sports, workplace, other cultures, hobbies, etc How you can use some of your own experiences and translate them into experiences that develop your characters? 4. Understand the following concepts: a. Using character profiles to develop character b. Using your own experiences to develop your characters as well as observation and imagination c. Conflict and story come from characters 5. A...

(Review reading list ) Readings 1. R ead Ch. 1 in Wright “Introduction to Animation” 2. Read Gene Deitch’s “Ch. 2 Animation—What the Heck Is It?” http://www.awn.com/genedeitch/gene-deitch-how-succeed-animation/part-one-how-you-should-do-it/chapter-2-animation-what- Consider: How does Deitch add to Wright’s and the Keynote presentation’s definition of animation? 1.5 Discussion Board Choose one the following and post a 200 word response by Wednesday 11:59 EST. Respond to two other posts by Sunday 11:59 EST 1. One thing you can see from Wright’s discussion is that the production process is collaborative, complicated and expensive. However, you can create inexpensive animation programs and even series. A high cost production does not necessarily produce a satisfying, quality program. As a writer it is your job to know your audience and your budget and to work within these parameters to write effective scripts for these parameters. The writer is in a unique...