{"id":228,"date":"2019-01-14T19:19:36","date_gmt":"2019-01-14T19:19:36","guid":{"rendered":"https:\/\/mes153.commons.gc.cuny.edu\/?page_id=228"},"modified":"2026-04-30T09:10:52","modified_gmt":"2026-04-30T13:10:52","slug":"week-10-fiction-intensive","status":"publish","type":"page","link":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/week-10-fiction-intensive\/","title":{"rendered":"Units 10-12:  Fiction Intensive &amp; Workshops"},"content":{"rendered":"<h2>WEEKS 10 &#8211; 12<\/h2>\n<h2>For classes on April 21 and April 23, bring the following with you to class<\/h2>\n<div class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" class=\"wpa-warning wpa-image-missing-alt alignnone size-large wp-image-5674\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-20-at-4.52.25-PM-1024x599.png\" alt=\"\" width=\"600\" height=\"351\" data-warning=\"Missing alt text\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-20-at-4.52.25-PM-1024x599.png 1024w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-20-at-4.52.25-PM-300x175.png 300w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-20-at-4.52.25-PM-768x449.png 768w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-20-at-4.52.25-PM-1536x899.png 1536w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-20-at-4.52.25-PM.png 2048w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/div>\n<p>BEATS TO BRING TO CLASS:<\/p>\n<ul>\n<li><b>Opening Image:<\/b> Set the tone and introduce the protagonist and their world<\/li>\n<li><b>Theme Stated:<\/b> The film\u2019s central theme or message is introduced thru visuals and\/or action<\/li>\n<li><b>Set-Up:<\/b> Provide background information on the characters and their situation.<\/li>\n<li><b>Inciting incident:<\/b> The event that sets the main plot in motion.<\/li>\n<li><b>Debate:<\/b> The protagonist struggles with making a decision or overcoming an obstacle.<\/li>\n<li><b>Fun and Games:<\/b> A period of discovery and exploration for the protagonist.<\/li>\n<li><b>Midpoint:<\/b> A game-changing event that forces the protagonist to confront their flaws or weaknesses.<\/li>\n<li><b>Bad Guys Close In\/All Is Lost:<\/b> The antagonist poses a significant threat to the protagonist. The protagonist seems so defeated, s\/he is hopeless and thinks there&#8217;s no way they can attain their goal.<\/li>\n<li><b>Dark Night of the Soul:<\/b> A moment of deep reflection and self-discovery.<\/li>\n<li><b>Snap out of it:<\/b> The protagonist decides to make a stand or take a new approach.<\/li>\n<li><b>Climax:<\/b> The protagonist confronts the antagonist and resolves the conflict.<\/li>\n<li><b>Final Image:<\/b> Leave a lasting impression and reinforces the film\u2019s theme.<\/li>\n<\/ul>\n<h3>MES153 0902 (Tuesdays): | MES153 1000 (Thursdays):<\/h3>\n<p><strong>Note:<\/strong> As you work to improve your story and write the first draft of the script, be sure to read the guidelines for the <strong><a href=\"https:\/\/openlab.bmcc.cuny.edu\/prof-rowell-scriptwriting\/fiction-project-1\/\" target=\"_blank\" rel=\"noopener\">fiction<\/a><\/strong> and <strong><a href=\"https:\/\/openlab.bmcc.cuny.edu\/prof-rowell-scriptwriting\/revision-project\/\">revision<\/a><\/strong> projects to make sure you include all requirements for the package.<\/p>\n<p><strong>Important note for the Fiction Project:<\/strong> In revising the script submitted in FP5 for the Fiction Project, use Revision Mode in Celtx. You can find it under EDIT &gt;&gt; REVISION MODE. (The revisions made in your second draft should ideally be in <strong>blue, <\/strong>which is the default.)<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/support.celtx.com\/hc\/article_attachments\/4445906068247\" alt=\"mceclip0.png\" \/><\/p>\n<h2>SOUTH PARK CREATORS ON CREATING CAUSE &amp; EFFECT THRU &#8220;BUT THEN,&#8221; &#8220;THEREFORE&#8221;<\/h2>\n<p><iframe loading=\"lazy\" title=\"Trey Parker and Matt Stone story structure\" width=\"600\" height=\"338\" src=\"https:\/\/www.youtube.com\/embed\/uDJEjT2kKqY?start=1&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<h2>TIPS FOR WRITING FIRST DRAFT OF SCRIPT<\/h2>\n<h3>Revisit and Rewrite Your Step Outline and Treatment First<\/h3>\n<p>By now students should have a good idea of why screenwriters spend so much time outlining the story and writing and revising their treatment. Getting a solid structure for the script is challenging.<\/p>\n<p>Coming up with scenes that may be interesting to the student writer may or may not ultimately work in creating a structure for the story.<\/p>\n<p>And what is meant by structure is all tied to the essential ingredients of a story that occur at certain points in the narrative &#8212; a strong and active protagonist who wants something but has trouble getting it primarily due to opposition from a strong (but not quite as strong) antagonist &#8212; and for this class using three acts to put the protagonist through the paces.<\/p>\n<h3>Strip Away All Details and Focus on Key Moments<\/h3>\n<p>The first six beats in your 10-minute short should be introduced in the first one or two pages of the script. You want to get to the inciting incident of your story ASAP. It is the reason for the story. Without the inciting incident, the day your story starts would be like any other ho-hum, routine day.<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 1. The opening frame \u2013<\/b> Grab the viewer\u2019s attention and set the tone for the entire story that is about to unfold<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 2. Introduce the story world \u2013 <\/b>Show us the world of the protagonist (setting, specifics of that setting)<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 3. Introduce the protagonist \u2013 <\/b>Show us the protagonist, who she\/he is, what makes the character tick, \u201cmake us care\u201d<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 4. Identify the protagonist\u2019s want \u2013 <\/b>Show the main character going after his\/her goal<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 5. Introduce the first obstacle \u2013 <\/b>There will be multiple hurdles, some will be internal to the character, but be sure to incorporate physical obstacles in the form of big challenges to the protagonist, often presented directly by the antagonist.<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 6. Shake up the protagonist\u2019s world and force him\/her to change course \u2013<\/b> This is the inciting incident, \u201can explosion of sorts\u201d that completely changes the regular course of the protagonist\u2019s life and sets her\/him on a new course of action.<\/p>\n<hr style=\"padding-left: 40px\" \/>\n<p>The inciting incident launches the protagonist&#8217;s journey. It forces the main character to want something and to TAKE ACTION to get it. As the character tries different ways of achieving that want\/goal, s\/he meets up with major obstacles, obstacles that get tougher and tougher as the story moves forward. And when the protagonist meets up with an obstacle and attempts to get around it, that creates a causal effect on the next part of the story. Example: A character is trying to avoid seeing someone, so they run into and through a building, but as they come out the other side, the character runs smack into a WORSE SITUATION &#8211;<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 7. Why go forward? The character faces a daunting challenge. <\/b>Make the character outwardly show s\/he must step up to the challenge to try to meet it.<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 8. Deliver on the promise of the premise.<\/b><\/p>\n<p style=\"padding-left: 40px\"><b>Beat 9. Throw in another obstacle (and another \u2026) <\/b>for the protagonist, more challenging than the preceding one(s).<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 10. Put the protagonist to the test with the biggest obstacle of the story \u2013<\/b> this is the climactic dramatic point, the biggest moment of crisis<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 11. Make the protagonist fear that all is lost \u2013 <\/b>Create a moment where the protagonist hits rock bottom.<\/p>\n<hr style=\"padding-left: 40px\" \/>\n<p>Just before the climactic moment, the protagonist should feel that things are going so poorly for them that they should maybe give up. How on earth will they ever succeed? Here is where good writers pay off something they have planted above. Some part of their journey before now should give them insight into what to do now. And so they use that to help the protagonist go forwrad.<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 12. Create the bounce back \u2013 <\/b>The protagonist finds his or her footing<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 13. Show the triumphs \u2013 <\/b>The protagonist is a new person, the story has changed this character (for the better), the main character has grown.<\/p>\n<p style=\"padding-left: 40px\"><b>Beat 14. Last image, final impression. <\/b>Leave viewers with a memorable final moment.<\/p>\n<h3>How to Approach Your Rewrite Before Your First Draft<\/h3>\n<p><strong>Rewrite every scene being as precise as possible regarding all aspects of it &#8211;<\/strong> Reread each scene, and as you approach rewriting it, really imagine every aspect of the character and his or her motivation and write specific actions, specific dialog (or paraphrased dialog for a treatment).<\/p>\n<p>The writer&#8217;s job is to make scenes as precise as possible.<\/p>\n<p>For example, when characters engage in dialog, they don&#8217;t just talk about a subject, they say specific things about a subject. The writer&#8217;s job is to specify what they say.<\/p>\n<p>Give time and attention to a character&#8217;s important actions, not small actions. Characters leaving a room or getting into a car are probably not as important as taking action to try to get what it is they want. Make their actions precise. Take time with your character to make sure you are giving the audience enough clues as to what she or he wants. The audience needs to determine why a character does something, because that helps the audience understand the character.<\/p>\n<p><strong>Focus on action the character takes &#8211;<\/strong> Remember a story is about a main character who wants something and has difficulty getting it. So it&#8217;s the writer&#8217;s job to create scenes where the protagonist is very active in terms of going after what s\/he wants.<\/p>\n<p><strong>Focus on conflict &#8211;<\/strong> The protagonist should be the most active character in the story as s\/he pursues their want. But DO NOT MAKE IT EASY FOR your character to get it. If your character is searching for someone, make that character WORK HARD to find them. If your character is taking seriously consequential action, spend time SHOWING the seriousness of your character&#8217;s plans. Show your character PREPARE for it. Then, make it hard for the character to go forward with the plan.<\/p>\n<p><strong>Use physical items in the story world to help tell the story &#8211;<\/strong> Movies are a visual medium, so it&#8217;s incumbent on the writer to find objects that carry weight in the plot. While we cannot show what goes on in a character&#8217;s head, we can use photos of someone the character is thinking of to give an idea of what&#8217;s on his mind. Or we can give them a necklace or ring or bracelet this is an important reminder of something in the character&#8217;s past.<\/p>\n<p>Think of the items in existing movies that prove critical to the plot &#8212; a special ring, a key to the wine cellar, a broken typewriter, a box of photographs that reveal the girlfriend is a bald-faced liar, etc.<\/p>\n<p>Try writing your scene three different ways &#8211; Often the first way we imagine a scene is not the strongest. By forcing yourself to re-imagine it in two to three different ways, we can make it stronger by discarding our first choice and going for one that fits into the story much better.<\/p>\n<p>As you rewrite, really imagine every aspect of every scene, be as precise as possible. And build a strong story structure.<\/p>\n<h2>BECOMING FAMILIAR WITH SCREENPLAYS AND SCREENPLAY FORMAT<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-5678\" src=\"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-30-at-9.09.37-AM-1024x555.png\" alt=\"screenplay format\" width=\"800\" height=\"433\" srcset=\"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-30-at-9.09.37-AM-1024x555.png 1024w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-30-at-9.09.37-AM-300x162.png 300w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-30-at-9.09.37-AM-768x416.png 768w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-30-at-9.09.37-AM-1536x832.png 1536w, https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/4568\/2026\/04\/Screenshot-2026-04-30-at-9.09.37-AM.png 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><\/p>\n<h3>Short Scripts to Review for Structure &amp; Formatting<\/h3>\n<p>\u201cIf you don\u2019t have time to read, you don\u2019t have the time \u2014 or the tools \u2014 to write. Simple as that.\u201d \u2013 Stephen King<\/p>\n<ul>\n<li><strong><a href=\"https:\/\/openlab.bmcc.cuny.edu\/prof-rowell-scriptwriting\/wp-content\/uploads\/sites\/1898\/2020\/11\/Treatment.James-Cameron.The-Terminator.pdf\">Treatment<\/a><\/strong> for <em>The Terminator <\/em>(read the first 1-3 pages to see how a well-written treatment reads)<em><br \/>\n<\/em><\/li>\n<li><a href=\"https:\/\/openlab.bmcc.cuny.edu\/prof-rowell-scriptwriting\/the-fox-and-the-crow-story-treatment-outlines\/\"><strong>&#8220;Fox and Crow&#8221;<\/strong><\/a> &#8211; original story | step outline for short film | short film treatment | short film script<\/li>\n<li><a href=\"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-content\/uploads\/sites\/1898\/2021\/02\/remnants.pdf\"><strong>\u201cThe Remnants\u201d<\/strong><\/a> (pilot script by John August)<\/li>\n<\/ul>\n<h2><img loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"https:\/\/code-boxx.com\/wp-content\/uploads\/2019\/08\/ico-grid.svg\" width=\"60\" height=\"60\" \/>WRITING ASSIGNMENT &#8211; FP5<\/h2>\n<h3 class=\"title-header\">Assignment FP5: Revised Treatment &amp; First Draft of Script<\/h3>\n<div class=\"entry-content clearfix\">\n<h3><strong>FOR THE REVISED TREATMENT PACKAGE &amp; FIRST DRAFT OF SCRIPT<br \/>\n<\/strong><\/h3>\n<h4 id=\"anonymous_element_55\">STUDENTS SHOULD TURN IN TWO PDFs:<\/h4>\n<ol>\n<li><strong>A PDF of the Revised Treatment Package should include:<\/strong>\n<ol>\n<li>\u00a0The <strong>working title<\/strong> of your short original fictional screenplay<\/li>\n<li>A <strong>revised logline<\/strong> of the script that works in all feedback from the professor<\/li>\n<li>A <strong>list of key characters<\/strong> along with a short introduction to them<\/li>\n<li>Revised <strong>treatment <\/strong>that works in all feedback from the professor<\/li>\n<li><strong>Share your script in <a href=\"https:\/\/www.celtx.com\/\">Celtx<\/a><\/strong> with Professor Rowell via <strong>erowell<span class=\"\">@<\/span>bmcc.cuny.edu<\/strong><\/li>\n<\/ol>\n<\/li>\n<li><strong>A PDF of the script<\/strong> which should meet all the following requirements:\n<ol>\n<li><strong>Properly formatted screenplay between 7 and 10 pages in length<\/strong><\/li>\n<li>Title page on screenplay (which is not included in the page count)<\/li>\n<li>Script must be based on the idea approved by professor in Assignment FP1<\/li>\n<li>Must work in all feedback given by the professor on loglines, step outlines and treatments<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<p><strong>Submit FP5 to Brightspace: <\/strong><a href=\"https:\/\/brightspace.cuny.edu\/d2l\/le\/calendar\/1114240\/event\/6277355\/detailsview#6277355\"><strong>Section 0902 here<\/strong><\/a> | <a href=\"https:\/\/brightspace.cuny.edu\/d2l\/le\/calendar\/1114251\/event\/6306523\/detailsview?year=2026&amp;month=4&amp;day=14\"><strong>Section 1000 h<\/strong><\/a><strong>ere<\/strong><\/p>\n<\/div>\n<div class=\"entry-content clearfix\">\n<div>\n<hr \/>\n<h2>Fiction Project (open to students who received a passing grade on FP5, first draft of script)<\/h2>\n<p><a href=\"https:\/\/brightspace.cuny.edu\/d2l\/le\/calendar\/1114251\/event\/6306517\/detailsview#6306517\"><strong>Section 1000<\/strong><\/a> | <a href=\"https:\/\/brightspace.cuny.edu\/d2l\/le\/calendar\/1114240\/event\/6277330\/detailsview#6277330\"><strong>Section 0902<\/strong><\/a><\/p>\n<p>Important note for the Fiction Project: In revising the script submitted in FP5 for the Fiction Project, use Revision Mode in Celtx. You can find it under EDIT &gt;&gt; REVISION MODE. (The revisions made in your second draft should ideally be in <strong>blue, <\/strong>which is the default.)<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/support.celtx.com\/hc\/article_attachments\/4445906068247\" alt=\"mceclip0.png\" \/><\/p>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>WEEKS 10 &#8211; 12 For classes on April 21 and April 23, bring the following with you to class BEATS TO BRING TO CLASS: Opening Image: Set the tone and introduce the protagonist and their world Theme Stated: The film\u2019s central theme or message is introduced thru visuals and\/or action Set-Up: Provide background information on [&hellip;]<\/p>\n","protected":false},"author":1111,"featured_media":0,"parent":0,"menu_order":20,"comment_status":"closed","ping_status":"closed","template":"","meta":{"portfolio_post_id":0,"portfolio_citation":"","portfolio_annotation":"","openlab_post_visibility":"","footnotes":""},"class_list":["post-228","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/pages\/228","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/users\/1111"}],"replies":[{"embeddable":true,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/comments?post=228"}],"version-history":[{"count":75,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/pages\/228\/revisions"}],"predecessor-version":[{"id":5679,"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/pages\/228\/revisions\/5679"}],"wp:attachment":[{"href":"https:\/\/openlab.bmcc.cuny.edu\/mes153-rowell_scriptwriting-26sp\/wp-json\/wp\/v2\/media?parent=228"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}