Hey, welcome back, we're going to go over well starting your script. So now it's time to raise your imagination file and use those images and scenes that have hijacked your brain. So you're going to take what's in those files and metaphorically dump it on the floor like Legos. And you're going to choose what goes where. Now, if you like to cook, you're going to raid the fridge and put all your different ingredients on the kitchen counter. In both metaphorical situations, you're going to have to get an idea of what you're going to end up with, what kind of ending it's also time to figure out what would be the inciting incident, the big problem part of your structure of your story.

What's what gets your characters on their dramatic journey. If you can't figure out those parts yet, start from the beginning. Start with the undeniable external truth of the world that your characters and habit basically you will connect when you have to create the in between events, so that you have a Basic beginning, middle and end. Once we have the basic chunks of drama events and scenes, you will start to connect what happens in between those parts by creating smaller bits of action and drama. It's like making a quilt Mosaic, like a jigsaw puzzle made of unique moments of time, feel withdrawn, you're gonna end up making an outline. Now I know many of us find outlines tedious and constricting.

When I was in school, I hated outlines. Why? Because I felt like I had to force fit my ideas and stories into something that was kind of pre shaped. You didn't help that the majority of outlining was for writing essays and term papers. But once I started writing scripts, I had to write a sentence for every major thing that would happen in the story. I noticed that I was basically outlining as a side effect of trying to make sense of all the stuff in my head on paper.

So that's what we're going to do next, we're going to make a note making The what happened before and after. So, we're going to go into how I started script. Okay, before you fire up your script, writing software and type of first logon line, you better have a detailed, big picture of your entire story. It's kind of like being on google maps where you zoom in and see detail parts. That's gonna be pretty much how you're going to make your story. You can think of making the outline as a quilt or a mosaic of a script, you're checking to make sure you have a story.

We're also checking to see if your plot makes sense and that your characters actions make sense to now my outlines are simple sentences of who is doing what and why they do it and what's gonna happen if they don't get what they want, and what they need. I start with a basic components of the story. Remember, the story is a structured series of dramatic events, about characters dealing with a problem. So what I do next is that I make sure I have these five basic elements. So basically what makes a story a story. The character characters have a predicament which forces To have a solution to fix the predicament.

And in order to reach a solution, they got to have a plan to follow. But there are obstacles in the form of people, monsters, time, villains, whatever. And then there are the consequences, the stakes if your characters don't find a solution. So what I do is I fill in what I have so far as the predicament solution, plan, obstacles, consequences, stakes, and I just go fill those in. So let's take a look at how I develop my script titled jerell and Jeff. So in my imagination file, I had these basic images, scenes and care.

I had a desire to explore the biblical verse, and the meek shall inherit the earth. I want to explore it as basically putting the lesser known definition of me in closer than the guise of the mostly known definition. I wanted to write about someone who was vulnerable, sensitive, and who appeared weak In other words, meek. I wanted him to do something courageous by using the very things that made him appear meek. So that's how Gerald was created a shy 15 year old who had trouble speaking, a boy who sought refuge and quiet interest like reading, art and photography. I saw my inner movie screen jerell falling for Jen.

Now, he works at a carwash and Janet pulls up and gets out of the car. She's a goddess of college dropout and Darrell is hypnotized. In my imagination, I had scenes of them having a friendship blossomed between them and Gerald discovers he can speak freely when Jana is with him. I also had images of his mom a single and that there was a ritual in his house. He had to be home at a certain time, and he had to leave his backpack in the hallway so his mom can inspect. Now that was crucial to the end.

I wanted Gerald to prevent Jen from getting in trouble with the law. steals an illegal substance from her car. Now she had no idea was there, but she is fair when she actually gets pulled over by the police. Gerald stay silent and lets his mom assume the illegal substances his now it's a matter of fleshing out the structure of it. So, using the five aspects of story I got one Gerald's friendship with Jana is threatened by the arrival and bad influence of her ex boyfriend bow to Gerald decides to protect her when he discovers drugs accident in a car. Three general plans to sneak out of his house and login and Bo at a party break into her car and steal the drugs for he has to defy his mom and risk getting caught by bow.

Stakes are if Gerald fails, Janet could get arrested. If he succeeds, he can get in trouble and cause Shane to fall in his family. I knew there was more to the story, but I had to start somewhere. So I use the story circle you know range the main theme in each of the eight sections. So I started with the characters the world and its rules. So in the small town lives Gerald was shy and is awkwardly quiet.

He has his freshman year feeling isolated and lonely. He gets a summer job at his uncle's carwash, Jana, a college girl visiting her family becomes a customer and mesmerizes juror to the predicament that affects them. So our friendship losses between geralyn jen No, he's not shy and awkward when he's around her. Instead, he feels alive and valued. But Gerald's mom has mixed feelings about the friendship due to the age difference and because she knows something of jazz recent pets, that leads to three big problems. Gerald and Jenna's friendship deepens she teaches them to drive in general notices her brake light is out.

It almost gets pulled over by a car. Later, Gerald biser a brake light so he can gallantly replace it but she says to do some other time and she hands them a spheric teacher car Nicholas. Things change when Jen is troubled and arrogant ex boyfriend Beau appears wants to get back together with her. They end up spending time together in general. So that leads to for the characters struggle to solve the predicament. Gerald struggles fix up, Jan is absent.

He's back to feeling isolated and lonely. He's awkward again. That leads to by the characters find something crucial to the solution of the predicament. The combo of a heart external and internal truth. Darrell, is that the carwash when Janice car pulls up, he's excited, but out of the car steps beau, who regards jerell as the key of agenda talks about Gerald grudgingly begins to clean the car but first looks in a secret compartment used by geralyn Jana the high gift region, he discovers drugs hidden there. He goes back to uneasily cleaning her car by returns and general mentions about the brake light and Beau brushes them off.

Now jerell is worried for Jenna and he feels powerless to help. That's going to lead to number six. After accepting the external and internal truth Janice getting Back with Bo and his bad ways and journals and ability to stop that the characters realize they can act instead of react to the predicament. So Gerald goes to a swimming party knowing that Janet will be there. Bo is there too and demands Janet to leave soon to prepare for a weekend getaway in her car. Gerald sneaks away and unlocks Jenna's car with a spare key.

He takes the drugs and breaks curfew getting back home. He leaves the drugs Where's mom can find. Seven. This is the part where it's all or nothing characters either solve the predicament or face the consequences. So next morning, Jen and Beau leave town. Jana drives in Vickers with a bow and he insists on meeting a friend on the way they get pulled over by canine unit for the bus to break life.

The police dog detects rugs, but none are found and they get off with just a warning. Next day morning Gerald's mom finds the drugs and he's furious and interrogated by Gerald stays silent. Even his uncle's patient pleading yields, no answer. Cheryl's cousin is there too and she sends a text to Jana asking her to come, because she knows that Gerald will talk to her. Jan and bow drive back to Carol's house, both silent and he glares at jerell thinking he's gonna tell the truth. Instead, Gerald stays quiet.

Even with Janet gently asking him to speak the truth. Gerald, there's Becca, Bo. everyone realizes the truth. And Jenna asks Bo to speak, both humbled, realizing that jerell has saved him in Jannah from some serious trouble. And he agrees to confess, at least in section eight with a character solve the predicament and your change, but the struggle and they have an external and internal truth. Basically, they've kicked ass.

So Gerald is at homecoming, and he has grown taller, and he's turning into a handsome young man. He's still alone while surrounded by the couple's Jenna's car peers. The crowd gasps as they recognize the former homecoming queen. She switches at the passenger side his drone gets in and they drive away. So you're saying If it will be fleshed out into a more detailed outline from the structure you give it. Remember, it's a matter of filling in the in between spots by creating what happens before and after your main pieces of your story.

So up next we're going to write a script and we're going to write it so it will be read very easily. So