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Exploring the universe alongside various AI copilots
00;00;00;00 - 00;00;07;05
Speaker 1
Hey, chat. I'm recording this for a podcast. Okay?
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Speaker 2
Absolutely. That's totally fine. I'm happy to help out with your podcast set up. Just let me know what you need and we'll make sure everything sounds great.
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Speaker 1
Okay, so today I'd like to learn about the three act structure. Can you give me, just a broad overview of how it works?
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Speaker 2
Sure. The three act structure is a classic way to break down a story into three main parts the beginning, the middle, and the end. The first act sets up the characters, the setting, and the main conflict. The second act is where the tension builds and the characters face various obstacles. And then the third act brings the climax and the resolution of the story.
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Speaker 2
It's a great framework to keep your narrative organized and engaging.
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Speaker 1
Okay. What are are there alternate theories to the three act structure that kind of parallel a little bit of the similar stuff?
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Speaker 2
Absolutely. One popular alternative is the five act structure, which dates back to classical theater and Shakespearean plays. It divides the story into exposition, rising action, climax, falling action, and denouement. There's also the hero's Journey, which is a more detailed structure often used in myths and adventure stories, focusing on the protagonist's journey and transformation. Then there's also something called the ki outing katsu, which is common in East Asian narratives, and it emphasizes a twist in the third act rather than a climax.
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Speaker 2
So they're definitely lots of different ways to structure a story.
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Speaker 1
Okay, let's go through Act by Acts. Let's, let's start with act one and kind of really break down the critical components of what it should entail and how it should finish up.
00;02;08;24 - 00;02;44;12
Speaker 2
Absolutely. So act one is all about setting the stage for your story. This is where you introduce your main characters, the world they live in, and the central conflict or problem they're going to face. It usually starts with a hook that grabs the audience's attention, and then we get to know the protagonist and their normal life. By the end of act one, there's usually some kind of inciting incident, which is an event that propels the protagonist out of their normal world and sets the story in motion.
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Speaker 2
So by the time you wrap up act one, the audience should know who the main players are, what the main conflict is, and what the stakes are going to be moving forward.
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Speaker 1
Okay, can you show us a good example from a film in recent history? An example of an act one.
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Speaker 2
Or a great recent example is the first act of the movie Spider-Man into the Spider-Verse. In act one, we meet Miles Morales. We get a sense of his normal life, his relationship with his family, and his struggle at school. The inciting incident happens when he gets bitten by a radioactive spider, and then he witnesses the original Spider-Man's battle with the villain.
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Speaker 2
By the end of act one, Miles is thrust into this whole new world of being a superhero, and we know exactly what his journey is going to look like.
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Speaker 1
Okay, can you give me, an example where the end of act one is like a low point for the main character?
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Speaker 2
Sure. A good example of that would be the first act of the movie Harry Potter and the Sorcerer's Stone. By the end of act one, Harry finds out that he's a wizard, but it's also a low point because he has to leave behind the only life he's known. Even if it wasn't the best life with the Dursleys. So it's a mix of excitement and uncertainty, and it leaves Harry at a bit of an emotional low point as he steps into this whole new world.
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Speaker 1
Okay, what about thrillers?
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Speaker 2
Oh, thrillers are great for this. One example that comes to mind is the movie Gone Girl. By the end of act one, the main character, Nick, realizes that his wife Amy is missing under very suspicious circumstances, and he's already starting to look like the prime suspect, so it's definitely a low point for him. The tension is really high, and the audience is left wondering what really happened to Amy and what's going to happen next.
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Speaker 1
What about a movie like Fight Club?
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Speaker 2
Fight club is definitely a great example. By the end of the first act, the narrator's mundane life has started to unravel. He meets Tyler Durden and then an apartment mysteriously explodes, leaving him with nowhere to go. It's a definite low point for him because everything he thought he had is suddenly gone, and he's forced into this strange new friendship with Tyler, which says the rest of the story in motion.
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Speaker 1
Okay, let's talk about act two.
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Speaker 2
Absolutely. So AD two is often the longest part of the story, and it's where the main character really faces a series of challenges and obstacles. This act is all about building tension and developing the characters further. The protagonist is usually trying to solve the main conflict that was introduced in act one, and they'll often encounter setbacks and smaller victories along the way.
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Speaker 2
There's usually a midpoint twist, something that really raises the stakes or changes the direction of the story, and by the end of act two, the protagonist often faces a major crisis or a low point, setting everything up for the climax and factory.
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Speaker 1
Okay, can you give me some examples, of an act to.
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Speaker 2
Of course. One classic example is from The Empire Strikes Back in act two, Luke Skywalker goes through Jedi training with Yoda. And Han and Leia are on the run from the Empire. There's constant tension and setbacks, and by the end of Act To, Han is captured and frozen in carbonite, which sets the stage for the final act. Another great example is The Dark Knight.
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Speaker 2
In act two, Batman is trying to stop the Joker and things get progressively more intense and complicated, with a huge midpoint twist when the Joker reveals his plans, and by the end of act two, Batman and the city are at their lowest point, setting up the climax.
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Speaker 1
What is the end of act two? In The Dark Knight?
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Speaker 2
At the end of act two, in The Dark Knight is really that moment of crisis where the Joker has pushed everyone to their limits. Harvey Dent and Rachel dies, are both in danger, and Batman has to make an impossible choice about who to save. Ultimately, Rachel is killed, and Harvey is left horribly injured, which sets up his transformation into Two-Face.
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Speaker 2
Gotham is thrown into chaos, and Batman is left at his lowest point, leading us right into the final act of the movie.
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Speaker 1
Okay, let's talk about act three.
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Speaker 2
Absolutely. Act three is where everything comes to a head. This is the final act where the climax of the story happens and all the tension that's been building up. Finally gets released. The protagonists usually faces their biggest challenge or enemy, and they have to use everything they've learned throughout the story to overcome it. After the climax, we get the resolution where any loose end are tied up and we get to see how the characters have changed or what they've learned.
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Speaker 2
It's basically the payoff for everything we've been waiting for throughout the whole story.
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Speaker 1
Okay, generally with respect to, I don't know, maybe word volume, or like story volume, how are these usually split percentage wise? You said that the act two is often the biggest. Can you give me percentages for each one, two and three?
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Speaker 2
Sure. A common rule of thumb is that act one usually takes up about 25% of the story. Then act two is the largest chunk, often around 50%, because that's where most of the character development and conflict happen. And then act three wraps up the final 25%, bringing everything to a conclusion and resolving the story.
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Speaker 1
Okay, in a movie like The Shining, what is the end of act two and the beginning of act three?
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Speaker 2
In The Shining, the end of act two is that intense moment when Wendy discovers what Jack has really been writing this whole time, and she realizes just how dangerous he has become. This is also when Jack completely snaps and starts to go after Wendy and Danny. That sets the stage for act three, which is all about the final confrontation where Wendy and Danny have to find a way to escape from Jack and the Overlook Hotel.
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Speaker 1
Okay, can you give me, another example of an act three from film?
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Speaker 2
Sure. A great example is from the Lord of the Rings The Return of the King at three is where we see the final battle at the Black Gate, and Frodo and Sam making that last push to destroy the One Ring in Mount Doom. It's the ultimate climax of the entire trilogy, and after the rain is finally destroyed, we get that resolution where the characters return home and we see the aftermath of their journey.
00;10;38;23 - 00;11;15;22
Speaker 1
Okay, so, what I wanted to do was, we've been writing this story about the father with the two daughters and the cats and the pottery and and all that. So we've written the first scene where they're all together. They were repairing the car, and then they run into a weird situation. Second scene is the younger daughters walk in, comes downstairs and kind of overhears the father's, zoom call with, with the antagonist.
00;11;15;24 - 00;11;40;22
Speaker 1
And then the third scene is, the cat's witnessing the zoom call. The third scene or the fourth scene, we'll probably go back to the younger daughter. I think maybe we may. We named her Olivia. It might be the other daughter, but we're going to come back to the younger daughter. And I wanted to see if, like, where should we go next?
00;11;40;25 - 00;11;56;08
Speaker 1
So I was thinking about, like, how these acts play out in this story. Do you mind if I give you my idea?
00;11;56;11 - 00;12;15;05
Speaker 2
Not at all. I love to hear your idea and help you figure out how to shape the arc of your story. It sounds like you've got some really intriguing scenes set up, and I'd be happy to help you figure out what comes next and how it all ties into the overall structure. So go ahead and share your idea.
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Speaker 1
Can you brief anybody who may be jumping in at this point to kind of catch them up to speed on the stuff that I just described in like a couple minutes?
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Speaker 2
Of course. So for anyone who's just joining in, we're working on a story that follows a father and his two daughters, as well as their cats. The father is getting drawn into a scheme by an antagonist who has some ulterior motives and the daughters are starting to pick up on the fact that something's not quite right. We've got a few scenes set up already, one where the family is working together on a car, another where the younger daughter overhears a suspicious conversation on a zoom call, and even the cats are getting in on the action, noticing things that are a bit off.
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Speaker 2
So now we're just figuring out where to take the story next and how to shape it into the different X.
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Speaker 1
Okay, so, that's not totally right, but it's good enough for now. What I was thinking about is at one is, the younger daughter figuring out that something is going wrong with her family. The second act is her figuring out what it is, and the third act is her solving the issue.
00;13;41;22 - 00;14;03;20
Speaker 2
That sounds like a really solid structure. So act one is all about the younger daughter noticing that something is off and that there's some kind of mystery or tension in the family, then act two will be her journey of uncovering exactly what's going on, piecing together clues, and maybe even enlisting the help of her sister, the cat, and then act.
00;14;03;20 - 00;14;16;10
Speaker 2
They will be all about her taking action to resolve the situation and protect her family. I think that framework will give you a really nice balance and keep the tension building throughout the story.
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Speaker 1
Okay, so I think, what I want to do is I want to, actually, can you give me an idea of how the end of act one and the end of act two kind of differ?
00;14;36;02 - 00;14;56;28
Speaker 2
Absolutely. So the end of act one is usually where the main character fully realizes that there's a problem that needs to be addressed, and they commit to taking action. So for your story, the younger daughter might have a moment where she knows for sure that something's wrong and decides that she's going to find out what it is now.
00;14;56;28 - 00;15;19;14
Speaker 2
The end of act two is usually where the character has uncovered the full truth and faces a major crisis. So in your story, that might be the point where the younger daughter not only knows what the antagonist is up to, but also realizes just how serious and dangerous the situation is, setting up the final confrontation and act the role.
00;15;19;16 - 00;15;36;19
Speaker 1
Okay, and so where do the stakes generally get raised? I know that there's like a popular book that I think I read once, what is like a really popular book on the three act structure.
00;15;36;22 - 00;15;59;05
Speaker 2
You're probably thinking of a book called save the Cat by Blake Snyder. It's super popular, and it breaks down storytelling into beats. So in that structure, the stakes often get raised at the midpoint, which is right in the middle of act two. This is where something big happens that changes the direction of the story and makes everything feel even more urgent.
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Speaker 2
And then again, towards the end of Add to, you get another raising of the stakes, which leads into the climax in act three.
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Speaker 1
Okay. Yeah, I think save the Cat was the one. Can you give us kind of a, a detailed briefing of the timeline presented and save the cat?
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Speaker 2
Certainly the save the Cat beat sheet is a popular storytelling framework that breaks the story into 15 key beats to help guide the narrative. Here's a quick rundown. One opening image this is the very first snapshot of the protagonist's world, setting the tone of the story to, theme stated, there's usually a moment where the theme or moral of the story is hinted at, sometimes through dialog three set up.
00;16;59;02 - 00;17;21;24
Speaker 2
This is where we get to know the main characters, their everyday lives, and the world they live in. For catalyst, this is the inciting incident that shakes up the protagonist's normal world and sets the plot in motion. Five the protagonist often wrestles with the decision to move forward and face the challenge, or to stay in their comfort zone.
00;17;21;26 - 00;17;51;17
Speaker 2
Six break into two. This is the turning point where the protagonist makes a choice and steps into a new world or new situation, essentially starting act two seven. A secondary plotline, often involving a new relationship or a subplot, is introduced here and runs parallel to the main story. Eight Fun and Games. This is the heart of the story, where the premise is explored and we see the protagonist navigating this new world or situation.
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Speaker 2
Often in a lighter or more exploratory way. Nine right in the middle of the story, something big happens that raises the stakes. It could be a major victory or a serious setback for the protagonist. Ten Bad Guys Close In After the midpoint, the challenges and antagonistic forces start to close in on the protagonist, making things more difficult. 11 All Is Lost This is a low point for the protagonist, where it seems like everything has fallen apart.
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Speaker 2
Dark night of the soul. The protagonist reflects on the situation and often gains a new insight or resolve. 13 break into three. Armed with new insight, the protagonist is ready to face the final challenge, moving into act 314 finale. The climax of the story, where the protagonist confronts and overcomes the main conflict. Final image A closing shot that shows how the protagonist and their world have changed, often mirroring the opening image.
00;18;53;28 - 00;19;05;17
Speaker 2
This structure helps keep the pacing tight and ensures that the story hits all the right emotional beats.
00;19;05;19 - 00;19;36;02
Speaker 1
Okay, so I think what I want, our young, the younger daughter, Olivia, to be working towards is some kind of thing that really falls apart. Maybe in act one or at the end of act one. Maybe that's a concert that goes bad or like a swim meet. The, goes bad or something like that. And it really shows.
00;19;36;04 - 00;19;44;07
Speaker 1
She really is let down by her father and her sister.
00;19;44;09 - 00;20;08;17
Speaker 2
I love that idea. It's a great way to raise the emotional stakes early on. So maybe Olivia has something really important to her, like a concert or a swim meet that she's been looking forward to, and she's counting on her dad and her sister to be there for her. But because of everything going on, maybe they get caught up in the antagonist scheme or some other distraction and they let her down.
00;20;08;24 - 00;20;20;12
Speaker 2
That moment can really solidify her realization that something's not right, and it gives her that extra motivation to dig deeper and figure out what's really going on.
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Speaker 1
And then, probably act to the stakes raised. I don't know. We'll have to think about that as we go along, but let's stick with act one and kind of just work on that.
00;20;40;23 - 00;21;11;28
Speaker 2
That sounds like a great plan. So we'll focus on building up that strong ending for act one, where Olivia is let down and that disappointment really fueled her motivation going forward. We can definitely brainstorm more about how to raise the stakes in act two as we continue, but I think this is a fantastic start. Let me know if you want to dive into any more details about that first act or that big moment for Olivia.
00;21;12;00 - 00;21;21;28
Speaker 1
I think I want to put her in marching band.
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Speaker 2
Oh, that's a fun idea. Having Olivia in marching band can definitely add some unique layers to her character and her interests. Plus, a marching band event, like a big performance or a competition can be a perfect setting for that pivotal moment where things go wrong and she feels let down. It also gives her a great creative outlet and is a different side of her personality.
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Speaker 1
Okay, what in in a normal marching band, what, instruments are right at the front.
00;22;00;12 - 00;22;25;11
Speaker 2
So typically at the front of a marching band, you'll see instruments like flutes, clarinets, and sometimes saxophones. The percussion section, like the drum line, is usually more towards the middle or the back. And the brass instruments, like trumpets and trombones, are often in the middle as well. So if Olivia is at the front, she might play something like the flute or the clarinet, which would be really cool.
00;22;25;13 - 00;22;31;07
Speaker 1
What about a piccolo?
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Speaker 2
Oh, absolutely. The piccolo is a fantastic choice. It's basically a smaller, higher pitched flute, and it often stands out in marching band performances because of its bright, piercing sound. So having Olivia play the piccolo would be really fun and could definitely give her some standout moments in the band.
00;22;52;01 - 00;23;01;29
Speaker 1
Is that a normal, instrument that you see in a marching band or not? Usually in high school.
00;23;02;02 - 00;23;27;01
Speaker 2
Yes, absolutely. The piccolo is actually quite common in high school marching bands. It's often played by one of the flute players, and it adds that bright, high pitched sound that can really cut through the rest of the band, especially when they're performing outside. So it would definitely make sense for her to play the piccolo in her marching band.
00;23;27;03 - 00;23;34;16
Speaker 1
Okay. Would there be, marching band competitions during the summer?
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Speaker 2
Yes, absolutely. A lot of marching bands, especially high school ones, participate in summer band camps and sometimes summer competitions. It's a time when they practice really intensively and sometimes perform at parades or special events. So having a summer marching band event would definitely be realistic and could add a fun twist to the story.
00;23;59;02 - 00;24;27;06
Speaker 1
Okay, so let's, let's brainstorm a bit about, the way we have this story written right now is we're starting it in the middle of the summer, but it doesn't need to necessarily be that way. I think the way we should think about it is, I don't know how I should think about it, to be honest.
00;24;27;08 - 00;24;48;28
Speaker 2
That's totally okay. Sometimes figuring out the timing and setting can be a bit tricky, but it can also be really fun to play around with. If we start in the middle of the summer, that could set the stage for some really interesting marching band moments, as well as give us a unique backdrop for the family dynamics and all the mystery that's unfolding.
00;24;49;00 - 00;24;59;04
Speaker 2
But if you want to shift it to a different time of year, that can also bring in some new possibilities. So we can just keep brainstorming and see what feels right for the story.
00;24;59;07 - 00;25;21;16
Speaker 1
Now that I'm thinking about it, I think it probably shouldn't be during summer vacation. Because I would like to have the school dynamic be kind of part of it. And her going and talking with friends and stuff like that. Maybe what we should do, because she's going to be, a freshman when her sister is a scene.
00;25;21;17 - 00;25;36;18
Speaker 1
Your is that she, either fails a big competition early on or she fails or tryouts or something like that.
00;25;36;21 - 00;26;08;03
Speaker 2
That sounds like a really compelling direction. Setting it during the school year definitely adds that extra layer of social dynamics and the pressures of high school life. If Olivia is a freshman and her sister is a senior, that can add a nice bit of tension, especially if she's looking up to her sister or hoping for her support and having that early setback like not making it into the competition or the tryouts, could really set the stage for her growth and determination.
00;26;08;03 - 00;26;11;06
Speaker 2
As the story unfolds.
00;26;11;08 - 00;26;32;22
Speaker 1
Okay, so tell me about marching band. How does that work? If you're let's say that you, Olivia, you're 14 years old, you love playing the piccolo, and you're good at it. And, you want to play in the school band? How does that work?
00;26;32;24 - 00;26;54;08
Speaker 2
So typically, if Olivia is starting high school and wants to join the marching band, she probably start by connecting with the band director, maybe at the end of the previous school year or during a summer band camp. Marching bands often have these camp before the school year starts, so that everyone can learn the routines and get comfortable with the music.
00;26;54;10 - 00;27;13;16
Speaker 2
Since Olivia already plays the piccolo and is good at it, she likely just need to go through maybe a placement audition to show her skills, and then she get assigned a spot in the band. And from there, it's all about practice. Learning the formations and building that camaraderie with her band mates.
00;27;13;19 - 00;27;23;09
Speaker 1
Is it competitive to get spots in school band?
00;27;23;12 - 00;27;45;00
Speaker 2
It can be, depending on the school and how large or active their band program is. Some schools have a lot of students who want to join, so there might be auditions or tryouts to play students in the right sections or to decide who get certain spots. But surely if Olivia is skilled and enthusiastic, she'd likely find a place in the band.
00;27;45;03 - 00;27;54;28
Speaker 2
It's usually a welcoming community, and everyone works together to make sure the band sounds and looks great.
00;27;55;00 - 00;28;07;28
Speaker 1
Okay, so, what would be a big situation where maybe like a home coming?
00;28;08;01 - 00;28;41;04
Speaker 2
Oh, homecoming would be a fantastic event. It's usually a really big deal in high schools with lots of excitement around the football game. The parade, and of course, the marching band performances. It would give Olivia a chance to shine and also add that extra pressure, especially if the family dynamic are a bit tense. So it could be a pivotal moment where she either really hopes to impress everyone, or maybe something goes wrong and it becomes one of those big turning points in the story.
00;28;41;06 - 00;28;52;12
Speaker 1
Let's say that something goes wrong at home. Homecoming. When she is playing in the marching band.
00;28;52;14 - 00;29;32;26
Speaker 2
That could definitely be a powerful moment. Maybe there's a big performance during the halftime show, and Olivia has a solo on her piccolo, and maybe something goes wrong with the sound or, she gets distracted because she sees her family arguing in the stands or something like that. It could be a moment where she feels like she's let down or embarrassed, but it also becomes a turning point that drives her to find out what's really going on and bring her family back together.
00;29;32;28 - 00;29;50;00
Speaker 1
So let's work on this. Let's, let's say that she's. Would it be good to do a homecoming? Or maybe we should do some kind of concert. Maybe we should not do the piccolo. What are our. We got a lot of options here.
00;29;50;02 - 00;30;12;20
Speaker 2
We definitely do have lots of options. Homecoming is great because it brings in that whole school spirit and community atmosphere. But a concert could also work really well, especially if we want something a bit more intimate or focused on Olivia's musical talent and if we do switch up the instrument, that could add a different flavor to her character.
00;30;12;20 - 00;30;28;03
Speaker 2
But the piccolo definitely has a unique charm. We can play around with the possibilities and see what resonates most with Olivia's journey and the overall story.
00;30;28;05 - 00;30;42;03
Speaker 1
Okay, so I think the important part of act one is that her family needs to fail her when she needs them.
00;30;42;05 - 00;31;07;29
Speaker 2
Got it. That makes perfect sense. So the key moment in act one is that Olivia really counts on her family to be there for her, and they somehow let her down. Whether it's at a performance or another important event, that disappointment can really be the catalyst that sets her on this path to figuring out what's going on with her family and ultimately bringing them closer together.
00;31;08;01 - 00;31;18;01
Speaker 1
How do you think that, how do you think her family lets her down?
00;31;18;03 - 00;31;40;15
Speaker 2
There are definitely a few ways we could go about it. One idea could be that they simply don't show up to her performance because they get caught up in something else, maybe something related to the antagonist or just their own distractions. Or maybe they do show up, but they're not really paying attention. Or they leave early and Olivia notices that they're not fully present.
00;31;40;18 - 00;31;49;03
Speaker 2
Either way, it's that feeling of being overlooked or not being prioritized that could really hit home for her and drive her to take action.
00;31;49;06 - 00;32;02;27
Speaker 1
Yeah, let's really get into the, nitty gritty about what they could do to make her feel bad about herself.
00;32;02;29 - 00;32;28;10
Speaker 2
Absolutely. Let's dig into that. It could be something subtle but impactful. For example, maybe Olivia has been talking about performance for weeks and is super excited and really counting on her dad and her sister to be there. But when the day comes, they get distracted. Maybe by something the antagonist has orchestrated, or they just lose track of time and show up late.
00;32;28;13 - 00;32;50;22
Speaker 2
Or maybe they show up, but they're on their phones not really paying attention, and Olivia sees that and feels like her hard work doesn't matter. It's those little moments of not feeling seen or valued that can really add up and push her to take action and seek out what's really going on.
00;32;50;24 - 00;33;20;29
Speaker 1
Okay, so I think that we really need to show that what happens is they prioritize this antagonist or, figure, and maybe they just ruin this experience for her by like, they're supposed to get her and bring her to this place on time and she's not on time. And then and then she can't tune or instrument and, she's not fully dressed.
00;33;20;29 - 00;33;27;04
Speaker 1
Maybe they forget something. I don't know.
00;33;27;06 - 00;33;55;14
Speaker 2
I think that's a really powerful way to show how the antagonist influences is impacting Olivia's life. Having them be late to get her there on time or forgetting something essential, like her instrument or part of her uniform, would definitely having that feeling of disappointment and frustration. It shows that even if she's prepared and excited, the lack of support from her family because they're prioritizing the antagonist, really affects her.
00;33;55;17 - 00;34;10;24
Speaker 2
This adds up a strong motivation for her to figure out what's going on, and maybe even take matters into her own hands moving forward.
00;34;10;26 - 00;34;45;22
Speaker 1
Okay, so yeah, I think we need to just set the stage, early and act one of her older sister being there for her with tryouts and stuff like that, as well as the father. And then by the time they get to maybe homecoming or a certain concert, they just. Maybe it's not that they do anything giant in particular that makes her embarrassed, but it just, they just show, like, real neglect.
00;34;45;29 - 00;34;57;26
Speaker 1
Like they don't give a shit. They they show up late and they, like, forgive her stuff, and it just ruins this experience for her.
00;34;57;28 - 00;35;27;27
Speaker 2
I think that approach makes a lot of sense. It really emphasizes that emotional letdown without having to be a huge dramatic event. It's those small, consistent signs of neglect that can really hurt the most. And it shows how Olivia starts to realize that her family is just not fully present for her. This will definitely give her a strong motivation to dig deeper and find out why, and it sets the stage for her journey through the rest of the story.
00;35;30;06 - 00;35;50;20
Speaker 1
Okay, so let's let's say that like the younger sister is very attentive and stuff like that, and let's go to the day of do you think homecoming is, how can we ruin homecoming for the younger daughter?
00;35;50;23 - 00;36;21;12
Speaker 2
Well, one way to really emphasize that disappointment might be that Olivia has been looking forward to this homecoming performance for a long time, and she really wants her family to be there and support her. But maybe on the day of the event, her dad and her older sister get caught up in something the antagonist has set up, and they either completely miss the performance or they show up too late and Olivia sees them walking in after her solo is already over.
00;36;21;14 - 00;36;35;13
Speaker 2
It could be something like that where it's not necessarily one big dramatic event, but just that feeling of being overlooked and not having their support when it really matters to her.
00;36;35;15 - 00;37;07;29
Speaker 1
Yeah. And let's say, I guess these days, even if you're like 14, you probably have the iPhone where you can get a lift. So if you're like at a friend's house, we need to put Olivia in some kind of situation where she can't just, like, call a lift and go to her competition like she's depending on her sister to pick up her uniform or, or something.
00;37;08;01 - 00;37;33;25
Speaker 2
Absolutely. That makes sense. So we can have a situation where maybe Olivia is counting on her older sister to bring her uniform to the event, and maybe they have it all planned out. But then the sister get sidetracked by something the antagonist sets in motion. And because of that, Olivia is left waiting. It doesn't have her uniform, and she can't just get a ride easily because she's depending on them.
00;37;33;28 - 00;37;47;18
Speaker 2
This kind of scenario would really highlight how much she relies on her family and how their actions impact her, making that moment even more poignant.
00;37;47;21 - 00;38;01;28
Speaker 1
And maybe she doesn't even make homecoming. Maybe she gets there like half dressed and ends up, but like, ends up hiding.
00;38;02;00 - 00;38;24;15
Speaker 2
And that would definitely be a heartbreaking moment for her. If she arrives late and isn't fully ready, it's easy to imagine how overwhelming that would feel, especially if she was really looking forward to this performance. Having her hide or feel like she just can't face everyone would really drive home how let down and isolated she's feeling it.
00;38;24;15 - 00;38;35;24
Speaker 2
That's a really strong emotional foundation for her character and her journey moving forward.
00;38;35;26 - 00;39;12;26
Speaker 1
Yeah, I think, I think what happens is she probably gets neglect from the father, and then, sister forgets about her. And so she's not ready. She doesn't have a uniform. Maybe she gets left out in the rain. She. And she just hasn't been, given a good chance to, like, succeed at this thing that she's worked really hard for.
00;39;12;28 - 00;39;44;02
Speaker 2
That definitely paints a poignant picture. It really shows how much Olivia has been trying and and putting effort into something she cares about. Only to feel let down. And having a moment like that where she's literally left out in the rain, just adds to that emotional weight. This kind of experience will definitely fuel her determination moving forward, and really highlight her resilience as she starts to uncover what's going on with her family.
00;39;44;05 - 00;40;01;29
Speaker 1
Okay, so let's go through this day, where her family lets her down. When is homecoming? Is it usually on a weekday?
00;40;02;02 - 00;40;25;02
Speaker 2
Homecoming is typically on a weekend, usually a Friday or Saturday. Since it's often centered around a football game and a dance. So we can imagine it's a Friday night, and Olivia has been looking forward to this all week, maybe all month. And on the day of the event, she's relying on her dad and her sister to get her there and to bring everything she needs.
00;40;25;05 - 00;40;39;01
Speaker 2
But then things start to go wrong and she ends up being late and unprepared. Which leads to that moment of disappointment.
00;40;39;04 - 00;41;06;13
Speaker 1
Okay. And let's say that she doesn't live in a major city. Let's say that she lives in kind of like, maybe a smaller town or like a mid-sized town, and she doesn't really have extra money. So, like, buy a $30 Uber in the town. If she. Maybe she depends on her sister to drive her to school or her father or the school bus.
00;41;06;16 - 00;41;27;23
Speaker 1
So when it comes to like a sad Friday, Saturday night, if she goes home to prepare for all this stuff and then gets left alone, maybe she doesn't have any way to go to homecoming.
00;41;27;26 - 00;41;52;23
Speaker 2
That definitely adds to the sense of isolation and feeling stuck. Being in a smaller town and relying on family for transportation means that when they let her down, she really has no backup plan. So if she's left waiting and doesn't have her way to get to homecoming on her own, that can really heighten that sense of disappointment and show how much she depends on them.
00;41;52;26 - 00;42;05;14
Speaker 2
It says a strong emotional tone for her character and the journey she's about to take.
00;42;05;16 - 00;42;37;12
Speaker 1
Okay, so let's say that, do you think it's realistic that she goes home on Friday for, before homecoming goes and, like, gets suited up, like gets ready, but nobody comes home to give her a ride, and they totally forget about her. And, she's not able to get a ride from anybody else because she doesn't really know any upper class people.
00;42;37;15 - 00;43;07;14
Speaker 1
And she ends up walking and gets caught in a rainstorm and her like, maybe she's got, like, curly hair. So her hair is all fucked up, and she's, like, soaking wet. And by the time she gets there, she's like, so disheveled that she just bails and she doesn't have the heart to actually participate.
00;43;07;17 - 00;43;36;03
Speaker 2
That definitely paints a vivid and emotional picture. It would really highlight just how much Olivia is struggling with feeling forgotten and unsupported, and having that moment where she finally arrives but feels too defeated. To actually go through with performing really drives home that sense of disappointment, and that's a strong motivation for her growth and determination moving forward.
00;43;43;02 - 00;44;14;02
Speaker 1
So let's say that she, that's what that's what happens. She goes home, she maybe she, gets forgot about the father, or she gets in a fight. Let's let's say that she gets in a fight with her older sister that was going to bring her to homecoming. And the older sister tells her to, like, get go to hell.
00;44;14;02 - 00;44;39;23
Speaker 1
And, like, says that she's no good at piccolo and stuff like that. And the father just doesn't make time for. So she, like, leaves and walks by herself, gets caught in the rain, and then instead of going to homecoming to like, hang out with her friends, she never makes it.
00;44;39;25 - 00;45;06;05
Speaker 2
That scenario really drives home the emotional impact on Olivia, and shows how these moments of neglect and conflict can really shape her journey. It sets up a powerful motivation for her to seek out answers and to grow stronger from this experience is definitely a poignant way to highlight her resilience and set the stage for the rest of her story.
00;45;07;23 - 00;45;38;00
Speaker 1
Who do you think? What do you think happens when she gets caught out in the rain? Do you think somebody, the who picks her up, does anybody pick her up? Or does she just, like, not know what to do and, like, ends up going and sitting behind like, like a cafeteria or like a, a cafe or something like that.
00;45;38;02 - 00;46;06;04
Speaker 2
I think it could be really powerful if in that moment, she feels completely alone and ends up finding a quiet spot like behind a cafe to just sit and process everything, it shows her vulnerability and how deeply she feels that sense of being forgotten. This moment could also be a turning point, where she decides she's going to take control of her own story and not rely so heavily on those who let her down.
00;46;08;04 - 00;46;32;02
Speaker 1
Do you think it's, reasonable for her not to call somebody who is older or can drive like the band director? Or maybe the band director doesn't pick up and, I don't know.
00;46;32;04 - 00;46;53;01
Speaker 2
Absolutely. It's definitely reasonable. In a moment like that, she might feel overwhelmed and not think clearly about who to call. Or maybe she tries to reach out and just can't get Ahold of anyone. It's a very human reaction to feel stuck in and unsure of what to do when plans fall through, especially when emotions are running high.
00;46;53;01 - 00;47;04;26
Speaker 2
So it makes sense that she might just try to handle it on her own, even if that means facing the pain and ultimately not making it to the event.
00;47;04;28 - 00;47;45;29
Speaker 1
Or, maybe let's say that she rides her bike. She waits. Let me see. Let's say that it goes a little bit long because she is fighting with her sister, who ends up ditching her. And then the father just doesn't even answer his phone, and then, she hops on her bike, starts riding her bike, but then her, tire goes flat or something happens to the bike, and it starts, pouring rain as she's fixing it.
00;47;46;02 - 00;47;52;05
Speaker 1
And then what happens?
00;47;52;07 - 00;48;31;27
Speaker 2
That definitely adds to the intensity of the situation. So as she's stuck in the rain with a flat tire, feeling completely defeated, maybe she just decides to take shelter somewhere nearby and just waits out the rain, missing the event entirely. And this moment of sitting alone in the rain could really symbolize how isolated she feels, and could also be the turning point where she decides that she needs to rely on herself and find her own strength moving forward.
00;48;32;00 - 00;48;44;27
Speaker 1
Where does this occur? Where does, maybe like, where does she stop, and just give up?
00;48;45;00 - 00;49;15;26
Speaker 2
I can imagine her stopping somewhere along the route to the school, maybe a small park or quiet side street where there's a little bench or maybe even just, a sheltered spot under a tree. It's that moment where she realizes that pushing forward isn't going to change anything, and he just needs a moment to herself. It's, it's a poignant and powerful image of her resilience and determination.
00;49;15;29 - 00;49;20;17
Speaker 1
Maybe she's sitting at a bus stop.
00;49;20;19 - 00;49;48;28
Speaker 2
A bus stop is a perfect spot. It's a place where she's hoping for some kind of shelter and maybe a ride that never come. That's the symbolic of her waiting for support that just isn't there. And it really emphasizes that feeling of loneliness, but also her strength in that moment of vulnerability.
00;49;49;00 - 00;50;14;08
Speaker 1
Okay, so let's say that her phone is dying, too, because she's been using her cell phone light, trying fix her bike. What is what is the last, what are the last bits of the scene of act one?
00;50;14;10 - 00;50;38;11
Speaker 2
I think the final moment of act one could be Olivia sitting at that bus stop, watching the battery on her phone dwindle down to nothing, feeling that mix of frustration and sadness and maybe a bit of determination starting to spark inside her as the phone screen finally goes dark, she makes a silent promise to herself that she's going to find a way to rise above all of this.
00;50;38;13 - 00;50;52;02
Speaker 2
It's a powerful and emotional ending that sets the stage perfectly for the next act of her journey.
00;50;52;04 - 00;51;02;28
Speaker 1
Okay, I think I like this. I think I like where we're been with this scene.
00;51;03;00 - 00;51;22;18
Speaker 2
I'm really glad to hear that. I think we've created a powerful and emotional foundation for Olivia's journey. This will definitely give her a strong motivation moving forward and set the stage for her growth and resilience. I'm excited to see where her story goes from here.
00;51;22;20 - 00;51;46;10
Speaker 1
Okay, I appreciate you, being a really good brainstorming partner and working through this. It's really helped. Is there anything else that you'd any, any ideas that you just like to throw out there on the wall? Related to anything that we've talked about?
00;51;46;12 - 00;52;21;12
Speaker 2
I'm so glad I could help brainstorm with you. One idea that comes to mind is maybe after this emotional low point, Olivia could have a small but meaningful encounter. Maybe someone find like a neighbor or even a stranger offers her a bit of kindness in that moment, which could give her a glimmer of hope and remind her that she's not completely alone and could be a nice way to transition into her, finding inner strength, and maybe even building new connections as she moves forward.
00;52;21;15 - 00;52;27;15
Speaker 1
Okay. Sounds good. Thank you. Chat.
00;52;27;17 - 00;52;38;27
Speaker 2
You're so welcome. I'm really glad we could work on this together. If you ever want to brainstorm more or talk about anything else, I'm always here. Good luck with the story and take care.
00;52;39;00 - 00;52;39;26
Speaker 1
Peace.