I agree, @WriteGeist, the remaining Signposts seem to be of highest priority. And reviewing Jim’s developing storyform (link near the top), I can see he has updated all but the latest entry, which was @jassnip’s for OS Signpost 2: Shooting People.
Which means, @Prish, that all four Throughlines still need illustrations for their Signposts 3 and 4.
Go for it, Prish!
ok…mulling it over…question
Which post do I reply to, in order for the post to be in the right place? Or does it not matter?
Just post it right in sequence here, @Prish . Once you’ve inserted it on this page, @jhull will copy and paste it appropriately in the master Storyform, which is at this link:
That link, of course, is where you will also find which Signposts have yet to be illustrated (except that @jhull has yet to paste in @jassnip’s illustration for OS Signpost 2, Shooting People).
I’ve got some ideas, and I am thinking Friday for my posting. Of course, there might be time during some family tv watching.
INFLUENCE CHARACTER THROUGHLINE
SIGNPOST 2: Making Headway
Sebastian finds that Marybeth and the other animators are starting to think of Atlantis as a possible real history, and not just a fairy tale.
If we need more and/or different detail, let me know.
So, what do you guys think?
I think it’ll do just fine, @Prish! Obviously, eventually, a lot of our diverse ideas will need to be brought into stronger convergence. For now, I would say your IC Signpost 2 works just as well as anybody’s!
And unless anyone objects, I think we can move on to @jamjam1794’s Signpost contribution (still available are Signpost 3 and Signpost 4 in ALL four of the throughlines).
If you wanted it fleshed out, I was thinking of Sebastian and some other animators going over to Marybeth’s parents place for dinner, where everyone talks about Atlantis as a real possible history, rather than a fairy tale, snowballing effect. But that it might be good to have some storytelling wiggle room, later, was my original thinking. Either choice, works for me.
Yes that works great. Creative interpretation of “shooting” people.
INFLUENCE CHARACTER THROUGHLINE
SIGNPOST 2: Making Headway
Sebastian finds that Marybeth and the other animators are starting to think of Atlantis as a possible real history, and not just a fairy tale.
I’m not so sure this works. It sounds more psychological in nature, rather than situational. Sebastian is an Influence Character with a Domain in Situation. What people may or may not think about Atlantis is not at stake here–a person stuck in the past is.
Look to Sebastian’s Domain for a better general idea of what is needed here. You have a person who is constantly becoming stranded because they’re lost in the Past. How does Making Headway develop that Throughline?
Well there ya go, @Prish — @jhull has a much-clearer eye for that “Domain stuff” than I do, and I’m glad he’s weighing in with sound advice, to help us all better understand how to apply Dramatica Theory to the best ends!
Is the point for the IC to make headway in getting out of his past attachment, since he is a change IC? That would be the audience’s view, right? Or is it from Sebastian’s view, showing him NOT making headway, i.e. people not listening to him, kind of walking by him focused on other things.
Or should I look for something that he is making headway in, from his point of view?
Argh…wrote a whole reply, and it simply disappeared. Anyone else experiencing this?
The answer to your question is yes. It could be that Sebastian makes headway and it could be that Sebastian does not make headway. The important part is the headway.
The whole point of Sebastian is to challenge MaryBeth’s stubbornness. He does this by becoming stranded in all sorts of place, presumably because he gets too caught up in studying the past (and specifically Atlantis). In the beginning, he struggles to find anything ancient about the art of animation. This could show up in a scene where Sebastian finds himself locked up inside a museum after hours (he went down to the archives to do some research and lost track of time) and MaryBeth has to come break him out.
So now in the 2nd Act, how does that develop? It could be that he starts to make headway studying animation because of something he learned studying Atlantis (or some correlation he can point to). Or it could be something as silly as he finally starts to make headway in his endless search for the perfect public toilets in New York (so he can spend more time “out there” researching…). It doesn’t necessarily have to be attached with the previous Act, though personally I like to see that flow. The important part is that his making headway will make it easier for him to end up stranded and needing help and it will therefore challenge MaryBeth to deal with her own justifications–especially if these bathrooms happen to be on the 95th floor of her office building (and maybe have floor to ceiling windows!).
INFLUENCE CHARACTER THROUGHLINE
SIGNPOST 2: Making Headway
Sebastian has discovered a Victorian zoetrope, a pre-animation device, is being used as part of a ship’s figurehead/masthead. The ship is docked in NY Coney Harbor, and Sebastian gets stuck up on the mast, trying to separate it from the figurehead. The owner sold it to him, but he has to get it, himself. When he gets stuck, he asks the people down below to call Marybeth to help him.
How is this?
Apologies for the slow response, and I hope you all had a very happy holiday!
MC Signpost 3: Having a Nervous Tic
MaryBeth is unable to hide her true feelings, due to a nervous tic that arises as the pressure grows on her personal and professional life. She cannot speak to her bosses without the tic nervously twitching, nor can she look out of the window without feeling the same thing. She is a bag of nerves.
Excellente. @SPotter you’re up next…thinking we should bring this to a close by the end of the month. See what we have and go from there.