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THelpTopic-
 General help index ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
d
 ■  Keys
 ■  Thesaurus
 ■  Spell Checker
 ■  Egri's
 ■  Notepad
 ■  Calculator
 ■  Editor commands
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THelpTopic
MAIN Help ╟
  HELP KEYS ▄
  ▀▀▀▀▀▀▀▀▀▀▀
  ■ Press [F1] to select active screen help.
  ■ Press [Tab] to jump between topics.
  ■ Press [Alt+F1] to view previous topics.
  ■ Press [ESC] to put help screen away.
╧
 ALT KEYS COMBINATIONS ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
 [Alt+a]               Add Character/Plot
 [Alt+d]               Delete Character/Plot
 [Alt+e]               Open Edit menu
 [Alt+f]               Open File menu
 [Alt+h]               Open Character menu
 [Alt+i]               Edit Character/Plot
 [Alt+n]               Save/jump Next Question
 [Alt+p]               Save/jump Previous Q
 [Alt+q]               Select Question
 [Alt+t]               Open Tool menu
 [Alt+u]               Open Question menu
 [Alt+v]               Open View menu
 [Alt+w]               Open Window menu
 [Alt+x]               Exit Collaborator
 [Alt+#]               Select Numbered Window
 [Esc]                 Return active window
.
 F KEY COMBINATIONS ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
 [F1]                  Help
 [F1 F1]               Help Menu
 [Alt+F1]              Previous Help
 [F2]                  Save active screen
 [F3]                  Open New Story
 [Alt+F3]              Close Current file
 [F5]                  Zoom window
 [Ctrl+F5] [Arrow]     Position window
 [Ctrl+F5] [Shift+Arrow] Size window
 [F6]                  Next windows
 [Shift+F6]            Previous window
 [F7]                  Thesaurus
 [Alt+F7]              Spell checker
 [F10]                 Open menu bar
4
Collaborator's editor uses the following commands: x
 EDIT KEYS ▄
  ▀▀▀▀▀▀▀▀▀▀
 [Ctrl+A]              Word left
 [Ctrl+C]              Page down
 [Ctrl+D]              Move right
 [Ctrl+E]              Line up
 [Ctrl+F]              Word right
 [Ctrl+G]              Delete character
 [Ctrl+KB]             Mark beginning of block
 [Ctrl+KC]             Block copy
 [Ctrl+KH]             Hide block
 [Ctrl+KK]             Mark end of block
 [Ctrl+KV]             Move block
 [Ctrl+KY]             Delete block
 [Ctrl+L]              Find again
 [Ctrl+N]              Insert new line
 [Ctrl+QC]             Go to end of text
 [Ctrl+QD]             Go to end of line
 [Ctrl+QF]             Find text
 [Ctrl+QR]             Go to start of text
 [Ctrl+QS]             Go to start of line
 [Ctrl+QY]             Delete to end of line
 [Ctrl+R]              Page up
 [Ctrl+S]              Move left
 [Ctrl+T]              Delete word
 [Ctrl+V]              Insert toggle
 [Ctrl+X]              Line down
 [Ctrl+Y]              Delete line
 [Alt+Bksp]            Undo
 [Shift+Del]           Delete to clipboard
 [Ctrl+Ins]            Copy to clipboard
 [Shift+Ins]           Paste from clipboard
 [Ctrl+Del]            Delete selected text
 [Ctrl+L]              Repeat Search/Replace
 [Shift+Arrow Key]     Highlight text
 [Ctrl+Lt/Rt Arrow]    Save/jump Question
 [Ctrl+Right Arrow]    Forward Character/Plot
 [Ctrl+Left Arrow]     Move Back Character/Plot
£


 WINDOW KEYS ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀
 [Alt+W]               Open Window menu
 [Alt+F3]              Close active window
 [F5]                  Zoom active window
 [Ctrl+F5] [Arrow]     Change window Position
 [Ctrl+F5] [Shift+Arrow] Change window size
 [F6]                  Next windows
 [Shift+F6]            Previous windows
 [Tab]                 Select window element
 [Alt+F3]              Close active window
][
THelpTopic  File [Alt+F] ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀
%The File menu provides commands for: Ä  ■ creating new files
  ■ opening existing files
  ■ saving files
  ■ changing directories
  ■ shelling to DOS
  ■ quitting this application

 Open   Change Dir    Quit
≥╓·▌
²δ][
THelpTopic
 File│New ▄
  ▀▀▀▀▀▀▀▀▀
Y
Open a new story file. You will be asked for a file name under which to save the story. ][
THelpTopic$ File│Open (F3) ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
@The Open Story command displays the Open Story File dialog box. (
Open a Story File dialog box contains: ░  ■ an input box with a history list
  ■ a list box to browse the directory
  ■ the Cancel button
  ■ Open button
  ■ an information panel that describes
    the selected file
][
THelpTopic File│Save ▄
  ▀▀▀▀▀▀▀▀▀▀
Saves the story to hard disk. Y
 ▌  It is strongly recommended
 ▌  that backup copies of story
 ▌  files be maintained.
│
Computers are reliable.  However, trusting work to any man-made electronic device is tempting fate. For peace of mind, before ending a session - make backup copies of your work. ][
THelpTopic  File│Save As ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀
╢Allows you to save a copy of a story file under a different name.  The new files may be edited, updated or changed with no effect on the original.  Often used to create Show Bibles. ][
THelpTopic( File│Close Story ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
)Saves and closes the current story file. ][
THelpTopic0 File│Delete Story... ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
êCollaborator produces several files for each story developed or analyzed.  Delete Story... erases all files attached to a "story file". ][
THelpTopic& File│Restore... ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
O
Allows you to restore a story file from a previous backup.  USE WITH CAUTION. ][
THelpTopic* File│Open Text... ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
òAllows editing and viewing of a text file.  Profiles, story outlines and reports from other Collaborator sessions may be viewed, copied or analyzed. ][
THelpTopic, File│Text Export...▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
t
Export the story reports to text files.  Generally used to send reports, outlines and profiles to word processors. ][
THelpTopic* File│Change Dir...▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
hDisplays the Change Directory dialog box showing a graphic representation of the files in the computer. ][
THelpTopic" File│Print... ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀
NCollaborator prints nineteen different reports.  Select report to be printed. 

To print: ▄   ▀▀▀▀▀▀▀▀▀
╖Select the report to be printed using the [Tab] and [Arrow Keys].  You may choose a many reports as required.  "Select All" prints all files attached to a story.  Then press [Enter]. 
Printer Setup: ▄   ▀▀▀▀▀▀▀▀▀▀▀▀▀▀
╜
Select Setup to choose a printer driver or printer port.  If your printer is not listed, check the printer's manual. Most printers will operate using drivers designed for another printer. ][
THelpTopic$ File│DOS Shell ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
pThe DOS Shell command, allows temporarily leaving Collaborator to perform a DOS command or run another program. 9
To return to Collaborator, type EXIT at the DOS prompt. ][
THelpTopic* File│Quit [Alt+X] ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
&Quit command terminates Collaborator. ][
THelpTopic* EDIT│Menu [Alt+E] ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
IMenu allows cutting, copying and pasting text to and from the clipboard. 

Sub Topics: [
 Undo        │     │
 Copy        │ Cut │ Paste
 Clipboard   │     │
 Clear       │     │

 Find
 Replace
 Again
	 âÿª¼│	╚▐Σφ][
THelpTopic5 UNDO│ [Ctrl+U] ▄        EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
GModified text may be returned to its original state by selecting UNDO. E
CAUTION:  Changes can not be undone, after a pressing a cursor key. M
 Cursor Keys ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀
 [Page Up] [Page Down]
 [Home] [End] [Arrows]
I
Command is disabled until text is entered or deleted in an edit window. ■	][
THelpTopic: CUT│ [Shift]+[Del] ▄     EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
8Cuts highlighted text from a document to the clipboard. /
The selected text is deleted from a document. <
Command is disabled until text is placed on the clipboard. ■	h	╙	][
THelpTopic7 COPY│ [Ctrl+Ins] ▄      EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
uCopy selected text to the clipboard. Using COPY makes a duplicate of the selected text, leaving the document intact. <
Command is disabled until text is placed on the clipboard. ■	R	▐	][
THelpTopic< PASTE│ [Shift]+[Ins] ▄   EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
ùPaste text into a document from the clipboard.  To use this option, text must have been placed on the clipboard previously using COPY or CUT commands. <
Command is disabled until text is placed on the clipboard. ■	a	ú	╛╞	][
THelpTopic2 CLIPBOARD ▄               EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀
wView the contents of the clipboard.  The clipboard is blank until text is placed on it using the COPY or CUT commands. 9
To return to the current edit window, press [Alt]+[F3]. ■	ö£][
THelpTopic7 CLEAR│ [Ctrl+Del] ▄    EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
mClear selected text from document.  Similar to the CUT option, but selected text is not placed on clipboard. V
Command deletes selected text from Story File. Text is recoverable from Dialog File. 7
The Clear command is disabled until text is selected. ■	kÜ	][
THelpTopic< FIND│ [Ctrl+Q] - [F] ▄   EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
MFinds requested text.  Dialog box appears requesting search text and limits. ■	][
THelpTopicK SEARCH/REPLACE│ [Ctrl+Q]-[A] ▄  EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
#Similar in operation to FIND text. ╙
A dialog box appears asking: ■ text to find ■ replacement text ■ if search is case sensitive ■ to look for whole words only ■ Option to prompt before replacing text ■ or to replace all finds without prompting. ■"	d][
THelpTopic5 AGAIN│ [Ctrl+L] ▄      EDIT Menu
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
aRepeats last FIND or SEARCH/REPLACE without having to reenter FIND or SEARCH/REPLACE parameters. ■	CKt|][
THelpTopic
 Questions ▄
  ▀▀▀▀▀▀▀▀▀▀
oThe Questions Menu contains the list of Collaborator's Key Questions.  Questions may be selected in any order. 5
To edit a response, highlight the question desired. ⁿ
Many of Collaborator's questions require a previous response.  If a response is required and none entered, one is automatically created.  This "generated response" is identified by its category enclosed in brackets.  i.e., (Title), (Protagonist One). ][
THelpTopic

 Character ▄
  ▀▀▀▀▀▀▀▀▀▀

Entering Characters .
Enter each character's name on its own line. ½
NOTE:  Collaborator's artificial-intelligence engine attaches character specific information to that character. This enables Collaborator to develop specialized reports. å
If a character is removed, data attached to that character is deleted.  Collaborator II always confirms before deleting a character. %
 Profile
 Add
 Copy
 Delete
 Rename
][
THelpTopic	<
 View ▄
  ▀▀▀▀▀
  ■ Outline - Current record of responses.
9		 The file is updated each time 		 a response is saved. -  ■ Dialog  - an exact time and date stamped
q		 transcription of questions and 		 responses.  As new information 		 is entered it is appended to 		 the file. î
Report Generator produces Story Outlines, Character Reports and Three-Dimensional Character Profiles, Plot Outline, even Audience Studies. W
With ten characters created and defined, twenty-five different reports are available. Y
The Three Act Outline, speeds development of step-outlines, treatments and screenplays. X
Story and Plot Outlines, as well as Audience Studies prepare you for "pitch" meetings. ╝
Three-dimensional Character Profiles help the production team understand your characters' backgrounds, values and motivations - resulting in a film that more closely follows your vision. ][
THelpTopic	<
 View ▄
  ▀▀▀▀▀
  ■ Outline - Current record of responses.
9		 The file is updated each time 		 a response is saved. -  ■ Dialog  - an exact time and date stamped
q		 transcription of questions and 		 responses.  As new information 		 is entered it is appended to 		 the file. î
Report Generator produces Story Outlines, Character Reports and Three-Dimensional Character Profiles, Plot Outline, even Audience Studies. W
With ten characters created and defined, twenty-five different reports are available. Y
The Three Act Outline, speeds development of step-outlines, treatments and screenplays. X
Story and Plot Outlines, as well as Audience Studies prepare you for "pitch" meetings. ╝
Three-dimensional Character Profiles help the production team understand your characters' backgrounds, values and motivations - resulting in a film that more closely follows your vision. ][
THelpTopic$ Window│ [Alt+W]▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
_The Window menu contains commands to close, move and perform other window-management commands. n
Most Collaborator windows have standard window elements, including scroll bars, a close box, and zoom icons. Ñ
 Window│Management Commands ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
 New Question Window
 Size/Move        Zoom
 Tile             Cascade
 Next             Previous
 Close
002E	3V4\5m6v7ç8æ][
THelpTopic< Window│New Question Window ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
▀Adds an additional question window. Data enter into a window will not be incorporated into other answers until the response is saved.  Each window may contain any Collaborator question. Responses may be given in any order. ][
THelpTopicL Window│4-Way Question Split ▄     (Ctrl+F5)
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
 Fill in 4-way split information ][
THelpTopic	6 Window│Size/Move ▄     (Ctrl+F5)
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
MChoose Window│Size/Move to change the size or position of the active window. 
 Size ▄
  ▀▀▀▀▀
nPress [Shift] while using the arrow keys, changes the size of the active window.  Once adjusted, press Enter. '
Windows with a "Resize Corner" can be  "dragged" to resize.

  Move ▄
  ▀▀▀▀▀▀
êWhen Window│Size/Move is chosen, the active window moves in response to the arrow keys.  Once the window is in possession, press Enter. D
A window is also moved by "dragging" its title bar with the mouse. ][
THelpTopic Window│Zoom (F5) ▄
¬▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Choose Zoom to resize the active window to the maximum size.  If the window already fills the screen, choosing Zoom restores it to its previous size. h
Double-click on the window's title bar, except where an icon appears, to enlarge or reduce the window. ][
THelpTopic Window│Tile ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀
<Choose Window│Tile to tile all file viewers on the desktop. 1
 ┌────────────────────────────────────┐
 │ ╔════════════1══╗┌────────────2──┐ │
 │ ║Title          ║│Act I          │ │
 │ ║───────────────║│───────────────│ │
 │ ║Response       ║│Response       │ │
 │ ║               ║│               │ │
 │ ╚═══════════════╝└───────────────┘ │
 │ ┌────────────3──┐┌────────────4──┐ │
 │ │Act II         ││Act III        │ │
 │ │───────────────││───────────────│ │
 │ │Response       ││Response       │ │
 │ │               ││               │ │
 │ └───────────────┘└───────────────┘ │
 └────────────────────────────────────┘
.	      Tiled Windows ▄ 	       ▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ][
THelpTopic$ Window│Cascade ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
@Choose Window│Cascade to stack all file viewers on the desktop. A
 ┌──────────────────────────1─┐
 │┌─────────────────────────2─┐
 ││┌────────────────────────3─┐
 │││╔═══════════════════════4═╗
 │││║                         ║
 │││║                         ║
 │││║                         ║
 │││║                         ║
 │││║                         ║
 └└└╚═════════════════════════╝

       Cascaded Windows ▄
	▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ][
THelpTopic Window│Next ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀
BChoose Next to cycle forwards through the windows on the desktop. ][
THelpTopic& Window│Previous ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
GChoose Previous to cycle backwards through the windows on the desktop. ][
THelpTopic2 Window│Close (Alt-F3) ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
)Choose Close to close the active window. O
You can also click the Close box in the upper right corner to close a window. ][
THelpTopic	 Cary Brown ▄
  ▀▀▀▀▀▀▀▀▀▀▀
┌an Emmy Award winning writer, producer, director was born in Chicago, Illinois and educated at the University of Illinois and Columbia College, Chicago.  Brown, who began his career at fifteen, as a producer of ABC's "Telechievers", was executive in charge of production for ABC Video Enterprises and has written, produced and directed over seventy film and video projects.  Married, with one son, he lives in Los Angeles.  He is a member of the Directors Guild of America. /
 Francis X. Feighann ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
{a native of Cleveland, Ohio, attended Georgetown and John Carroll Universities.  He is a screenwriter and journalist who writes for and about television and films.  Feighan began his career as an actor, was an entertainment editor for the Los Angeles Herald Examier, has been published in over a dozen national magazines and writes situation comedies, animation and soap operas. '
 Louis Garfinkle ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
≤writer, producer, coauthored the story for Academy Award winning "The Deer Hunter". He was born in Seattle, Washington, educated at University of Southern California.  Married, with three children, he lives in Los Angeles.  Garfinkle is a member of Writers Guild of America - West, the Academy of Motion Picture Arts and Sciences, the Academy of Television Arts and Sciences, the Dramatists Guild and serves on the board of advisors of the Filmic Writing Program, University of Southern California. 
 Mike Lucek ▄
  ▀▀▀▀▀▀▀▀▀▀▀
3software consultant/developer was born in Columbus, Ohio and grew up in Chicago, Illinois.  He attended the University of Illinois, Urbana-Champaign, completing his graduate work at the University of Southern California.  Lucek develops software and hardware for the aerospace and entertainment industries. S
After leaving this help screen, Press [Shift+Alt+G] for a little entertainment... ][
THelpTopic Tools Menu ▄
  ▀▀▀▀▀▀▀▀▀▀▀
:Collaborator Tools enable you to speed story development. ][
THelpTopic Video Mode▄
  ▀▀▀▀▀▀▀▀▀▀
-Toggles between a 25 and 43/50 line display. ][
THelpTopic
 Notepad▄
  ▀▀▀▀▀▀▀
╨A Notepad may be opened at anytime. Information entered becomes part of the current active file.  The notepad prints as a report.  A limited notepad is opened within each Three-Dimensional Character Profile. ?
Additional notepads may be opened using the Open Text file.   ][
THelpTopic[
 Lajos Egri's List of 100% Characteristics ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
sEach characteristic, taken to its 100 per cent extreme, is the spine for a fascinating and compelling protagonist. ┌
Egri said, "Audiences aren't interested in anybody who's a little bit greedy.  But they are fascinated by somebody who's 100% greedy - because greed dominates his life!  Yes, oh, yes!  Let's have a good look at him." ä
According to Egri, the list only begins to scratch the surface and each creator should add to it from time to time as he sees fit. ][
THelpTopic QuickCheck ▄
  ▀▀▀▀▀▀▀▀▀▀▀
ΦHere is a quick test that will help you determine if material is worth further consideration.  After reading a screenplay or story, answer the QuickCheck questions. Do not analyze your responses; work from your heart not your head. ][
THelpTopic#
 Spell Checker ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀

Checks active window. Å
This professional 149,000+ words dictionary includes hard to find legal, medical, scientific, biographical, geographical and technical terms. L
CAUTION: Larger Spell Checkers can accept a correct but unwanted spelling. 
To check a response: Q  Click Spell or Press [Alt+F7]
  Spell checking begins.
  √ checks single word.
o
 User Dictionary ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
  + adds word.
  - removes word.
  Click User or Press [Alt+r] to view.
C
 Definitions ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀
  Click Thesaurus or Press [Alt+t].
][
THelpTopic
 Thesaurus ▄
  ▀▀▀▀▀▀▀▀▀▀
The Conflict Thesaurus is expressly designed for story and character development.  Organized for "orchestration" (Egri), it contains over 557,000 synonyms, 34,000+ antonyms, 656,000 related words, 18,923 compared words and almost 300,000 contrasted words. 
To use Thesaurus: «
  Highlight word.
  Click Thes or Press F7.
  Thesaurus begins.
  Make selection.
  Click Look up or Press [Alt+l].
  for additional words.
  Click Insert or Press [Alt+i].
][
THelpTopic
Question Start ][
THelpTopic)
What is the working title of the story?  
EXAMPLE: IT'S A WONDERFUL LIFE û
WHY COLLABORATOR ASKS: Pick the word or phrase which best expresses your feelings or attitude toward the subject matter.  This technique helps you maintain  focus on the conceptual content, theme and premise. Titles should be revelatory; that is, good film titles tell the audience what the story is about.  Try not to be "arty" or cute.  Do not be concerned if a surefire title has not yet materialized. .
 ╔╗  See page 2-3
 ╚╝  Guide to Collaborator
u	vr\][
THelpTopic Describe the intended audience. 
EXAMPLE: family audience T
WHY COLLABORATOR ASKS: For whom are you writing this story?  A general audience? Children?  Mystery, sci-fi, or horror fans?  The first question might be, "Is this a story I want to see?"  If it isn't, don't expect anyone else would want to see it either.  An affecting love story cannot be told in the form of a Saturday morning cartoon. ü
Know your audience as well as you know your story and your characters. Awareness of the audience does not mean pandering to it. 9
Collaborator suggests responses in the following forms: f -- children, pre-school to early teens
 -- adult, 17 - 35
 -- women, twenty to forty
 -- sci-fi fans
.
 ╔╗  See page 2-5
 ╚╝  Guide to Collaborator
sâ][
THelpTopic.
Why will this audience respond to the story? º
EXAMPLE: This nostalgic reminiscence, about the way the American family used to be, presents today's family audience with a paradigm of how it hopes it still can be. ∞
WHY COLLABORATOR ASKS: Why will an audience stand in the rain for hours and pay ten dollars to see this film, or several times that to buy the video?  Audiences have expectations.  Films are only one option for today's leisure dollar. K
Will this story hold the audience's interest and attention for two hours? .
 ╔╗  See page 2-7
 ╚╝  Guide to Collaborator
⌐·½n	][
THelpTopicLIn one to three sentences, tell the beginning, middle and end of the story. u
EXAMPLE: A man wishes he was never born and is given the opportunity to see what a world without him would be like. 
WHY COLLABORATOR ASKS: Every story must have a beginning, middle and end. Sure, your characters and their universe will go on forever.  Theatrical films do not.  Audiences get restless after two hours, so your saga must end to satisfy the audience's need for completion. â
What are the bare bones of your story?  At this stage be as simple as possible.  As ideas develop, a detailed synopsis will grow. %
For now, try something as basic as: ; -- Boy meets girl.
 -- Boy loses girl.
 -- Boy gets girl.
.
 ╔╗  See page 2-8
 ╚╝  Guide to Collaborator
ÿ≥	¥²ºÑe	][
THelpTopic!
What is the theme of the story?  
EXAMPLE: Life is worth living. ■
WHY COLLABORATOR ASKS: Theme is the abstract "idea" or "ideas" permeating the story. Often called "thesis" in literature, theme is the underlying moral, philosophical or political view presented and advanced by the author and, usually, the protagonist. \
The theme may be found in the story's central problem or the questions posed by the story. ┴
Film stories begin by asking a question.  Will the protagonist save the drowning child, catch the crook, destroy the terrorist, get the girl, die of cancer or make it out of the jungle alive? /
 ╔╗  See page 2-10
 ╚╝  Guide to Collaborator
╢Ç3ü╨][
THelpTopic#
What is the premise of the story? ]
EXAMPLE: Concern for one's fellow man leads to one's fellow man reciprocating that concern. ├
WHY COLLABORATOR ASKS: The premise is a one-line statement which describes the story's central action, i.e., the progress of the protagonist from one emotional or philosophical pole to another. ∩
It is constructed by stating the primary characteristic of the protagonist as the subject of a sentence, followed by the verb "leads to", followed by the characteristic or condition the protagonist grows to at the time of the resolution. !
At the initial stage, the writer should have at least a sketchy idea of the unifying thread in the story.  As the treatment nears completion, the underlying idea or central thread becomes so sharp in the writer's mind, it can be expressed in one sentence (the "one-liner" or "log-line"). è
 Examples of premise: ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
 - Recklessness leads to success.
 - Bigotry leads to fame and fortune.
 - Perversion leads to sainthood.
 - Egotism leads to a happy marriage.
 - Righteousness leads to frustration and murder.
 - Morbidity leads to loss of fear and anxiety.
 - Impulsiveness leads to conformity and miserliness.
 - Escapism leads to self-knowledge and disgust.
/
 ╔╗  See page 2-12
 ╚╝  Guide to Collaborator
{┘Ç»'
][
THelpTopic*
What is the genre and tone of the story? K
EXAMPLE: American folk fantasy.  Sentimental Dickensian screwball-comedy. ▀
WHY COLLABORATOR ASKS: The genre and tone of a story affect all aspects of production and dictate the characters' dress and manner of speech - and determine the color and mood of the sets - and affect the director's choice of camera angles.  Every story falls into one or more genres.  Are you taking the genre seriously?  Parodying it?  Presenting the mystery par excellence?  There can be more than one tone.  Truffaut and Hitchcock among others, have done this successfully. ╘
In a fantasy, reality can be enhanced to make anything credible.  However, to empathize with the protagonist, audiences must believe the protagonist knows, understands and accepts the rules of this environment. i
E.g., Superman can fly.  Lassie can always "come home".  "Toons" exist side-by-side with "real" people. ╣
 Examples: ▄
  ▀▀▀▀▀▀▀▀▀▀
 Genre:                Tone:
 - comedy              - somber
 - horror              - serious
 - Western             - comic
 - science fiction     - playful
/
 ╔╗  See page 2-14
 ╚╝  Guide to Collaborator
][
THelpTopicO
Time: When does the story take place, and why is this time period imperative? ±
EXAMPLE: This contemporary story (1948) begins in a 1919 flashback, and continues to the post-war years of 1946-47.  IT'S A WONDERFUL LIFE is a comment on and reaffirmation of traditional American values immediately following World War II. [
WHY COLLABORATOR ASKS: The reality of time affects a story.  Life in the Middle Ages differs from life in the year 2500.  In the Middle Ages transportation was difficult.  People were cold, poorly fed and without medical care.  Five hundred years from now travel will be at the speed of light. Food, sex and the common cold have become obsolete. ß
Story often dictates time period.  However, it is possible to bend historical reality and impose a different time period.  The world George Lucas created in STAR WARS is a mixture of the Old West and a Distant Time to Come. /
 ╔╗  See page 2-16
 ╚╝  Guide to Collaborator
][
THelpTopicM
Place: Where does the action take place, and why is this setting essential? 
EXAMPLE: Bedford Falls ╥
WHY COLLABORATOR ASKS: The setting is a tool to drive the story's action forward.  It is a continual reminder of the protagonist's problem, dilemma, goal, etc.  Setting often takes on the aspect of character. x
 Examples: ▄
  ▀▀▀▀▀▀▀▀▀▀
 - Mrs. Brown's Chicken Farm
 - Wall Street
 - Hollywood
 - Hong Kong
 - The Red Planet Mars
/
 ╔╗  See page 2-17
 ╚╝  Guide to Collaborator
{▄][
THelpTopic	┤
List the locations or settings (sets) the action requires.  Note: If the list is to be imported into a script processor define each listing as Ext. (Exterior) or Int. (Interior). 7
EXAMPLE: (List to be imported into script processor.) _
Ext. Main Street Ext. Potter's bank Int. Potter's bank Ext. Hatch Home Int. Hatch living room %
(Development and/or analysis list.) 6
The struggling Bailey Building and Loan Characters' homes A dilapidated mansion, to become George and Mary's home Martini's bar Bailey Park, a tract housing development Town high school with swimming pool under gym Small pharmacy with soda fountain Train station Bridge tender's shack The bridge Town library ╧
WHY COLLABORATOR ASKS: Economy of story, as well as production, dictates the locations of scenes.  In the fifty to seventy scenes required to make a film, there is time for only the most essential moments. =
Neither film crew nor audience is looking for a travelogue. ç
 Examples: ▄
  ▀▀▀▀▀▀▀▀▀▀
 Arena - Chicken farming or farming
 Location - Mrs. Brown's Chicken Farm
 Sets - farm house, kitchen, barn
/
 ╔╗  See page 2-19
 ╚╝  Guide to Collaborator
][
THelpTopic	
What is the main conflict? 
EXAMPLE: George versus Potter 8
WHY COLLABORATOR ASKS: The soul of drama, is conflict. x
 Examples: ▄
  ▀▀▀▀▀▀▀▀▀▀
 - Rocky vs. Apollo Creed.
 - Doctor Jekyll vs. Mr. Hyde.
 - Luke Skywalker vs. Darth Vader.
Γ
All of these have an overriding central or main conflict which is larger than life, larger than the characters involved.  Their central conflict deals with concepts: good versus evil, the average man against impossible odds. ┴
Plot is conflict and action.  Conflict and action create drama.  Antagonists engineer events or situations to prevent protagonists from making new achievements or protecting their status quo. ó
A story is a series of conflicts.  However, drama begins with conflicts of significance.  The vicissitudes of daily life, no matter how annoying, are not drama. Γ
Compelling drama begins when a force threatens the protagonist or complicates the struggle to obtain and maintain basic needs.  The battle must be vital to create tension, required for the audience to empathize and identify. /
 ╔╗  See page 2-21
 ╚╝  Guide to Collaborator
û╧úº	¼∩][
THelpTopic=
Using at least three or four sentences, describe the  plot. 
EXAMPLE: An Angel is assigned to earth to stop a man from committing suicide.  The Angel is shown the man's life in flashback.  The death of the man's father requires he sacrifice his dream and run the family business.  He is further frustrated by the town banker.  His disappointment turns to suicidal depression when a sizable chunk of the company's cash is lost.  The Angel shows the man how life in his town would be if he never existed.  His value as an individual is reaffirmed by his effect on the townsfolk who rally to his aid. ╘
WHY COLLABORATOR ASKS: The delineation of action, conflict and complication is called the plot, "an arrangement of incidents which must be whole, complete in themselves and of adequate importance." (Aristotle). 1
The components of plot are often summarized as: Z
 The Four C's ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀
  * Conflict  * Complications
  * Crisis    * Conclusion
Ç
Plot is every event and action in the story.  Every event and action must have meaning.  The thrust of plot must be continual. /
 ╔╗  See page 2-23
 ╚╝  Guide to Collaborator
û│Ü╕¢µ)][
THelpTopic
What is at stake? 

EXAMPLE: 4
The future of Bedford Falls, nothing less (or of America itself).  Will the town be the open-hearted dwelling place dedicated to the ideals of freedom, self-expression and generosity envisioned by George Bailey's father?  Or will Potter turn it into his hard-hearted, downtrodden personal fiefdom of greed? ≡
WHY COLLABORATOR ASKS: "What makes a character start a chain of events which might destroy him or help him to succeed?  There is only one answer: necessity.  There must be something at stake - something pressingly important," writes Egri. /
 ╔╗  See page 2-25
 ╚╝  Guide to Collaborator
{è][
THelpTopic
What is the point of attack? F
EXAMPLE: The story is set in the framework of an Angel viewing the protagonist retrospectively.  This allows the backstory to unfold in flashback before attacking the contemporary action.  It is reported in Heaven that George Bailey is on the verge of suicide, which causes the Powers That Be to assign an Angel to save him. ▌
WHY COLLABORATOR ASKS: The point of attack is the time at which the writer begins the story or the time at which a scene begins.  The film and each scene is best entered at the last possible moment.  "Cut to the chase." x
Although the point of attack is the time when the action and the film begin, it is not the time when the story begins. Å
The point when the story begins, somewhere in the first fifteen minutes of the film, occurs when the precipitating or inciting action occurs. /
 ╔╗  See page 2-27
 ╚╝  Guide to Collaborator
1][
THelpTopic?
What is the inciting action or event which begins this story? /
EXAMPLE: The death of George Bailey's father. ╒
WHY COLLABORATOR ASKS: The question is not, "When does the story start?" - but what incident places the protagonist (or loved ones) in jeopardy and sets in motion the events which inescapably lead to the climax. /
 ╔╗  See page 2-28
 ╚╝  Guide to Collaborator
Ç╪ÆΦ
à<][
THelpTopicp
What is the protagonist's name?  If more than one  protagonist is required, list each name on a separate line. 
EXAMPLE: George Bailey Θ
WHY COLLABORATOR ASKS: Who is this story about?  Who drives the "action"?  The protagonist is the person who wants something and acts to get it -- the one who must face conflicts and resolve them, face jeopardies and surmount them. ?
The choice of a character name can be critical.  Use names which sound like the character.  Do not use the same letter to begin several names. Use trendy names only when appropriate.  Consider the social, physical and psychological sections of the "Three Dimensional Profile" when naming characters.  (See chapter 3.) /
 ╔╗  See page 2-29
 ╚╝  Guide to Collaborator
}.][
THelpTopic,
What is the protagonist's motivating goal? a
EXAMPLE: To emulate his father and propagate his father's high-minded manner of doing business. Ö
WHY COLLABORATOR ASKS: Film stories begin with a protagonist facing a problem.  Why does the protagonist need to succeed, endure, persevere or conquer? Æ
Man's basic motivation - self-preservation and self-esteem - leads to the pursuit of food, shelter, money, property and sex - fundamental needs. 7
 ▌  Protagonists defend that
 ▌  which is threatened.
/
 ╔╗  See page 2-30
 ╚╝  Guide to Collaborator
Ü.é╛][
THelpTopicT
List at least five of the protagonist's motivating or significant characteristics. ?
EXAMPLE: Responsible, selfless, benevolent, steadfast, loyal. ₧
WHY COLLABORATOR ASKS: Motivation is the why of a character's action.  Characters are more reactors than actors.  They need stimulation and a reason to act. É
 ▌  Protagonists are self-starters.
 ▌  They are sufficiently motivated so, when
 ▌  confronted by doubts, their passions
 ▌  take precedence.
Ö
E.g., "I will save the bank, baby's life, city's water supply or the freedom of the world.  And my dad's got a barn and we'll put on one helluva show!" á
During a story's action, protagonists become extraordinary because their creators provide them with a unique combination of characteristics equal to the task. T
Visualize protagonists by using information from their Three-Dimensional Profiles. /
 ╔╗  See page 2-32
 ╚╝  Guide to Collaborator
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THelpTopic0
Why does this story belong to the protagonist? ä
EXAMPLE: The mantle of responsibility for his community is thrust upon him.  His character traits require him live out this story. ╚
WHY COLLABORATOR ASKS: Stories revolve around what protagonists want and their struggle to get it.  Most stories concern a moral or physical threat to the protagonist's values, person or loved ones. /
 ╔╗  See page 2-34
 ╚╝  Guide to Collaborator
üΘ][
THelpTopicK
Why is the protagonist the only person who can resolve the main conflict? d
EXAMPLE: George is the only person in Bedford Falls able to stop Potter from taking over the town. ╚
WHY COLLABORATOR ASKS: The protagonist must be in the center ring, must face the conflict and must be the only person who can precipitate the resolution.  By definition, this is an unbreakable rule. ~
To engender the audience's empathy and involvement, the protagonist must be the only person who precipitates the resolution. ï
A protagonist must have a unique combination of talents or abilities to overcome seemingly impossible odds -- and still achieve the goal. i
 ▌  It is always preferable for the
 ▌  protagonist to discover those
 ▌  talents as the story unfolds.
/
 ╔╗  See page 2-35
 ╚╝  Guide to Collaborator
é╠⌐ë][
THelpTopicM
Is the protagonist required to resolve the main conflict by a certain time? K
EXAMPLE: George must find the money Uncle Billy lost or face prosecution. {
WHY COLLABORATOR ASKS: Must the protagonist accomplish something, attain a goal or reach a destination by a certain time? l
 ▌  A sense of urgency often makes
 ▌  the protagonist's plight greater
 ▌  and improves the story's pace.
i
The more urgent it is for the conflict to be resolved, the more the audience roots for the protagonist. /
 ╔╗  See page 2-35
 ╚╝  Guide to Collaborator
][
THelpTopic<
What character traits demand the protagonist will triumph? Q
EXAMPLE: Dedication, sense of justice, belief in the dignity of the common man. ≤
WHY COLLABORATOR ASKS: Believing a moral position correct, protagonists commit the full force of their physical and mental skills to reach goals, defeat enemies or defend that which is threatened.  The need for victory must be all-consuming. ñ
 ▌  Protagonist's goals
 ▌  (in terms of the rules of this story)
 ▌  should be stated as quickly as possible
 ▌  must be worthwhile
 ▌  must have a credible plan
/
 ╔╗  See page 2-37
 ╚╝  Guide to Collaborator
üå][
THelpTopic+
Why is what the protagonist does crucial? Ñ
EXAMPLE: Without George, as demonstrated in the dream sequence, the happy people of Bedford Falls would be transformed into the miserable wretches of Pottersville. 
WHY COLLABORATOR ASKS: H
 ▌  If the protagonist does not act,
 ▌  this is someone else's story.
Ç
If the protagonist does not have the strength and skill to overcome the antagonist, the protagonist is an inadequate creation. /
 ╔╗  See page 2-38
 ╚╝  Guide to Collaborator
ä⌡»z
][
THelpTopicM
What fault or flaw in the protagonist is an obstacle to obtaining the goal? ~
EXAMPLE: Self doubt, self pity, inability to see his own value, ambivalence about himself, impatience with his own humanity. f
WHY COLLABORATOR ASKS: Dramatic interest, sustained by tension, dictates the protagonist be challenged at every turn.  As the protagonist pursues a goal, regardless of the antagonist, conflict upon conflict, obstacle upon obstacle should be imposed.  A protagonist who succeeds against external forces, and also conquers a personal flaw, is a greater hero. ¿
The greater the conflicts, the more engrossed the audience becomes.  If the protagonist is superior to the challenge, the conflict is dissipated; there is no tension. /
 ╔╗  See page 2-39
 ╚╝  Guide to Collaborator
ûKìy
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THelpTopic6
Why will the audience identify with the protagonist? ┼
EXAMPLE: George is a likeable, sympathetic character with whom audiences can identify.  Most can relate to his bowing to the pressure of family and peers. George represents ideal American values. C
WHY COLLABORATOR ASKS: The audience must identify with the protagonist's needs and point of view.  "Identify" does not mean "agree".  The writer, director and actor must find a bridge to the audience, an aspect of human experience which allows the audience to put themselves in protagonists' shoes and share their values. /
 ╔╗  See page 2-41
 ╚╝  Guide to Collaborator
s⌐8][
THelpTopic	m
What is the antagonist's name?  If more than one antagonist is required, list each name on a separate line. 
EXAMPLE: Herbert Potter 6
WHY COLLABORATOR ASKS: THERE MUST BE AN ANTAGONIST.  Antagonists must be real people or "beings", not ambiguous ideas or amorphous vessels.  If the antagonist is society, organized crime, adults or the government, for example, this faceless group must be personified by a character, preferably a human being. /
 ▌  Stories pit one idea
 ▌  against another.
¬
The protagonist represents one idea, the antagonist the opposite.  The protagonist faces conflicts -- opposition to ideas.  That opposition can be external or internal. c
Internal conflicts -- man against himself --  usually center on the protagonist's moral struggle. ƒ
Drama, like football, plays according to certain rules.  An audience feels cheated if a player suddenly appears from the sidelines to attack the protagonist. B
Play fair with the audience and tell them whom is on which side. /
 ╔╗  See page 2-43
 ╚╝  Guide to Collaborator
î░
Ç±üF	][
THelpTopicS
List at least five of the antagonist's motivating or significant characteristics. A
EXAMPLE: Self-centered, selfish, malevolent, crafty, deceitful. o
WHY COLLABORATOR ASKS: The antagonist's characteristics and goals are, by definition, opposite those of the protagonist.  It is possible to create an antagonist simply by listing the protagonist's characteristics, finding the list of antonyms matching those characteristics, and then assigning those antonyms to the antagonist to provide the spine of the character. ╨
 Examples: ▄
  ▀▀▀▀▀▀▀▀▀▀
  PROTAGONIST                ANTAGONIST
  - good                     - bad
  - young                    - old
  - poor                     - rich
  - thin                     - fat
#
These, of course, are reversible. /
 ╔╗  See page 2-46
 ╚╝  Guide to Collaborator
][
THelpTopic0
How is the antagonist's strength demonstrated? !
EXAMPLE: By the deference the other characters, particularly Potter's underlings, show him and the abuse they allow him to heap on them.  In the opening sequence, a twelve-year-old George Bailey is forced to watch Potter berate his father.  It is clear Potter all but owns Bedford Falls. ╥
WHY COLLABORATOR ASKS: The antagonist must be formidable.  The audience must have an accurate measure of the challenges facing the hero and needs to understand who the opposing forces are and what each wants. Z
The antagonist's power should develop and increase as the story moves toward the climax. w
It is the writer's obligation to provide exposition or action which delineates the antagonist's powers and resources. /
 ╔╗  See page 2-47
 ╚╝  Guide to Collaborator
ïn
⌐Æ][
THelpTopic1
Why does the antagonist oppose the protagonist? C
EXAMPLE: Because George is Potter's only threat in Bedford Falls. ╠
WHY COLLABORATOR ASKS: The needs and wants of the antagonist must equal or exceed the needs and wants of the protagonist.  All characters have needs and wants, many of which change as the story unfolds. /
 ╔╗  See page 2-49
 ╚╝  Guide to Collaborator
ï¿
éπ][
THelpTopicÑThe motivating characteristics of protagonist are:  response The motivating characteristics of antagonist are:  response Do these characteristics oppose each other? 9
EXAMPLE: These are intentionally chosen to be opposite. ╥
WHY COLLABORATOR ASKS: Conflict is best when needs of equal value oppose each other.  The tension created by conflict is the agent which drives the characters to arrive at the climax from opposite directions. »
 ▌  By applying antonyms to the protagonist's
 ▌  motivating characteristics, a menacing
 ▌  profile of the antagonist emerges.
 ▌  This is what Egri termed "orchestration".
╤
It is important to note this is not a "good or evil" response.  Antagonists are not necessarily evil.  Drama is conflict, one side against the other.  Whether or not one side is right or wrong is irrelevant. 3
Protagonists can be evil and still drive a story. /
 ╔╗  See page 2-50
 ╚╝  Guide to Collaborator
ï≈è╚][
THelpTopic~
Describe how the skills, desires and strengths of the antagonist are equal to, if not greater than, that of the protagonist. ╜
EXAMPLE: George may be as gifted a businessman as Potter, but Potter has a genius for pursuing power for its own sake.  George sees power as a tool to improve the lives of his fellow men. ■
WHY COLLABORATOR ASKS: Drama is a contest of wills and skills.  The audience must feel the opposing teams are equally matched.  Heroes can be underdogs, i.e., vulnerable and sympathetic, but their potential to equal the antagonist must become apparent. Å
Villains, while they may exhibit vulnerability, should never be underdogs.  They may play on the audience's sympathy, but not be sympathetic. /
 ╔╗  See page 2-51
 ╚╝  Guide to Collaborator
¢üÇ╜è
][
THelpTopicB
What is the protagonist's and the antagonist's unbreakable bond? í
EXAMPLE: The town of Bedford Falls.  George wants to make the town in his father's idealistic image.  Potter wants to make the town in his own mercenary image. n
WHY COLLABORATOR ASKS: The unbreakable bond between the protagonist and antagonist binds the story together. m
 ▌  If either the protagonist or the
 ▌  antagonist is able to get up and walk
 ▌  away, the movie is over.
}
The best battles are life-and-death matters. And five unbreakable bonds in a story are better than four, three, two or one. 2
In real life, when weapons are fired, a rational person beats a hasty retreat.  Protagonists don't.  There have to be reasons that protagonists are willing to risk everything to confront their assailants.  These are the unbreakable bonds that the writer, director, actor and their audience must discover. /
 ╔╗  See page 2-52
 ╚╝  Guide to Collaborator
][
THelpTopicB
Why does the antagonist believe the protagonist can be overcome? D
EXAMPLE: Potter believes everyone has his price, including George. ╒
WHY COLLABORATOR ASKS: The antagonist must feel superior to the protagonist.  The antagonist may feel threatened, but not until the climax does the antagonist acknowledge he may be vulnerable to the protagonist. G
Antagonists are almost always arrogant and sure of their superiority. Ç
 ▌  In their fear or arrogance,
 ▌  protagonists and antagonists,
 ▌  with a certain naivete,
 ▌  feel superior to each other.
/
 ╔╗  See page 2-53
 ╚╝  Guide to Collaborator
Äú][
THelpTopic|
Who is the love interest: the character the protagonist will protect at all costs?  (A love interest may not be required.) 
EXAMPLE: Mary ╡
WHY COLLABORATOR ASKS: Not only must protagonists elicit empathy and inspire confidence, but they must also exhibit a positive emotional reaction to another (usually human) being. @
Children and cowboys are allowed to fall in love with animals. u
 ▌  Although most stories have a love
 ▌  interest, not all stories involve
 ▌  romantic love or sexual attraction.
»
 The love interest may be: ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
 - a lover
 - a parent
 - a sibling
 - a pet
 - a friend
 - the antagonist
 - a confidante
 - a catalytic character
/
 ╔╗  See page 2-54
 ╚╝  Guide to Collaborator
öæ][
THelpTopic4
What does the love interest offer the protagonist? 
EXAMPLE: Unconditional love  
WHY COLLABORATOR ASKS: Spiritual and emotional support are as necessary as physical, financial or intellectual aid.  The more deeply drawn the characterization of the "loved one", the less likely it is that one will have created a "cardboard" character. s
 ▌  The love or approval of a
 ▌  "one-dimensional" loved
 ▌  one isn't worth the 
 ▌  cardboard it's printed on.
/
 ╔╗  See page 2-56
 ╚╝  Guide to Collaborator
][
THelpTopic`
Who are the most important additional or minor characters?  List each name on a separate line. 
EXAMPLE: Uncle Billy. ä
WHY COLLABORATOR ASKS: Supporting, secondary or minor characters are those who aid or confront the protagonist and the antagonist. ┤
 ▌  Many stories require a catalytic
 ▌  character who enters the story,
 ▌  usually near mid-point or later,
 ▌  and changes the protagonist's
 ▌  wants, needs, goals or action.
7
Supporting characters can also be pivotal characters. ╘
"Wisdom figures" (all-knowing, catalytic characters) can bring information to the story and the audience with unique impact.  They also serve to enhance protagonists' merits and reveal antagonists' malevolence. ∙
 Examples: ▄
  ▀▀▀▀▀▀▀▀▀▀
 ■  Catalytic Character
      WIZARD OF OZ - Glinda the Good
      MIDNIGHT COWBOY - Ratso Rizzo
 ■  Confidante
      STAR TREK - Spock
      WORKING GIRL - Cyn
 ■  Wisdom figures
      STAR WARS - Yoda and Obi Wan Kenobi
/
 ╔╗  See page 2-57
 ╚╝  Guide to Collaborator
Ç▄è≡
][
THelpTopic?
How does this additional character relate to the protagonist? F
EXAMPLE: He precipitates the climax, propelling George into turmoil. φ
WHY COLLABORATOR ASKS: Stories are about people.  People do not live in a vacuum, they interact and depend on each other.  As in life, dramatic characters are influenced and affected by those who may seem peripheral to their situation. J
Protagonists play out their existences against a canvas of other people. ¢
Audiences can learn much about protagonists via their interactions with other minor characters.  A story's minor characters build an illusion of reality. /
 ╔╗  See page 2-59
 ╚╝  Guide to Collaborator
Çt][
THelpTopic>
What are the major plot complications leading to the climax? 
EXAMPLE: The obstacles placed in George's path force him to remain in Bedford Falls and run the Building and Loan.  Potter wages a campaign to sabotage the Building and Loan and to "buy" George.  Uncle Billy's misplaces the money.  George contemplates suicide. \
WHY COLLABORATOR ASKS: The plot is the combination of events leading to the climax.  Each plot point, complication, crisis or conflict becomes a building block in a story.  That is, if "this" happens, "that" must happen.  Successful stories have well-wrought complications which drive the protagonist, crisis by crisis, toward the story's climax. 
Film plot complications are more effective when visual and played out in action, rather than presented in dialogue.  Rely on plot to hold an audience.  Pictures that lean too heavily on dialogue, rather than plot, action and visualization, don't do well. º
 ▌  When what actors say is more important
 ▌  than what they do, the product will more
 ▌  likely be something that belongs on the
 ▌  stage rather than the screen.
/
 ╔╗  See page 2-61
 ╚╝  Guide to Collaborator
{a╖╥][
THelpTopic\
Using a separate paragraph for each, list the plot points and their transitions for ACT I. ╪
EXAMPLE: 1. To earn his wings in Heaven, the angel Clarence is assigned to stop George Bailey from committing suicide.  To acquaint Clarence (and the audience) with George, the backstory is presented in flashbacks. b
2. George, 12, works for an alcoholic pharmacist who accidentally mixes a poisoned prescription. ]
3. George goes to his father for advice only to find Potter, the town banker, berating him. 
WHY COLLABORATOR ASKS: This procedure helps to determine whether or not a story develops logically.  Each plot point represents a choice by the writer, but not a "right" or a "wrong" choice.  Responding to this question helps to avoid poor or less efficacious choices. ⌡
Act I sets a foundation for the story.  Here, an audience is introduced to the arena in which the protagonist will battle.  They will "meet" the protagonist and should quickly learn of the challenge that will drive the protagonist into action. /
 ╔╗  See page 2-62
 ╚╝  Guide to Collaborator
ÿ][
THelpTopicf
Does this event introduce a character, move the story forward or propel the protagonist into action? ╕
EXAMPLE: 1. This event introduces the angel Clarence and the protagonist, George Bailey.  It establishes the reason Clarence is sent to Earth and explains his relationship to George. ∙
WHY COLLABORATOR ASKS: Is this scene building a foundation?  Does this scene supply information necessary to a full and swift understanding of characters and plot? As Egri said, "Don't give them so little they get lost, or so much they get bored." ß
Screen time is precious.  Every frame of film must move the story forward by revealing character, giving information and/or causing action.  It should also create new complications and never stop being visually stimulating. /
 ╔╗  See page 2-64
 ╚╝  Guide to Collaborator
][
THelpTopic>
What major conflict does the protagonist encounter in Act I? x
EXAMPLE: As a twelve year-old, George stands up to Potter and defends his father from Potter's accusations of failure. ╠
WHY COLLABORATOR ASKS: Conflict is only meaningful to an audience when the protagonist is attempting to gain control of each successive complication in a quest to achieve precedence over the antagonist. ö
When the major conflict is established, the protagonist continues to face additional conflicts of equal or lesser intensity to the major conflict. ^
An effective story contains conflict, which might be serious, comic or both, in every scene. w
 ▌  Scenes with conflict play better, and
 ▌  generate greater audience involvement
 ▌  than scenes without conflict.
/
 ╔╗  See page 2.65
 ╚╝  Guide to Collaborator
{╧Ç¢╡][
THelpTopic<
Describe the subplots and how they affect the protagonist. L
EXAMPLE: Mary's relationship with Sam Wainwright forces George to propose. C
Violet's relationship with George makes him vulnerable to Potter. Y
Mr. Gower's alcoholism triggers a demonstration of George's concern for his fellow man. `
Uncle Billy's alcoholism causes memory lapses and anxiety which lead him to misplace the cash. ;
The success of Bailey Park motivates Potter's antagonism. H
Clarence's effort to earn his wings contributes to George's salvation. ß
WHY COLLABORATOR ASKS: Subplots are subsidiary anecdotes that shed light or shadows on the main story.  Subplots move the main story along or it bogs down. Subplots can feature the protagonist or only additional characters. 
 ▌  Effective subplots reach a climax
 ▌  simultaneously with and often as a
 ▌  result of the same action as the
 ▌  plot itself.  A subplot's
 ▌  conflict can be resolved at the same
 ▌  time as the main conflict and
 ▌  by the same actions or characters.
┌
Film stories can bear several subplots.  A subplot which involves the protagonist and an additional conflict or problem, and which is resolved simultaneously with the main conflict, adds depth and variety to a story. /
 ╔╗  See page 2-66
 ╚╝  Guide to Collaborator
|`{│
][
THelpTopic\
What must the audience know to understand and become involved in the protagonist's battle? i
EXAMPLE: Potter is the negative force in Bedford Falls.  George is trying to save the town from Potter. 
WHY COLLABORATOR ASKS: Is there unknown information the audience is required to understand in order to follow the story?  There should not be.  The protagonist and the audience must be aware of both the goal and the possible actions necessary to overcome the antagonist. «
 ▌  Nothing is more irritating to an audience
 ▌  than an offstage resolution, especially
 ▌  when the resolving action is ignited
 ▌  by information deliberately withheld.
/
 ╔╗  See page 2-67
 ╚╝  Guide to Collaborator
][
THelpTopicC
What action must the protagonist take to overcome the antagonist? T
EXAMPLE: George creates low cost housing in Bailey Park to replace Potter's slums. ╞
WHY COLLABORATOR ASKS: The protagonist and the audience must know both the goal and the possible actions necessary to achieve the goal, as well as the actions necessary to overcome the antagonist. Å
The antagonist must build a wall so high, that the degree of difficulty the protagonist must exert in surmounting it entertains the audience. /
 ╔╗  See page 2-69
 ╚╝  Guide to Collaborator
üÅc
][
THelpTopic`
Using a separate paragraph for each, list the sequence of events for the first half of ACT II. X
EXAMPLE: 1. After George's father's death, Potter tries to seize control of the B & L. C
2. The board agrees to keep the B & L open if George will run it. O
3. Clarence explains that George gave his college money to his brother Harry. û
WHY COLLABORATOR ASKS: During Act II the protagonist must be enmeshed in a series of escalating conflicts, often called "beats" or major plot turns. «
These steps should be steep enough to keep an audience glued to its seats but not so steep that the protagonist's journey loses credibility.  Keep fresh information coming. =
 ▌  Audiences and protagonists
 ▌  thrive on new knowledge.
/
 ╔╗  See page 2-70
 ╚╝  Guide to Collaborator
₧╒][
THelpTopic	F
How does this event add to the momentum of the protagonist's action? ▌
EXAMPLE: 1. After the death of George's father, Potter tries to seize control of the B & L.  Potter's verbal attack on George's father, and his plan to dissolve the B & L, drive George to assume management of the B & L. l
WHY COLLABORATOR ASKS: As Act II begins, the event(s) must force the protagonist to make a choice, to act. Z
Each step in the plot must propel the protagonist more intensely toward the climax.  Just as in life, circumstances may force a protagonist to backtrack or sidestep to deal with a subplot.  No deviation in purpose, however attractive it may appear, can be allowed to retard the protagonist's momentum toward the goal for more than a short time. h
As soon as possible, the protagonist's nose must return to true North, like a well magnetized compass. U
 ▌  The closer the event is
 ▌  to the climax, the more
 ▌  climactic it should be.
+
The action in a story must be relentless. b
Each line of dialogue, each shot, each scene must delineate character or move the story forward. /
 ╔╗  See page 2-72
 ╚╝  Guide to Collaborator
{ó][
THelpTopicy
In ACT II, what conflicts and obstacles has the antagonist provided to prevent the protagonist from achieving the goal? B
EXAMPLE: Potter tries to gain control of and dissolve the B & L. d
Potter recalls the B & L's note, then offers fifty cents on the dollar for the outstanding shares.  
Potter attempts to buy George. ▀
WHY COLLABORATOR ASKS: Protagonists want something.  Antagonists prevent them from getting it.  The more inventive, innovative, clever, the antagonist is, the more insurmountable the obstacles will be for the protagonist. ü
 ▌  The greater the test of the
 ▌  protagonist's strength and
 ▌  resourcefulness, the more
 ▌  involved the audience will be.
/
 ╔╗  See page 2-73
 ╚╝  Guide to Collaborator
}X][
THelpTopicj
What aspects or details of character have been presented to create a sense of the protagonist's reality? Å
EXAMPLE: George's too-good-to-be-true quality is counterbalanced by his constant expression of dissatisfaction with the patterns of his life. ∞
WHY COLLABORATOR ASKS: Protagonists must exhibit behavior the audience believes to be real.  If the audience does not believe, they refuse to identify.  But protagonists must be larger-than-life in order to accomplish difficult tasks. 
Balancing the strengths and weaknesses of a protagonist is imperative.  Without fortitude a protagonist can't reach the goal. M
 ▌  Make a protagonist too strong,
 ▌  and the audience soon loses empathy.
D
The protagonist requires a biography or Three-Dimensional Profile. /
 ╔╗  See page 2-74
 ╚╝  Guide to Collaborator
ƒsò][
THelpTopici
What aspects or details of character have been presented to create a sense of the antagonist's reality? K
EXAMPLE: Potter is a brilliant banker, constantly attended by sycophants. º
WHY COLLABORATOR ASKS: Antagonists want to destroy protagonists.  At the very least, antagonists want to stop protagonists from accomplishing what they have in mind. E
 ▌  Audiences need to know why
 ▌  antagonists oppose protagonists.
£
The reasons can probably be discovered in antagonists' deep, dark pasts.  Antagonists smart from past injuries at the hands of...  They yearn for payback. å
Give an audience the slightest detail concerning antagonists' hatred of protagonists, and they will infer whole universes of malice. o
How threatened audiences feel in the presence of antagonists is the measure of how well they have been drawn. ê
 ▌  An audience's enjoyment of a film
 ▌  is deeply rooted in the intensity
 ▌  of the emotions engendered in them
 ▌  by antagonists.
X
To relate to protagonists, audiences must believe in the danger antagonists represent. ?
Antagonists require a biography or Three-Dimensional Profile. /
 ╔╗  See page 2-76
 ╚╝  Guide to Collaborator
░═▒╓	][
THelpTopicf
What aspects or details of character are presented to create a sense of the love interest's reality? ¿
EXAMPLE: Mary's character as presented in the screenplay is cardboard.  The character of Mary succeeds on film because of the personal charisma of actress Donna Reed. ╤
WHY COLLABORATOR ASKS: All too often the love interest is a two-dimensional sex or love object.  Consequently, the opportunity to introduce a character who contributes depth and texture to a story is missed. ╖
 ▌  The more an audience understands
 ▌  the need, wants and desires of a
 ▌  love interest, the more an audience
 ▌  will share the protagonist's feelings
 ▌  about his loved ones.
B
Love interests require a biography or Three-Dimensional Profile. /
 ╔╗  See page 2-77
 ╚╝  Guide to Collaborator
Ñ9
][
THelpTopic╤
Using a separate paragraph for each, list the sequence of events in the second half of Act II, building to the crisis.  Remember - there should be new information leading the protagonist to change direction. a
EXAMPLE: 1. George and Mary (in Potter's Field, a slum) move the Martini family to Bailey Park. ~
2. Sam Wainwright, now very rich, shows up and invites them to Florida. George compares himself to Sam and feels inadequate. K
3. Potter's lackey points out to him that Potter's Field is becoming one. ╙
WHY COLLABORATOR ASKS: At Act II's midpoint, the protagonists should experience revelations, cutting them off from any retreat and sending them off in a new direction with new goals and more intense conflicts. ` 
 "New" is the mother's milk of storytelling. ▄
   ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
è
Unless an audience is regularly fed a diet of fresh material in increasingly appetizing packages, the tale grows stale and the act dies. /
 ╔╗  See page 2-78
 ╚╝  Guide to Collaborator
][
THelpTopicH
How does the preceding continue to propel the protagonist into action? Z
EXAMPLE: George continues building Bailey Park, which foreshadows Potter's waning power. b
WHY COLLABORATOR ASKS: If this event fails to propel the protagonist into action, get rid of it. p
Short pauses in action are acceptable and can increase tension.  But don't keep the audience waiting too long. /
 ╔╗  See page 2-80
 ╚╝  Guide to Collaborator
][
THelpTopicj
What is the relationship of the love interest to the other principal characters at the story's midpoint? A
EXAMPLE: Potter, failing to crush the B & L with a direct attack, attempts to buy George as a way of destroying the B & L's leadership.  The two-dimensional depiction of Mary precludes her having a direct relationship with Potter, diminishing the emotional stakes of the story.  Reducing the stakes cheats the audience. r
WHY COLLABORATOR ASKS: If the love interest has no relationships or is used merely for dramatic decoration, audiences, protagonists and antagonists are cheated.  A sexual romp is often required for commercial purposes.  But if the relationship fails to touch the audience's heart, all that heavy breathing can lead to a condition of fatal congestion at the box office. ê
 ▌  Even if your protagonist. 
 ▌  is invulnerable in all other
 ▌  respects, the love interest
 ▌  remains a source of vulnerability.
@
At midpoint, the antagonist may attack via that love interest. /
 ╔╗  See page 2-81
 ╚╝  Guide to Collaborator
Æq
][
THelpTopicO
Using a separate paragraph for each, list the sequence of events for ACT III. X
EXAMPLE: 1. A distraught George enters the house as the family prepares for Christmas. E
2. George verbally terrorizes his family and "runs down" his house. F
3. George's anger subsides during a visit to his daughter's sickbed. {
WHY COLLABORATOR ASKS: These are the scenes which lead to the climax - plus the denouement (subsiding action or wrap-up). ¡
These plot points must have greater impact than any previous scenes and leave a lasting imprint on audiences, tidying up and bringing the story to a satisfying conclusion. /
 ╔╗  See page 2-82
 ╚╝  Guide to Collaborator
][
THelpTopic,
How does this event resolve the conflicts? N
EXAMPLE: 1. George verbally terrorizes his family and "runs down" his house. N
George's angry outbursts fill him with shame and drive him out of the house. ░
WHY COLLABORATOR ASKS: The climax must not only destroy the antagonist and give victory to the protagonist, it must also resolve all conflicts to the audience's satisfaction. 4
Act III begins with the final events leading to the climax, hence to the denouement (wrap-up).  Each conflict, complication, crisis and problem which has previously been witnessed must be sufficiently explained so that the story ends without unanswered questions.  Otherwise the audience will throw things. /
 ╔╗  See page 2-86
 ╚╝  Guide to Collaborator
┤æ][
THelpTopic+
If the story has a peripety, describe it. d
EXAMPLE: Potter's remittance men add money to the pot to save George from financial ruin and jail. !
WHY COLLABORATOR ASKS: Peripety, or dramatic reversal, is that which occurs when protagonist's circumstances and the audience's emotions are turned topsy-turvy.  After investing ninety minutes or more, audiences rejoice when protagonists use antagonists' "modus operandi" to defeat them. /
 ╔╗  See page 2-87
 ╚╝  Guide to Collaborator
«â][
THelpTopic.
Why is the protagonist's victory worthwhile? ?
EXAMPLE: George proves the individual does make a difference. u
WHY COLLABORATOR ASKS. The protagonist's achievement must be something worthwhile to both protagonist and audience. 
The world is saved.  The bad guys are overcome.  The union will not be destroyed.  Audiences want universal truths to endure. i
 ▌  Protagonists may perish, but
 ▌  audiences must be convinced
 ▌  that the sacrifice was worthwhile.
/
 ╔╗  See page 2-88
 ╚╝  Guide to Collaborator
░╔s┘wê][
THelpTopicM
How have the protagonist's and antagonist's special talents come into play? 
EXAMPLE: George proves he is a good judge of character by providing mortgages to poor but honest people.  His judgment, administrative skill and his building acumen result in a revitalized Bedford Falls.  His passionate oratory inspires confidence in his abilities. ï
Potter's special talent is his devotion to the accumulation of wealth and his maddening ability to reduce human beings to a dollar value. 
WHY COLLABORATOR ASKS: In a dramatic story the protagonist and antagonist must have carefully balanced skills in conflict.  The stronger and more resourceful the antagonist, the more impressive the protagonist's skills will appear to be as they are used to vanquish the antagonist. /
 ╔╗  See page 2-89
 ╚╝  Guide to Collaborator
ÄC][
THelpTopic:
Describe how the protagonist resolves the main conflict. Φ
EXAMPLE: George discovers that propagating his father's philosophy, the joys of family life and providing affordable housing have greater value than his grandiose dreams.  But, the fact is, George never resolves the main conflict. ╢
WHY COLLABORATOR ASKS: It is vital that the protagonist resolves the main conflict.  Audiences expect the original conflict, which may no longer exist, to be explained or resolved. ╣
In the most successful stories, the audience and protagonist are one.  Once that bond is created, denying information to either results in an audience not participating in the climax. à
 ▌  Not being allowed in the
 ▌  ring at the finish makes
 ▌  the audience feel they
 ▌  were robbed of the price
 ▌  of admission.
/
 ╔╗  See page 2-91
 ╚╝  Guide to Collaborator
{i
│■▓h][
THelpTopic<
Is the protagonist the exclusive engineer of the solution? 
EXAMPLE: Mary resolves two conflicts, first, by providing her honeymoon money to save the B & L and, at the climax, by raising the money to save George.  Sam Wainwright provides unlimited credit - a "deus ex machina".  Clarence's appearance is another "deus ex machina". ┬
WHY COLLABORATOR ASKS: Movies are about a particular someone, the protagonist, doing something.  If someone other than the protagonist acts or is acted upon, it is an entirely different movie. â
 ▌  Once a protagonist is chosen, 
 ▌  the writer must take that
 ▌  character, accompanied by
 ▌  the audience, to a conclusion.
/
 ╔╗  See page 2-92
 ╚╝  Guide to Collaborator
½å
][
THelpTopic7
How has the protagonist grown by means of the action? ╣
EXAMPLE: George begins as such a self-sacrificing person, he has no room to grow.  He is, however, forced by circumstances to live the values in his heart, not the dreams in his head. 
WHY COLLABORATOR ASKS: Protagonists grow.  Good stories are about beings who transform themselves, by dint of their actions, into the victors or the vanquished.  Granted, "superheroes" grow very little; still, there is always growth - or there is no story. /
 ╔╗  See page 2-93
 ╚╝  Guide to Collaborator
][
THelpTopic1
How did the antagonist change during the story? ╢
EXAMPLE: Potter's deviousness and mendacity increase until he commits a crime.  Potter deliberately sequesters Uncle Billy's deposit under false pretenses - an act of embezzlement. c
WHY COLLABORATOR ASKS: Antagonists, like protagonists, change and sometimes grow during conflict. ╩
Antagonists also have needs and wants and, as the action progresses and they enjoy successes - and the protagonist seems farther away from victory or closer to it - the antagonist's needs also change. [
 ▌  The decline of the antagonist
 ▌  must be the result of
 ▌  the protagonist's action.
q
Strong antagonists are not easily conquered.  It takes a dedicated hero to overcome a well-constructed villain. /
 ╔╗  See page 2-94
 ╚╝  Guide to Collaborator
»-
][
THelpTopicB
Has the antagonist "gone the limit" to overcome the protagonist? ░
EXAMPLE: Yes.  Potter begins as a cruel but honest banker.  As the climax approaches, Potter desperation increases and he becomes willing to commit a felony to defeat George. 1
WHY COLLABORATOR ASKS: Antagonists must use every resource to make the protagonist's life as difficult as possible.  Gripping stories present the protagonists with a series of walls to climb, each higher than the last, so that, each time one is scaled, it has greater value for protagonist and audience. /
 ╔╗  See page 2-95
 ╚╝  Guide to Collaborator
][
THelpTopic2
How has the protagonist achieved the final goal? ■
EXAMPLE: George's actions throughout the story insure the triumph of his father's philosophy in Bedford Falls.  However, the writers of IT'S A WONDERFUL LIFE cheated George and the audience by denying this protagonist his right to master the resolution.  His wife and neighbors hand him the solution, emasculating him.  The inclusion of Sam Wainwright's $25,000 credit line further compounds the injustice to George and undermines his achievement as a protagonist.  The result is an overly sentimental story. n
WHY COLLABORATOR ASKS: The protagonist must be the agent or the source of the achievement of the final goal. p
 ▌  Audience disappointment in a
 ▌  resolution engineered by anyone
 ▌  other than the protagonist is severe.
/
 ╔╗  See page 2-96
 ╚╝  Guide to Collaborator
«M][
THelpTopic0
How is the antagonist's comeuppance presented? .
EXAMPLE: It is not presented, it is implied. {
WHY COLLABORATOR ASKS: In order for the audience to experience catharsis, antagonists must receive their "just desserts". N
If the story does not meet an audience's expectations, it will feel cheated. [
In many stories the antagonist's comeuppance is not shown, but it must always be implied. /
 ╔╗  See page 2-97
 ╚╝  Guide to Collaborator
sê][
THelpTopic"
How is the protagonist rewarded? t
EXAMPLE: George's friends rally to his aid when his world calliopes.  He learns of the esteem in which he is held. æ
WHY COLLABORATOR ASKS: The reward a protagonist receives must be commensurate with the effort expended or the agony endured to achieve victory. £
The definition of reward must be enlarged to include the idea of a cathartic and satisfactory ending which fulfills the audience's needs and expectations. L
The denouement must tie up the loose ends and complete the story credibly. @
Audiences require protagonists reap benefits from resolutions. /
 ╔╗  See page 2-98
 ╚╝  Guide to Collaborator
][
THelpTopic%
The resolution is credible because: å
EXAMPLE: George's efforts in behalf of his fellow citizens over the years makes their financial intercession in his behalf credible. \
WHY COLLABORATOR ASKS: An implausible resolution will annoy, irritate or incite audiences. J
The dramatic elements and production aspects must convey verisimilitude. g
The special abilities of the characters should be explained or foreshadowed in exposition and action. ⌐
An audience should not be expected to accept a protagonist's sudden proficiency in karate or a sudden unexplained expertise in "ratiocination" (viz., Sherlock Holmes). /
 ╔╗  See page 2-99
 ╚╝  Guide to Collaborator
][
THelpTopicj
Can the story be improved by a reconsideration of the five unities: time, place, style, action or theme? ÿ
EXAMPLE: No, there is unity of place, Bedford Falls, and unity of action, one long battle against Potter.  The theme and style also remain consistent. ß
WHY COLLABORATOR ASKS: Any scene or character unrelated to the theme or premise, or unnecessary to the action leading to the climax, violates the audience's comprehension, understanding, expectations and emotional response. 0
 ╔╗  See page 2-101
 ╚╝  Guide to Collaborator
][
THelpTopic¡
Plot point to plot point, character to character, conflict to conflict, does this story avoid unnecessary predictability, redundancy or pacing that is static or lumbering? Ñ
EXAMPLE: Yes, for a film with a running time of over two hours, it has amazing variety and richness - a potpourri of unpredictable characters, subplots and action. ╪
WHY COLLABORATOR ASKS: Is new information being constantly conveyed?  Is it being dramatized in a fresh and exciting fashion?  Or is it all a boring rehash?  If it is, why will producers or audiences be interested? 0
 ╔╗  See page 2-102
 ╚╝  Guide to Collaborator
][
THelpTopicE
Why do you want to write, produce, director or appear in the story? ┼
EXAMPLE: Frank Capra wanted to explore the question of one person value within his family, neighborhood and world.  In this post war film Capra reaffirmed the pre-war values in which he believed. I
WHY COLLABORATOR ASKS: What are the issues on which you want to comment and why are they important to you?  What raises your indignation?  What social ills are you concerned about?  What do you think is funny?  What do you want to say about the issues?  Why will you benefit, or what will you learn from exploring these issues? Ñ
If money is the only reason you are writing, if the motivation emanates from you wallet, not your head and your heart, you probably have nothing worthwhile to say. f
 ▌  Unless you care about the subject
 ▌  matter, you probably will not
 ▌  devise a saleable story.
ñ
Nothing wrong with money.  As Samuel Johnson said: "No  man but a blockhead ever wrote except for money.  But the need to tell your story must supersede all else. 0
 ╔╗  See page 2-103
 ╚╝  Guide to Collaborator
][
THelpTopic&
List the story's landmark sequences. å
EXAMPLE: Young George takes a beating from his alcoholic employer for refusing to deliver an accidentally contaminated prescription. f
The gymnasium mechanical floor opens during a dance, dumping George and Mary into the swimming pool. F
Passion overcomes George and Mary while listening on the same phone. W
George and Mary use their honeymoon money to save the B & L during a financial panic. :
Potter attempts to buy George with a high pay job offer. ;
George's anger causes him to shake Uncle Billy violently. N
The Angel shows George what Bedford Falls would be like if he never existed. 3
The townspeople George supported come to his aid. ╛
WHY COLLABORATOR ASKS: Films featuring five or six sequences so visually powerful, so memorable as to be etched in the viewer's mind, are destined for both commercial and artistic success. ╙
 ▌  Beware of the temptation to write
 ▌  only a series of landmark sequences.
 ▌  If they don't belong in a story,
 ▌  they will surely sink it --
 ▌  like a ship overloaded with
 ▌  ballast of treasured art.
0
 ╔╗  See page 2-104
 ╚╝  Guide to Collaborator
][
THelpTopicC
In three paragraphs retell the story's beginning, middle and end. û
EXAMPLE: An Angel is sent to earth to stop a disillusioned man from taking his own life.  His lifelong unselfishness is revealed through flashbacks. ä
An accidental loss of a bank deposit is the final frustrating blow, causing the protagonist to descend into a suicidal depression. µ
His declaration, "I wish I'd never been born," inspires the Angel to show him how unhappy his family, friends and neighbors would be if he never existed, thus renewing his faith in himself and the idea that life is worth living. ╜
WHY COLLABORATOR ASKS: By now, the theme and premise should be obvious.  If the story cannot be synopsized in a few paragraphs or, preferably, in a single line, it is probably not viable. 0
 ╔╗  See page 2-106
 ╚╝  Guide to Collaborator
uhvr][
THelpTopicW
This Follow-Up question has been generated by your response to the previous question. W
Collaborator's expert system has been programmed to look for responses which contain: | - violent actions,
 - drug use 
     (including alcohol and smoking)
 - sexual activity
 - indefinite or unclear responses
!
 How It Works ▄
  ▀▀▀▀▀▀▀▀▀▀▀▀▀
!As a response is entered, Collaborator checks its "artificial intelligence" dictionary for a pattern match.  When a match occurs, a follow-up question is generated.  If, for example, you type "Everyone jumped into the fight", the program might ask, "Which characters are you thinking of?" ⌐
 ▌  Computer generated questions
 ▌  are sometimes phrased in an
 ▌  awkward or ungrammatical manner.
 ▌  When this occurs, look for the
 ▌  logic behind the question.
¿
Collaborator may be set to respond with a maximum of three Follow-Up questions.  This number may be changed at anytime by selecting Follow-Up under the Question menu. ][
THelpTopic÷
This window is a file viewer. All the editor commands work (including searching) except those which alter the text.  You can select and copy text to the clipboard and paste it into other question response windows, notepad or to the text editor. ][
THelpTopic
 Puzzle ▄
  ▀▀▀▀▀▀▀
gThe puzzle window is a small game.  The object is to get the characters to form the following pattern: :
    A  B  C  D
    E  F  G  H
    I  J  K  L
    M  N  O

Clicking the mouse on a tile next to the empty space moves the tile into the space.  Pressing one of the cursor keys (up, down, left, or right arrow) moves a tile into the empty space in the direction indicated by the cursor key. The move counter is updated every time a tile is moved. ][
THelpTopic	)
The Character Box includes six buttons. #
 Profile  Opens the Profile after
	  a character is entered.  Copy To  Makes a copy of an
	  existing profile. & Add      Allows entering a character
	  from the Character Box. h Delete   Deletes a character.
 Rename   Changes a character's name
 Cancel   Returns operation to last
	  active window. ][
THelpTopicâ
Several Text (ASCII) Files may be opened at one time.  These may include reports or profiles from other Collaborator story files. ! In addition, notepads, not tied
to a story, may be created.   Treatments written with a word
Tprocessor or other reports may also be viewed while working on a Collaborator file. ][
THelpTopic
 Calculator ▄
  ▀▀▀▀▀▀▀▀▀▀▀
ïThe calculator is a simple four-function calculator with add, subtract, multiply, and divide.  To operate the calculator you can either use the keyboard or press the buttons on the calculator with the mouse.  The 'C' key clears the calculator, the '' key will erases the last character typed, and the '±' key toggles the value from positive to negative (the keyboard equivalent of '±' is '_'). ][
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