story and other storys

For hundreds of years, people in the Pacific island sailed. They went from island to island. They stopped exploring for 2,000 years. Then they started again. No one knows why.

The movie Moana imagines one reason why. The movie is about a girl named Moana. She lives on an island in the Pacific Ocean. She's not allowed to sail anywhere, but the island is in trouble. The fish are dying, and there is no food. Moana wants to save the island. To do this, she must sail on the open ocean and find an answer.

Moana learns "wayfinding." This is a way of sailing that uses only the stars and signs of nature to get to the right place. It is something the people of the islands did for thousands of years.

The movie came out in November 2016. Some people did not like it. They said the movie makers are not from the islands. People from the islands have many stories. Only they really understand them. Others should not tell these stories.

Other people liked the movie. They said it shows what is important to the people from the islands. The land, the ocean, and the past are all important.

The people who made the movie said there are lessons in it. In the movie, Moana is very brave. So one lesson is that girls are strong and powerful.

Information for this story came from VOA.

On June 23, 2018, 12 boys and their soccer (football) coach got trapped in a cave in Thailand. They were there for days. The story of how they were rescued is amazing.How did the boys get trapped? They were looking around the cave. Then monsoon rains fell. Water filled up the cave's passage ways. The group had no water. But there was water dripping from the cave walls. They drank it. It kept them alive for the next nine days. Meanwhile, people from many countries were looking for the group. On July 2, two British divers found them. On July 7, workers began trying to get the group out. They used diving tools. They also used pulleys. These helped them take the boys and their coach through the small, water-filled passageways. The last of the boys was rescued on July 10. Some were sick. But they all got better. There are numerous types of short documents that shape a screen production - Synopses, Treatments, Outlines, Bibles; all means of succinctly communicating your story and ideas outside of just the screenplay. Very often we see these documents as a means of ‘selling’ the idea to networks, financiers, producers, or funding bodies. But the truth is that these documents are a vital part of the development process, not just an end result. Great ideas are not born – they are tested and crafted. For funding applications to Screen Australia applicants are required to provide a range of documents that best reflect the project and the intention of the creators. But importantly these documents are tools to incrementally improve and refine an idea, to identify its strengths and highlight its challenges. Many projects have stagnated or failed because of a flawed concept or weak story, which no amount of drafting can fix. Good short documents can make the process of defining your core concept and strengthening the story around it much more effective. That said, there can be a great deal of variation and debate about what is meant by terms such as Treatment, Bible, Scriptment, Outline, Scene Breakdown, and Synopsis, so this document is designed to help define some of these terms, offer practical advice and examples for writing them, and serve as a guide for how to better prepare your application. The modern screen industry is one of diverse platforms and formats. Gone are the simple days of just feature length movies and TV time slots. The contemporary landscape of production, supported by Screen Australia, encompasses all the traditional forms whilst also including online series, interactive media, cross-platform projects, and virtual reality productions. Yet, whilst these forms all have their unique properties and challenges, they also share a common narrative basis. The definitions and tips in this guide are intended to apply to a wide variety of media - feature, short, episodic, and interactive - by focusing on common narrative elements and the clarity of the Core Concept. Screen Australia: Story Documents – Drama 1 Core Concept Whilst Screen Australia doesn’t require a ‘Core Concept’ document as part of your application, the criteria by which we assess projects means that we holistically look for the underlying Core Concept in the project you submit. An idea in isolation does not necessarily lay the foundations for a viable production. It is important that short form documents are built on a solid base of thinking and planning. Whilst writing is an organic and evolving process, unless the ‘core concept’ is identified, tested, resolved for the project’s stage of development, and dramatically viable, projects are at risk of stagnating in development, particularly from less experienced writers and teams. Three important things for you as a creator to consider are; • Do you have a distinct point-of-view? Does the story channel something human and truthful? • Do you have a clear and rich theme centred on meanings and ideas that deeply engage and fascinate you? • Do you have a sense of your audience and how your story will emotionally resonate with them? Certainly viewers engage in a well-executed plot and character actions, yet deeper engagement and meaning come from an audience’s investment in the themes of the story and how it expresses the underlying core concept. This is both ‘the hook’ that attracts others to your work, and also the essence of what you as the creator bring to the project - your reason to make it. Screen Australia: Story Documents – Drama 2 Synopses Simply put, synopses are the most succinct versions of your story, paring away the detail to cut right to the heart of your idea. However synopses do come in different flavours and here we’ll define the three most common and useful; the one-sentence Logline Synopsis, One-Paragraph Synopsis, and One-Page Synopsis. Logline Synopsis If you’re caught in the proverbial elevator with the golden moment chance to pitch your project to a financier with large bags of money, this is the version of your story to have written down and memorised; one that will take no longer than 15 seconds to say. There’s an art to writing a good Logline that encapsulates in one sentence the essence of your project, but it shouldn’t be confused with a ‘Tag-Line’. A Tag-Line is simple, pithy and evocative (the famous tag for Alien comes to mind - “In space no one can hear you scream”) but this isn’t the same as a Logline, which aims to contain crucial substance and detail. A Logline may be very short but it still has to tell you something of the story. The heart of the Logline Synopsis is often referred to as the Premise but what that really means can vary. Perhaps a more direct term to use is ‘Problem’. In presenting a dramatic problem the Logline often contains the Scenario (and inciting incident that sets the story in motion), the dramatic action (what the characters are compelled to do) and the consequences of failure (the stakes of the story). In other words… When Something Happens, Someone Has to do Something or Else… In many ways this simple template alone can be useful as a starting point to develop your logline. Once you have those basics in place you can begin to modify and shape the logline to give a sense of place, genre and themes. For example, the Logline for political thriller series, Secret City; “Beneath the placid facade of Canberra, amidst rising tension between China and America, senior political journalist Harriet Dunkley uncovers a secret city of interlocked conspiracies, putting innocent lives in danger including her own.” In this example we have the place and its particular quality (Canberra’s placid facade) we have a main character and something about them (a senior female journalist), we have the macro-level tension (China vs America), an inciting incident (uncovering a secret), the dramatic action (reveal a conspiracy), and the stakes (innocent lives). We see a similar idea of the Problem as central to the Logline in the Scandi-noir series, The Bridge logline. This Logline focuses on the unique place (the border between two countries) and the problems inherent in sharing jurisdiction to solve a murder. Loglines for series might also place emphasis on an ongoing character dilemma as the