Category Archives: Writing thoughts

Reflections on the use of words

The Throw – Austin Film Festival (part two)

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Terry Rossio, Pirates franchise

In Part One of this post, we talked about Terry Rossio‘s comments at the Austin Film Festival regarding the different kinds of cuts in films: storyline cuts and storyteller cuts. But how do you establish these cuts?

With the throw, which Rossio divides into two categories (a fixation, it seems): the strong throw and the soft throw.

[Added note: Rossio provided a film clip to demonstrate each of these throws but I was only able to record so many in my notebook…hopefully, you’ll be able to figure them out for yourself.]

Strong throws can be very obvious and are used for a variety of reasons. He offered the example of the movie Slumdog Millionaire, where a strong throw is used to set up a flashback. Alternatively, a throw can be used to convey story information so that the audience can discern the link between two scenes. Rossio quotes someone from Pixar who once suggested: “Give the audience 2+2 and they will love you forever.” Throws can also be used to move us through a montage, where each snippet is linked in some way.

Rossio described the discovery throw, where one scene is the answer to the question raised in the previous scene. As an example, he offered the scene in Aladdin where Jafar and Iago complain they will need a new victim to attain the lamp, “a diamond in the rough”, at which point, we move to Aladdin running across a roof with guards yelling “Stop thief!”

And he described the comic throw—also known as the Gilligan cut—where a character repeatedly comments on something (e.g., refusing to wear a dress), only to see the character immediately in that situation (e.g., Gilligan in a dress).

And finally, Rossio suggested strong throws can be used to set up reversals in a story, where we see characters moving a story in one direction, only to see the exact opposite in the next scene.

Soft throws, Rossio suggests, are much more common in film and are by nature more varied and artistic, providing a greater range of effects.

Such throws can provide a promise of things to come for an audience, such as in Raiders of the Lost Ark when Indy remind his partner what a cautious fellow he is, only to then grab a gun from his desk and head into the fray. Alternatively, such throws can also imply that the next events will be really boring in this scene and that something is more interesting elsewhere. The example he gave was from The Empire Strikes Back, when Luke is leaving Hoth for Dagoba, a long boring journey, and so he tells R2D2 “I’d like to leave it on manual control for a while.” A signal that we’ll kill time here, so let’s go watch Han and Leia run the blockade.

Such throws can also be used to cut off a scene before key information is revealed, creating a sense of mystery and a promise of an answer to come. Rossio warns, however, that this type of throw can feel very manipulative to an audience. The example he gives is again from The Empire Strikes Back, when Luke is in a hurry to leave Dagoba to rescue Han and Leia but Yoda and Obi-Wan’s apparition try to hold him back. As Luke leaves, Obi-wan says “That boy is our last hope.” only to have Yoda correct him, “No, there is another.” Is that Leia in Cloud City?

Rossio describes these throws as connective tissue in a film or screenplay, unifying disparate elements and speaking to the audience in a subliminal, symbolic or subtextual manner.

There is the intentional misdirect throw, to keep the audience from figuring out what’s going on too quickly, and the throw to set up a passage of time, often so characters can have sex, Rossio quips. The train entering the tunnel.

Soft throws can also help set up a change in the state or tone of the movie or to introduce a new character. Rossio gives the example of the movie Key Largo, when the suspicious guests of a Florida fishing resort reveal themselves to be mobsters who take the other guests hostage. A second later, we meet the mysterious boss (Edward G. Robinson) upstairs. The mood of the story has changed, for the worse for Humphrey Bogart and Lauren Bacall.

These cuts can also be used as an internal cut within a single scene to cue the passage of time in a scene that would take too long to play out and would bore the audience. The cigarette that is lit and rested in a clean ashtray, only to be followed seconds later by another cigarette being placed in a full ashtray—ah, the 70s.

As Rossio explains, whether strong or soft, the throw allows the audience to fill in the gaps within a movie. He offered a quote that suggested “Filmmaking is giving the audience the experience of completing the image.” And he added the idea that no scene should be complete except for the last one. There should always be something that prompts the audience to move willingly from this spot to the next one.

He then offered a self-deprecating moment by presenting a quote that suggested a very popular use of throws is to give a movie a sense of consistency or connectivity when in fact the story makes little or no logical sense at all. The quote was referencing a movie that Rossio wrote and acknowledge had a plot that was all over the place.

In the Q&A session afterward, someone asked Rossio if throws were something for which you should aim in the first draft of a screenplay and his answer was basically no, that it was something you added in later drafts. His thinking was that in a first draft, you don’t really know if your scenes are in the right places and if things will need to move around for the sake of the best story.

You only look to incorporate a throw once the story is pretty much set, he says, adding that not every scene abutment requires a throw and you should never simply add one for the sake of adding one, if it will look arbitrary or out of place. The throw, he says, should smooth the transition between scenes, not highlight them by standing out.

 

(Image is property of owner and is used here without permission for a sense of continuity.)

The Throw – Austin Film Festival (part one)

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Terry Rossio on AFF panel

One of the sessions I was determined to attend this year was The Throw given by screenwriter Terry Rossio, the man who brought us Aladdin, Shrek, the Pirates of the Caribbean series and The Lone Ranger (okay, so nobody’s perfect).

Rossio is a legend at the Austin Film Festival; his The Rewrite session being one of the many highlights. But last year, he went one step further with The Throw, which this year, the folks at AFF decided to put in a hotel ballroom rather than a side meeting room.

For the uninitiated, Rossio explains, the throw is that thing designed into the end of the scene that sets up (or throws to) the next scene. It is a connective element that suggests the two scenes belong side-by-side at a level beyond plot or story.

It can be a visual to visual cue, such as the famous scene in 2001: A Space Odyssey where the victorious ape throws the bone club into the air and as it spins end-over-end, it turns into a space station.

Alternatively, the throw can be verbal to visual, such as in the scene in Raiders of the Lost Ark where Indiana Jones has made his way into the Nazi camp and learns that the Ark of the Covenant is being shipped out on a truck. Indy’s response is “Truck! What truck?” and the very next second, we watch a truck move through the Nazi camp, onto which Indy has somehow hidden himself.

According to Rossio, there are two ways to organize the narrative structure of a movie or screenplay: using storyline cuts or storyteller cuts.

Storyline cuts emerge from the events of the story, seeming natural and seamless. For example, the storming of the beach scene in Saving Private Ryan, where we see the soldiers move from one section of the beach to another.

Storyline cuts, Rossio explains, maintain the tension and keep the audience immersed in the story. It is a way to maintain and build story momentum while asking for minimal effort from the audience. It is much like a series of dominoes.

Another example Rossio offers is the end of the tornado scene from The Wizard of Oz, when the house finally stops spinning and Dorothy moves from the sepia tones of Kansas into the Technicolor world of Oz. She even states, famously, “I don’t think we’re in Kansas anymore.”

Storyteller cuts, in contrast, imply there is a grand design to the story or an author, who is choosing what you see and when rather than simply presenting events as they happen. This is common in ensemble films such as Love, Actually and American Graffiti.

This sense of a grand design can be comforting and reassuring to an audience, says Rossio. It creates a distance between the audience and the story, with the less immersive story being seen as a creation.

These types of cuts often support a narrator or guide who practically sits alongside an audience and takes them through the story. The guide can appear on-screen or perhaps as a voiceover. Think Morgan Freeman’s character in The Shawshank Redemption.

According to Rossio, storyteller cuts are also very good at renewing a story’s momentum, jumping to new locations or situations before a prior scene’s energy drops and thereby re-engaging the audience.

But how do you establish these cuts? With the throw, which Rossio divides into two categories (a fixation, it seems): the strong throw and the soft throw.

(See the next post for Part Two, which actually goes into the different throws and how you would use them.)

(Images is property of owner and is used here without permission, because I don’t give a toss.)

Just tell the story – Austin Film Festival

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Ron Nyswaner

Perhaps the most interesting advice I heard while attending the 2013 Austin Film Festival came from the Just Tell the Story session by screenwriter Ron Nyswaner, who suggested that not all stories are movie-worthy. It’s not that such stories are unimportant or not worth telling, but rather that film is a very specific medium—as are novels, videos, television, etc.—and therefore requires specific criteria be met for appeal.

1. Do you have a worthy protagonist? It is important that the audience understands the protagonist’s struggle, that the character is constantly dealing with questions of life, loss, yearning. There should be clearly understood interior and exterior conflict.

2. Does you protagonist have face worthy obstacles or a worthy antagonist? The antagonist should represent the opposing view, but that doesn’t necessarily mean the antipode to your protagonist’s views. Overall and within individual scenes, there should always be a sense of ideas in conflict. Nyswaner stressed the importance of the hope-dread axis—What do you hope is going to happen and what do you dread is going to happen in a scene—suggesting that the stronger the axis, the more tension you build in your story.

3. How strong is the central relationship? Sydney Pollack suggested that every story is a love story, and Nyswaner followed on that, suggesting that the relationships between your characters, and particularly the protagonist and antagonist, is what drives the story forward. The stronger that relationship (positively or negatively), the stronger the story. He also discussed the idea of triangulation; the effect of adding a third party into a scene to increase the tension or stakes.

4. Where am I (the writer) in the story? Who am I? All good art is personal, Nyswaner said, so the writer should look for his or her emotional connection with the story. By making the story personal to you, you develop a deeper story.

5. Take your audience into a world that’s interesting. If the audience cannot connect with the environment that you’ve created, they will find it difficult to get into your story. This doesn’t mean that the environment has to be familiar so much as understandable and relatable.

6. Do you have enough turning points to carry through a feature? A good film story is constantly changing direction, keeping the audience engaged and intrigued. Without sufficient turning points, audience members disconnect from the story or worse, get bored. Attitudes and powerbases should shift throughout the story to keep the audience guessing.

7. Does the audience love the story and its characters? Nyswaner suggests writers must be ruthless, paraphrasing a quote (trying to remember by whom) that a writer is a person who will betray the people he loves to impress people he will never meet. The key for a writer is to give everything to the story he or she is trying to tell, even at the cost of real-world expectations and relationships. This is not to say that success comes from being the biggest asshole, but rather that it is important to keep the focus of a film on the story and its characters to the detriment of other external factors (as best as possible).

 

Ron Nyswaner is perhaps best known for having penned the movie Philadelphia, but has also worked on television (Ray Donovan) and in print, and teaches film at the Columbia University School of the Arts.

The First 10 Pages – Austin Film Festival

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Lindsay Doran

For a new screenwriter trying to break his or her way into the film or television industries, one of the toughest tasks is getting someone to read your script. But even if you can get someone to crack that front page, the job isn’t done. You have to catch the reader’s attention and you may only have 30 or 10 or maybe a single page in which to do so.

At the 2013 Austin Film Festival in October, producer Lindsay Doran presided over a session called The First Ten Pages, which examined the opening pages of five scripts from people who had submitted to the screenplay competition. Below are some of her general thoughts on telltale trouble spots.

1. Boring title: From the cover itself, the title should grab the reader’s attention. Ideally, it will trigger a question in the reader’s mind or play with the reader’s imagination. Can you imply action or hint at something interesting inside. Don’t be vague or boring.

2. Story doesn’t begin: So often, the writer spends the first ten pages simply setting up the real world and its cast of characters that he or she forgets to actually start the action of the story. Without starting the story, you risk boring the reader.

3. Not actually a comedy: Presumably, she is talking here about comedy scripts that aren’t comedic. Funny is subjective, but is the movie actually a comedy or light drama, which Doran described as a bad place to be. If the writer is heading in that direction, perhaps it is better to write a drama that incorporates humour as a form of relief or due to specific characters.

4. Unlikeable main character: Not to say that the protagonist has to be a good person, but that the reader has no reason to root for him or her. Show us the human side of the protagonist that helps to explain why he or she is redeemable or needs the reader’s support.

5. Too many characters: One script Doran reviewed introduced 7 characters on the first page alone, which aside from being a lot to take in, left the readers with little sense of who the protagonist in the story was. As well, it was difficult to determine how these multiple characters related. Even with an ensemble piece, it is possible to introduce the characters more slowly, perhaps only introducing one subplot at a time.

6. Obstacles without stakes: While it is important to present the protagonist with challenges, the rising conflict, for the reader to engage in the story, those challenges must have important implications to the future of the protagonist. Delaying the protagonist from making it to the office is one thing, but make sure the reader understands why it is so important for the protagonist to make it to the office and what happens if the character doesn’t.

7. Confusing: Doran suggests there is a fine line between intriguing and confusing. If the reader finds him or herself lost while coursing through the opening 10 pages, he or she is unlikely to press further into the story.

8. Transparent exposition: On the flip side, make sure that any important bit of information is woven within the fabric of the narrative and/or dialogue and not simply plopped on the page. Clumsy, transparent exposition lifts the reader out of the story simply because it doesn’t flow and almost seems like a side thought.

9. Comedy based on a superficial world: Again, assuming a comedy, does the writer really understand the world she describes or is she simply aiming for cheap, cliché laughs at a well known environment and archetype? The Devil Wears Prada is a good example of a movie that went deep inside the fashion industry and avoided the superficial jokes about models, designers and photographers.

10. The three most terrifying words in the history of the American screenplay: Here Doran was being a bit playful, but wanted to make the point that it is difficult to get people to read a screenplay about a mature woman from outside the United States. Any one of those protagonist features is hard enough to promote, but to have all three is screenplay suicide, according to Doran.

Finding the Critical Sweet Spot – Part Two

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Available now stamp

In the last post, we talked about the challenge of finding someone to critique your work in a way that was actionable; someone who was neither too hard nor too soft on you. Below, we continue the conversation by address the need for that person to be available for ongoing discussion and the limitations of options like coverage services.

Availability: A lot of screenwriters rely on coverage services to get feedback on their screenplays and there are a number of reputable organizations and readers out there.

The challenge, I find, with these services is that they tend to be unidirectional and/or very brief. You send your work, you receive a written report, you may receive an oral report—which allows you to ask questions—but ultimately, it’s “here you go”.

You can get more, you can have follow-up, but it’ll cost more.

As well, I think you really miss out on improving your own skills, knowledge and understanding of story through the critiquing of the work of others.

I also worry that the use of a professional service when your work and skill sets are at a nascent level is largely a waste of their time and your money. The feedback you receive will likely be so broad, so sweeping that it could easily overwhelm you. As well, any minor change you make at one stage is liable to make any of the remaining feedback moot.

Better, I think, that you find someone who is also trying to grow their skills, who understands and shares your needs and fragility. They want and need your help as much as you want and need theirs, and so you’ll be more apt to make time for each other.

Again, it is about building a relationship of trust.

Transient state: Unfortunately, no two people develop at the same rate, and even if you find yourself in a trusting artistic relationship, you will likely find that one of you is ready to move forward faster than the other. It happens in all facets of life.

As your Art develops, you will find that your needs change, and that the partner that got you to one stage of development cannot get you to the next one. It is time to bow to your partner and move on to the next one.

If you’re lucky, both of you recognize this and move on without acrimony. Not everyone is lucky. But for your Art to flourish, the move is necessary.

I wish I could tell you that there is an easy way to make the transition, but in my experience, it is like the end of a marriage and the need to start dating again. The footwork is shaky and the verbiage is awkward, but you won’t die of embarrassment.

The key is to remember why you’re doing this, why it is important to you, and then to simply move forward.

You’ll be okay.

 

Coverage services I have used or have had recommended to me:

Marsha Mason at Why The Face

Terry Zinner at A Film Writer

Scriptapalooza Coverage

(Image is property of owner and is used here without permission because it was available now)

Finding the Critical Sweet Spot – Part One

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threebears

One of the biggest challenges I have faced in developing my writing was in finding the right people to critique my work. Classes have helped, as I’ve come across some wonderful instructors, but otherwise, finding people who (a) gave me actionable feedback and (b) were available for ongoing discussion has been tricky.

Actionable feedback: To really move your Art forward, you need outside opinions, but those opinions need to be of the variety that helps you see not only what works and what doesn’t, but also how to understand both and push the work further.

Although praise like “I loved it” is nice and criticism like “I just didn’t feel it” can be crushing, neither helps you develop your Art because neither offers you specifics. This is typically a sign of someone who is not near your skill level and cannot articulate their thoughts (not meant as a criticism of the person offering feedback).

Likewise, you don’t necessarily benefit from a critique of someone way above your skill level. Through no fault of their own, these individuals are likely to take certain information for granted and provide feedback you cannot work with because you don’t understand it and/or that overwhelms you in terms of sheer volume. This, I believe, is why so few experts in any discipline are good teachers of that discipline. We all simply forget what it’s like not to know or know how to apply “the basics”.

Instead, we need to find someone who is roughly at the same skill level as ourselves and ideally, who suffers different weaknesses or challenges than ourselves. In such a situation, a symbiotic relationship can form.

These are the people who will recognize and help you see what is working while at the same time, point out the problem areas and offer insights (or commiseration) on how to address the issues.

Such a meeting of equals will also help ensure that one of you doesn’t feel like you’re doing all the heavy lifting in the relationship and getting very little in return. This is critical in building a relationship of trust, particularly when both of you are making yourself vulnerable in exposing your Art, untested.

In the next post, we’ll look at the availability question and then wrap up with a brief discussion of the transience of it all.

(Image is property of owner and is used here without permission…how sweet)

Picture this

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A new way to write?

A new way to write?

So, it would appear that somewhen in the recent past, I made a transition in my writing. As I was working with a friend and colleague the other day on a novel we’re writing, I realized that something significant had changed.

I no longer write in words. I now write in pictures.

This is not to say that I have become an animator or that my writing implement of choice is a paint brush or crayon (nothing wrong with those choices) but rather that when I imagine a scene in my head, I no longer think to describe it in words but literally as visuals.

This may not sound like much to you, but for me—who has long held myself to be a wordsmith, first and foremost—it is huge.

For quite some time, I have been taking screenwriting classes, and the one comment that has been made consistently throughout that time is that I write like a novelist. I have mentioned before my affinity for narrative and my need to describe a scene to within a literal inch of its setting. Well, it would appear that in trying to break myself of the verbosity, I have swung all the way into pictures, leaving words in my dust.

For the case in point, I was trying to describe to my colleague how we might open the novel at the end of our story and then transition from one event at the end to a metaphorically similar point at the beginning of the story, which all sounded great until I tried to put that down on paper.

I managed to cobble together some verbiage that roughly describes what I saw, but I know it will take some time to effectively capture the visual in words…time I am more than happy to put in. But it rocked me to realize that I no longer saw things the same way.

Oh, my God. You don’t think… Nah, couldn’t be. I’m still working on being a writer.

Dear God, please don’t tell me, I’m thinking about become a… ugh, I can’t say it… a… a… director!

Anyone have a beret and megaphone I could borrow?

directors-chair

(Images are property of owners and used here without permission because that is Legal’s problem.)

The dignity of characters

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Defiance

Every human has an inherent nobility and dignity, and it is only in the limits of that dignity that people differ. Some people (the snots) hold themselves to a very high standard, while others (the goofs) appear significantly more relaxed in their approaches to life.

Even within an individual, there may exist multiple levels of dignity befitting the person’s roles or functions throughout the day. As a corporate executive, she may hold herself tightly constrained to maintain her air of authority, while as a doting mother, she may release her inner child for a game of tag.

And yet, even with the role-playing variations of life, each of us has an underlying threshold across we are hard-pressed to pass.

What is true for people is true for the characters we create, or at least should be, I believe. And it is in finding that central sense of dignity that we truly begin to understand these characters.

It is pivotal to their thoughts, actions, words and silences. It is also critical to how they view the world and how the world responds to them.

The goofiest, the most nebbish and most loathsome of characters has a line they will not cross, which writers exploit by presenting each one with a crisis. And while the writer and reader may think of that line as representing different things to different characters—for example, a move from light to dark for the good guys and dark to light for the bad guys—it is important to view the line from the character’s perspectives and aspirations.

Thus, the line is always a move from my light to my dark, my good to my bad, my right to my wrong. To approach it any other way would weaken and potentially two-dimensionalize the character’s resistance to change.

Scar from The Lion King completely believed in the truth and the righteousness of what he was doing. He understood that his actions flew in the face of tradition, but truly believed he was acting for the greater good.

Likewise, the anti-hero Edmond Dantès of the Count of Monte Cristo felt completely justified in his criminal actions because he was removing men worse than himself.

In both cases, as I have said elsewhere, each character was the protagonist of his own story.

In the end, society consumed Scar when he reached his line (i.e., bow to his nephew Simba) and he refused to cross it, and almost consumed Edmond Dantès until he released his anger and found peace.

Regardless of how prominent or fleeting a character, they all have their dignity, and although we may not explore all equally—lest we never complete our works—an awareness of that line will make for amazingly richer and more memorable characters, and thereby, better stories.

Tired

Some interesting recent blog posts on character:

Caroline Norrington’s Get to Know Your Character: 15 Minute Character Development Prompter

Persikore’s Context Matters

Richard Ellis Preston Jr.’s Character Development: Finding a Friend for Life

Just a Tasmanian’s Character Development series: Protagonist; Antagonist; Sidekick/Supporting characters

Transience

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The smallest of worlds can still be a pretty big place.

The smallest of worlds can still be a pretty big place.

I won’t live forever. There, I said it.

There was a time when I believed—or wanted to believe—that just because no one else had cracked immortality, it didn’t mean that I couldn’t. Now, I am pretty certain that a time will come when my tomorrow does not transition to today.

Strangely enough, that understanding doesn’t bother me like I thought it would.

Yes, there will be things I will not see, moments I will not experience, understanding I will not gain. But the truth is, this is also the case now, during my existence. I can only accomplish and experience so much in a day.

By the same token, I cannot live purely in the moment, as so many others like to crow. I need to aspire to something, to look forward, to not limit myself to now.

I write today with an eye to continuing to write tomorrow. I see friends whom I hope to see later.

What is different for me now, though, is that I do all of this for my own satisfaction rather than with an eye to leaving a legacy. Where I once feared that my life was meaningless if I was unremembered, I now live for me and care not about any grander meaning.

I am the chemistry of the universe, and I have chosen to do what I want with what I have while I have it. And when I cease, I will cease to think on it.

I can live with that.