How often have you read a scene with several characters in it, but the focus is only on two of them? Makes you wonder why exactly those others are there, doesn’t it?
The last thing you want is to have characters just standing around. Give them something to do!
Each scene has to move the plot forward, and every character, no matter how big or small their role, plays an important part in making that happen. If there’s no purpose for them to be there, then they don’t need to be there.
Countless opportunities abound for what characters can be doing in addition to exchanging dialogue, thereby avoid the dreaded “talking heads” scenario. The important thing is to keep it relevant to the scene, and not just something random.
Maybe it’s providing (or at least contributing to) the conflict for that scene, or showing the latest development of the main character’s arc.
If you’re not sure what the characters should be doing, try to come up with several alternative versions that reach the same conclusion.
You know what the point of the scene is and what kind characters they are, so take the time to figure out the best way all of you can work together to get the best possible result.
When exactly are the days of auld lang syne again?
Things definitely changed for me during 2013, happily for the better.
-My script DREAMSHIP got me a manager, was a semifinalist in a high-profile contest and placed in the top 15 percent of the Nicholl. While I hope more things happen with it this year, I’m also pretty excited about the potential of the western spec and the two still in the rewrite/development stages.
Most importantly, I’d say I finally realized the true meaning of “write what you know”. A lot of what I write could fall squarely into the category of pulp material. A high-flying adventure guaranteed to buckle anyone’s swash. A western where you can practically breathe in the dry and dusty air and hear the thundering hoofbeats. A noir-style mystery that makes you want to hang on to your fedora as you toss back a shot of cheap rotgut.
I live for this kind of stuff, and strive to convey the same kinds of sensations and experiences in my work. It took a while to really understand this, but it’s made a significant difference for me and how I approach writing.
-Through this blog, assorted networking websites and writing forums, I’ve connected with a lot of extremely talented people from all over the world. Pleasantries, experiences and script advice have been exchanged, and I’m looking forward to continuing all of them (when possible, regarding the latter).
-Absolutely nothing happened with relaunching the podcast, mostly because I never found the time. Will do my best to change that.
-I ran 5 half-marathons, including two where I finally managed to break the 1:55 mark and set a new personal best – 1:51:10. I don’t know if I’ll do as many this year, but would like to try and at least hit 1:50.
-The running and bike riding definitely helped me stay in shape, and I attempted to maintain a semi-regular regiment of upper body work. Not as fit and toned as I’d like to be, but it’s helped a little. This will continue.
-The great baklava experiment was a smashing success. It’s been requested I make it again, this time with pistachios instead of walnuts. No reason that can’t happen. Still undecided about what new concoction to attempt this year, but baked alaska currently holds the frontrunner position.
As always, I’d like to thank you for coming along with me on this thrill ride of an experience, and hope you stick around because 2014 holds bigger and better things.
Some people were actually upset about the scientific inaccuracies in a comic book movie about an alien who can fly
“The monsters attack.”
This simple line in my action spec outline was the catalyst for a major thought process that continues to grow by leaps and bounds. Questions are being raised that demand answers.
In creating this world, not only do I have to develop the story you’ll be following, but also fill in a lot of details about the world itself – which just happens to have monsters in it, which leads to more questions. It never occurred to me to consider subjects such as biology, geology and the laws of physics as they apply to monsters (all of which play a part in the story).
“But it’s just a story,” some might say. “Don’t worry about stuff like that.” But it’s exactly the stuff like that that makes the story better, plus it shows I’m taking this seriously – even if it does involve monsters.
I’ve always had an intense dislike for writing that takes the easy way out in explaining something, or does it in a very half-assed way. It makes it seem like the writer didn’t care enough to do a little more work.
It’s very important to me that not only are the events of the story based in reality, but the setting is as well. This is something I strive for in everything I write – no matter what the genre.
The more detailed you can make the world of your story, the more believable it’ll be. But be careful not to overdo it – too much detail creates confusion. Just give enough to make ’em say “Yeah, that makes sense.” or “I can totally see that happening.”
Now it’s back to my research on which metallic alloy would be the most effective for killing monsters. So far, tungsten carbide seems to be the frontrunner.
Ah, the car chase. A film staple. And a fantastic opportunity for the writer to really let their imagination run wild.
Mine started with the short description in the outline “Chase! (2-3 scenes)”.
I knew how it was going to start, and how it was going to end. It was all that stuff in the middle I had to figure out.
Despite the story’s fantasy-like setting, I’ve made a point of trying to keep things as realistic as possible where applicable. This falls into that category. No crazy cg effects or unbelievable stunts; just simple, basic and peppered with mad driving skills.
“But there’s only so much you can do with a chase scene,” you may think. And in some ways you’d be right, except there are countless ways to make things happen.
Break it down to the simplest elements – somebody’s trying to get away, somebody’s trying to stop them, and there are going to be obstacles in each one’s way.
The challenge is to think up ways for both to go about achieving their goal, as well as what can stop or prevent that from happening.
It’s not just about having a chase just for the hell of it or something that looks cool, but what makes the most sense and what fits in, plot-wise. Is there a way to make it feel it really belongs there and is connected to other parts of the story? If it means adding a little something to a previous scene, so be it.
Need a little inspiration? Go to YouTube and type in ‘car chase in movies’, or check out William Martell’s blog, which always includes a classic chase in the Thursday posts.
Most of all – please, please, please avoid tired cliches like the plate glass window, the fruit cart, the baby carriage and the large construction vehicle.
A little over a week ago, a friend posted the following question on Facebook – “Is RAIDERS OF THE LOST ARK the best action movie of all time?”
As would be expected, this led to a somewhat lengthy discussion. Several other titles were bandied about (DIE HARD, ALIENS, several John Woo HK films), and was summarized quite succinctly with “The main lesson here is that the 80s were a goldmine for high-quality action films.” (mea culpa – I’m the one who said it).
All I can think of for the 90s are TERMINATOR 2: JUDGMENT DAY and SPEED.
While you’re thinking about those, compare them to some more recent ones, such as:
-THE EXPENDABLES – a nostalgic remembering of the genre itself
-THE EXPENDABLES 2 – silly, over the top parody
-PACIFIC RIM – cool to look at, but that’s about it
-FAST & FURIOUS 6 – haven’t seen it, but I’ve heard nothing but good things about it
-THE LONE RANGER – couldn’t bring myself to see it, but will catch it on home video. Is it as bad as they say?
Now there’s this. Oy. Someday I’ll discuss how much I dislike reboots.
So why do action films from 20-30 years ago still hold up?
Looking at strong examples of the genre, they all have: Original stories. Smart writing. Three-dimensional characters. Action that enhances and supports the story.
If you’re writing an action spec, these should be your goals and objectives. Yes, it’s a lot of fun to blow shit up, but don’t use an explosion or shootout just for the sake of having one. It’s pointless.
Make the action part of the story, not what the story’s about. Use it to move things forward. Ratchet up the tension and create more conflict for your hero.
Need a refresher course in how it’s done? Pick one you’ve always liked, and watch it as a writer. Take notes. See how it all fits together. Then see if any of it can be applied to your story and rewrite accordingly.
Maximum Z 