Category Archives: Ideas & Plotting

Quentin Tarantino’s Subtle Masterpiece

We’ve all seen Quentin Tarantino’s movies and the episodes of television he has guest-directed (I’m partial to his epic episode of ER), and there are so many things we love or maybe hate about them. I have my favorites and my not-so favorites like everyone else. Yet, his almost unique approach to storytelling makes him one of the examples I use when I discuss movies that are even better than their screenplays read. Does he tend to have too-long periods of conversation? Sure. Is there a lot of gratuitous violence? Yes. But it hasn’t always been that way. Along the way, he mastered subtle story-telling.

My favorite of Tarantino’s movies is Jackie Brown. The movie is based on crime fiction master Elmore Leonard’s novel Rum Punch. With a stellar cast including Pam Grier, Samuel L. Jackson, Michael Keaton, Robert Forster, Chris Tucker, Bridget Fonda, and Robert De Niro, this film is not a hyper-violent revenge saga (Kill Bill) or a riff on alternate history (Inglorious Basterds), this is a very subtle character study and as such it is a masterpiece.

Jackie Brown (Grier) is a middle-aged flight attendant who smuggles money from Mexico into the United States for arms dealer Ordell Robbie (Jackson). When she’s caught by Federal agents, they propose a deal for her to help them arrest Ordell in exchange for her freedom. Ordell bails out Jackie with the intention of eliminating her, but Jackie is thinking ahead and plots a way to steal $500,000 from Ordell with the help of her bail bondsman Max Cherry (Forster). Things seldom are so simple.

From the beginning of the movie, the characters are so subtly handled that it almost makes you wonder if you’re watching a Tarantino film. We immediately like and empathize with Jackie in a dead-end job because we see her hurrying through the airport and putting on a smile all the while. When she’s caught, we can see she was stuck in the middle of a bad situation because it helped financially. Ordell (a masterful performance by Jackson) is creepy, distrustful, and loathsome from the moment we meet him – and he gets worse throughout the film. But these audience reactions are genuine and not ham-fisted by any means. Just by watching the movie and letting the character’s depth play out visually, you pick these things up. Tarantino mastered “show, don’t tell” and he doesn’t need product placement, direct conversation, or tedious imagery to get the point across.

The heart of the movie is the relationship between Jackie and Max. We see two middle-aged people in dead-end jobs that they do not enjoy being drawn together. How Tarantino handles their relationship is simply beautiful. The gradual development of their unspoken feelings for each other reaches a crescendo when Max puts his life on the line for her. I won’t spoil the ending, but the first time I watched it I remember wishing like hell it had been different only to realize that it was perfectly crafted for the characters because of who they were and what we as the audience had learned about them throughout the film.

And one more example. Robert De Niro’s character is such a departure for the actor that you’re almost dumbfounded he’s playing that role. To me, this is brilliant casting because you’re waiting for De Niro to be De Niro, you know? And when it happens, it’s brutal and perfect. I’ll leave it at that and not spoil much more. Brilliant casting.

One final thought. I always write with music playing and I pay very close attention to movie soundtracks for what works and what does not. Music is important to mood and when done well it’s a subtle attention grabber. The soundtrack for this movie is simply amazing. Every song fits its scene perfectly.

Tarantino’s strength in bringing memorable characters to life with the subtle aspects of their personalities, likes, dislikes, and they way there simply “are” is something all of us should strive for in our writing. Beating the reader over the head with what you want them to know takes away from the level of care they should develop for your characters. Be subtle. Be brilliant.

Television’s One-Off POV

May 17, 2016

Leigh Galbreath

Character Craft & Skills Leigh Galbreath Plot Structure POV 1 Comment

There is a prevailing wisdom in the fiction writing world that says one should never introduce a new POV late in a story, especially if they do not have a prevailing impact on the plot. Usually, all the POV characters need to be introduced as early as possible, usually in the first act of a story. For films, this is pretty essential. There simply isn’t enough time for a new character, much less a new character with a distinct POV, to show up and get our attention when dealing with a medium that sticks to around 2 hours for the entire tale. In books, the rule can be finagled about, if you’ve got the chops, but instances where an author is successful when introducing a new POV after a story’s midpoint are more exceptions than rules. But in television, it can be a very different story.

Now, to be clear, I’m not talking about where a known sidekick gets their own episode to play around with. I’m talking about when completely new characters usurp an episode, showing us the same events and/or world, without benefit of a recurring character taking any control of the story. And, in most cases, you never see those new characters after the episode ends.

There are a few examples of this that have really stuck with me. The one that comes most readily to mind is an episode of Babylon 5 (yes, I know, I’m totally dating myself here). In “A View from the Gallery”, we get a day in the life of two of the station’s maintenance workers. For most of the episode, the pair are only tangentially affected by the crisis that would have (and in varying forms has) been the basis of any other episode. We get glimpses of what would normally be center stage, mostly through overheard conversations and the like. Star Trek – The Next Generation had a similar episode called “Lower Decks” where we follow 4 ensigns as they buck for promotion. While one of the characters had been introduced in a barely-there minor role in an earlier season, the experience of seeing through her and her fellow’s eyes as they vie for prominence aboard the Enterprise, created a completely different experience than any episode before or after.

If we want to look in the 21^st century, Dr. Who has done this a number of times. There was “Love and Monsters”, where a group of witnesses to the Doctor’s antics create a support group called LINDA that is taken over by an alien. In fan favorite “Blink”, we follow Sally Sparrow as she, and the rest of us, get sucked into the first appearance of the uber creepy Weeping Angels, who can only move when you’re not looking at them.

Part of why I think this works for television has to do specifically with the type of show. All three shows are highly episodic. While there were overriding plot lines that traveled over multiple episodes, these shows were created in the pre-novel-adaptation era, where the soap opera aspect of carrying one storyline over an entire season, or multiple seasons, was almost non-existent. Additionally, in the first two examples, both episodes took place in the show’s last season, where the episodic format was so deeply ingrained that any deviation made us sit up and pay more attention. In Dr. Who’s case, while the show continues on well past these particular episodes, the show has been on and off the air for over 50 years, so if you’re unclear about how things work by now, you’re not watching enough Dr. Who. In any case, when the structure of how a tale is told is so set, looking at that structure from a different viewpoint gave these stories something new and refreshing. And, as it’s only one episode in a weekly television show, it doesn’t really distract from the overall experience, especially in this day and age of binging your favorite show over a weekend…or two. These little side tales manage to keep the show going while giving us a break from the same old thing we get every other week.

Another big pro to one-off characters is how much they open the world up from the small cadre who seem to always be in the middle of everything. Suddenly, the events that might as well have only happened to five or six people, now have far wider repercussions. Additionally the propensity of placing powerful or special people at the center of the story, makes these one-off POV characters stand out, as they are usually run-of-the-mill everyman characters. You’re much closer to putting the audience in the story with a character who isn’t at the top of the chain of command or a Time Lord.

Lastly, and most importantly, I think, the one-off POV characters that work the best do so because the episodes in which they live are more about the characters than the crises happening around them. Sure, “Love and Monsters” has an alien killing of the members of LINDA, but the true focus is the love story between two of the group’s members. The alien attack in “A View from the Gallery” is more setting than plot for the two guys just going about their day. Sure, these characters are here and gone again, but we get a very solid understanding of who they are and empathize with them for the short time they are there. And while they may not have a prevailing impact on how the story of the main characters who we follow on a weekly basis ends up, the best ones usually make an impact that can stick with us long after they’re gone.

Zootopia

May 16, 2016

fictorians

Guest Posts Ideas & Plotting Movies Peter Clampton Plot Structure Storyline No Comments

A Guest Post by Peter Clampton

As an avid movie goer, I have found myself over the years experiencing a stark range of emotions as I sit down in front of the large silver screen. With the wide array of movies now, you know there are going to be ones you like, others you dislike. Some are complete and utter crapshoots, which most of the time don’t land on 7. However for the first time since I’ve gone to a movie I have to say I was completely and utterly left without words to describe my surprise. When I walked into Zootopia I was expecting another forced “Kid’s movie” with clichés, and silly forced humor. Instead I found the best movie I’ve seen in a long time.

This movie, simply put, is beyond good. If you haven’t watched this movie, stop reading this article, it will spoil the movie, and go buy a ticket to see it today!

For those who have already seen it, stick around because I’m going to talk about one aspect of Zootopia’s excellence that I noticed right away that has separated it from other films. Its story plotting.

RELUCTANT PARTNER -- Fast-talking, con-artist fox Nick Wilde is not really interested in helping rookie officer Judy Hopps crack her first case. Directed by Byron Howard and Rich Moore, and produced by Clark Spencer, Walt Disney Animation Studios' "Zootopia" opens in theaters on March 4, 2016. ?2016 Disney. All Rights Reserved. — RELUCTANT PARTNER — Fast-talking, con-artist fox Nick Wilde is not really interested in helping rookie officer Judy Hopps crack her first case. Directed by Byron Howard and Rich Moore, and produced by Clark Spencer, Walt Disney Animation Studios’ “Zootopia” opens in theaters on March 4, 2016. ?2016 Disney. All Rights Reserved.

Now as writers we know effective scene writing comes in how every scene builds and adds to your story, especially in movies where you have only so much screen time to work with. A scene that pushes the plot while illuminating character, themes and world building will always be preferable over something that just looks cool, but does nothing to add to the overall story movement. It is in this aspect, Zootopia is flawless.

In the beginning we are introduced to Zootopia’s main star, Judy Hops. A determined and stubborn rabbit who dreams of becoming ZPD’s (Zootoopia Police Department), very first bunny cop. The greatness of this scene is not only does it work to endear us to Judy, but it also serves up powerful priming for the stories themes of predator vs. prey. We are shown the first conflict to Judy’s police dreams and see that the odds are stacked against her, and so are her parents. However within the first 7 minutes of the movie we know her motivations and witness that she is capable of reaching her goal when she steals back the carnival tickets. We are also sold on Judy character because “she doesn’t know when to quit.”

Now of course we already know the answer, but it is this presentation of the conflict, with the character arc as well as the theme in the movie that this opening is only the first of many well-conceived scenes throughout the movie. Even the fact it was a school play makes a pseudo effective way of getting around the usually weak voice over narrative trope, (Which is a big break on SHOW vs. Tell), but this movie gets away because the theme is demonstrated again and again, in EVERY SCENE throughout the movie.

From even as simple a scene as when Judy enters the city by train and the song “Try Everything” is playing, Zootopia is already priming the setting for pivotal scenes to occur throughout the movie. As introducing the minor character of Gazzelle and the world of Zootopia, with its diversity.

This diversity then illuminates another theme of “the small town kid enters big city” as Judy goes on to learn that Zootopia is far from a Utopia, and that even though she accomplished her goal there is a lot more she has to prove. I want to note that only one scene, the train scene, has transpired before the plot and conflict is again evolved and presented. From her defunct cramped apartment to her lowly assignment as a meter maid, we now see that Judy has to reconcile with her crumbling expectations of Zootopia, and her dreams to be a “real cop.” Not only do these scenes work to build up to the main story conflict within the movie, but in one seriously slick scene we are introduced to Zootopia’s other star, Nick Wilde the fox, who cons a popsicle out of Judy and some elephants. This is an article about plotting but I just want to mention offhandedly how choosing a fox to star along a rabbit builds wonderfully into the themes of tolerance and diversity. Two natural enemies who have to work together and in the end become friends…way to hit it on the head Disney.

Anyway back to plotting. For the final scene of the first act before the main conflict of the movie, we get a chase scene where Judy chases down a thieving weasel.

Judy is banging her head while hating life because she is a simple meter maid, and doubts if she is even a “real cop.” Then the opportunity comes where she must chase down the weasel through the mouse district of Zootopia. During the chase she is shown righting the wrongs by correcting toppled houses and saving a small vole from being crushed by a giant donut. Judy eventually catches the weasel, using the giant donut and confiscates his bag of “onions.”

Simple chase scene right? Wrong. This scene is another great example as everything from even the blocking of the action in the scene builds to add to the story world and plays into the plot while also being fun to watch.

Focusing on just pure plotting elements Judy’s little hoorah in “Little Rodentia” sets the stages for three major obstacles in the stories main plot. The first is when we meet the character “Mr. Big,” who we see is simple a tiny vole mob boss in the vein of “the Godfather,” who has no problem “icing” our stars.When all seems lost we learn that the vole that Judy saved earlier is indeed the Mob bosses beloved daughter, who vouched for Judy, and saved both Nick and Judy from a watery grave.

The second major plot point set up in this scene is the name and eventual identity of the “nighthowler” flowers which are causing the residents of Zootopia to go crazy. It’s subtle but when Judy is talking to Chief Bogo after the chase she drops the name “Midnicampum holicithias,” priming us to see and recognize this plant when we learn that rabbits and foxes call them by different names.

This also in-turn solves the last conflict of where Judy knows where and how to find the nighthowlers because she tracks down our weasel illegally bootlegging Disney movies solving the problem of finding the location of who exactly is using the flowers in the first place. Not bad for a single chase scene, huh?

Now it should be noted that this is Disney’s longest animated feature film to date with a run time twelve minutes shy of two hours. Easily exceeding traditional limits applied for family films, it is no easy task to tell a crime detective story in that time frame. So the fact they managed that, along with astounding characterizations, as well as the appeal to children boasts significantly to its writing chops.

Zootopia is an amazing movie from top to bottom, and though I don’t want to call it perfect, I’ve been hard pressed to figure out why not. With its presentation of plot, story and its amazing environment and characters Zootopia is a marvel of classic and modern day storytelling wrapped into one. Watch it at least twice, you won’t be sorry.

Peter Clampton is an author, a dreamer and most importantly a man with a vision. It’s a simple vision really. He is working to become a great story teller and hopes to share light through stories and enable others to do the same. He is Author of the Post-apocalyptic Western series “The Girl and The Beast,” which can be viewed, along with his other fiction on his website www.Peterclampton.com.

The Twilight Zone

May 13, 2016

fictorians

Guest Posts Horror Matthew Becket Movies Prologues Science Fiction No Comments

A Guest Post by Matthew Becket

Warning: This post is not a safe alternative to nicotine.

Guilty pleasures. I have two of them while watching TV, the unrelated duo are scifi/horror anthologies and infomercials. This time we’ll focus on the first thing. I’ll share my thoughts on the Ninja Blender and that wacky garden hose you can fold up in your pocket for another entry.

Give me the grit, give me those low budget masterpieces from the eighties, then sit my happy little bum in front of the TV and I won’t make any noise but laughter for a good ten hours. I see through the camp and I imagine the script, but more importantly the script writer. I visualize the poor bastard pounding out his manuscript on a tight deadline and an even tighter budget just to give me and my comrades (assuming I’m not alone in this) an irremovable smile. But here’s a question—Is this good writing?

I want to say “no” right off the bat. I should, but I can’t, not completely. All these anthologies (by the way, I’m mostly referring to Tales From the Darkside and Monsters, two gems from the eighties that I cannot part with) have a Grandaddy, a Master, an I’m-way-better-than-you prototype. I only need to say three words – if I’m lucky it may even make you tingle when you read them. You may even hear a certain song.

The Twilight Zone.

Rod Serling. Rod Serling. Rod Serling. The man almost wants me to take up smoking. He held that lit thing in his hand and bravely gave the intro to each and every original episode. And did you know he wrote ninety-two? Yep that’s right, ninety-two of the one hundred fifty-six episodes were written by Mr. Serling. I’ve read a few in script form, but also as short stories—they’re beautiful. I have a tiny area of bookshelf space dedicated to things relating to The Twilight Zone. The stories and TV show age quite well. Not bad story writing. NOT guilty pleasure.

I do have a tinge of jealousy. Jealous of Serling? Sure, I can only aspire, but no, I’m talking about that generation of Baby Boomers who saw the images glow on their black and white screens for the first time. No VCRs, no DVRs, no DVDs (I officially despise acronyms after writing this) only magic! A special Serling sort of magic served with nicotine and sometimes Shatner. A journey into a dimension that made your senses feel puny. Four dimensions were not enough for Serling. If you hopped into his small black TV-shaped vehicle for a ride you signed a contract to breach this plane—an invitation to Heaven, Hell, and all the junk in between. These were bold messages that often were only found in the quirky comic books of the day. Some episodes still scare the hell out of me. Some give me a near Bradbury-ish nostalgic hug. They all make me smile.

Why does it work so well? I think (I may be wrong) it’s utter expectation. Serling gives us a promise every episode. He promises to take us to a weird place. He makes good on his promises.

It sounds simple, but that is a common problem with new writers. In fact, I’m struggling with it right now. I first have to ask myself, “Shit! Does this story even make a promise?” But the paranoid state is good for a writer, or so I hear. Master storytellers like Serling have laid certain foundations and have shown us that these seeds of expectation work. They make the reader feel crafty as if they’re in on the joke.

We don’t need to stand in front of our reader, take a healthy drag off our cig, and give a two paragraph soliloquy just before they start on the first line. (Although let’s face it, that would be cool as hell). However, we can present it in the prose just as we’ve been taught. Promises, expectations, whatever you want to call them they need to be there for the reader. When the promise has been met then we are one step closer to resonance. This is what we want, fellow writers!! We can hear “that was clever”, “you’re so funny”, “beautiful writing” and those are great compliments, but if someone looks you in the eye and says, “that thing in your book resonated with me” in so many words or less – you wrote something Serling might like. I, as you do, very much want to be “might liked” by Serling.

Picture if you will, finding a promise and making good on it. It’s somewhere out there in the ether we call—The Twilight Zone.

Matthew started lying as soon as he could talk. Thrilled with the reaction he received, he started making the lies bigger. Some of the lies he had kicked around for years became commodiously appropriate for the written word. Matthew has fun lying in the Middle Grade genre, but lately has been taking on the Adult Dark Humor Crime Thriller genre. He is currently working on his novel – The Sommelier.

When not lying, he is usually traveling, or hanging out with his wife and three cats in Celebration, Florida while looking up words like “commodious” on thesaurus.com .

Where do I find this guy?

Facebook: https://www.facebook.com/matthewdavidbecketauthor/?ref=hl

Twitter: https://twitter.com/MatthewBecket

Wattpad: https://www.wattpad.com/user/MatthewBecket