Category Archives: The Fictorians

I love this movie.

Was it the best movie I’ve ever seen, or the one that made the most impact on my life?

Nope.

It didn’t pretend to be. I knew going in that this movie was going to be a fun adventure, filled with space battles, aliens, and not-quite-heroes. And it worked. I didn’t even know it was based on comic books, but I didn’t need all that back story to enjoy a fun flick.

So what do we learn from a movie that doesn’t pretend to be the biggest or the best or the most profound?

Gripping storytelling, and the magnifying influence of humor.

Even though this one was pitched as a funny adventure, it had more heart than I had expected. The characters had some cool aspects that came out as the story progressed, drawing the audience in and linking us to them through a surprising depth of emotion, and lots of laughter. Most people I’ve talked to smile with I mention this movie, and that should be considered a win.

The movie followed an interesting plot line as this group of outcasts, renegades, assassins, and hit men are thrown together and end up bonding through the process of a very entertaning prison break. Check out this clip:

And of course, one of the funniest things is that later, Peter Quill learns that Rocket was only joking about needing the artificial leg he had to pay 30,000 credits to acquire for them. A great example of the humor so pervasive in this movie.

As they work together to try to win their big score and escape relentless pursuit, they grow closer together, learn to trust each other, and end up facing the hard reality that the universe that has dealt them so many hard knocks needs their help.

As Peter Quill so eloquently put it: “When I look at us, I see a bunch of losers. I mean, people who have lost stuff.”

https://www.youtube.com/watch?v=Gj4x–o954I

Coming from such a group, who had come from very hard lives, this scene was remarkably powerful. Even when Rocket grudgingly goes along with it by claiming, “I don’t have that long a life span anyway.” we feel the power of the moment despite his attempts to pretend he doesn’t care.

The battle sequences are awesome, and we get to see the characters pushed to the limits. They don’t disappoint, like when Groot makes the ultimate sacrifice to save his companions from death in the crashing spaceship.

https://www.youtube.com/watch?v=OAO4q2gkKCs

That’s a great scene, even more powerful woven into such a funny, adventure story. Then we take things up yet another notch when all seems lost and Ronen is about to destroy the entire planet.

And so we flip back to humor. Peter’s ultimate attempt to distract and defeat the evil Ronen is to challenge him to a dance off. When Ronen, who can’t seem to say more than three or four words in any sentence asks yet again, “What are you doing?”

His answer is priceless. “I’m distracting you, you big turd blossom.”

And the group unite to try to control the infinity stone, a power that should be too much for them to handle. Yet somehow, together, they manage.

So yeah, this rollicking adventure kept me interested with the cool action, a cast of characters that we grow to love, despite all the reasons not to, and excellent use of humor. But the end result grew beyond the sum of its parts with the deeper moments of humanity, of sacrifice, and of true friendship.

About the Author: Frank Morin

Frank Morin loves good stories in every form. When not writing or trying to keep up with his active family, he’s often found hiking, camping, Scuba diving, or enjoying other outdoor activities. For updates on upcoming releases of his popular Petralist YA fantasy novels, or his fast-paced Facetakers scifi time travel thrillers, check his website: www.frankmorin.org

Jackie Brown: Quentin Tarantino’s Masterpiece

May 19, 2016

Kevin Ikenberry

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.

Can’t Take the Sky From Me!

May 18, 2016

Nathan Barra

Character Conflict Craft & Skills Movies Narrative Voice Nathan Barra Our Favorite Fiction Reader Investment & Empathy Science Fiction Setting and Milieu The Writing Life World-building 5 Comments

A couple months ago, I had the pleasure of introducing my girlfriend to one of my favorite fandoms — the Firefly TV series. We shared a bottle of wine and watched the first few episodes together while at her place one night. When I was getting ready to leave, she asked to borrow the DVDs so she could finish the series. Being an avid Browncoat, I of course had no problem with this.

A few days later, she returned my DVDs and we had a lively chat about her favorite characters, plot lines, and moments. Towards the end of the conversation, she smiled at me and said, “Well, I really enjoyed that. I’m ready to borrow the next season if you have it on DVD as well.”

Ooops… “Ummm,” I said, “I can’t do that.”

“Why not? Do you have a digital copy we can watch together?”

“Well darling, there’s no more.”

Pause.

“What do you mean there’s no more?”

I probably shouldn’t have smiled, but I did. “Well you see, Fox canceled Firefly after a single season.”

“What? That’s stupid! Why would they do that?”

“Love, people have been asking that very question for years.”

Like many other major fandoms, we Browncoats are passionate in our love. However, unlike most of the others, our series only had 14 episodes with which to win our undying affection for Serenity and her crew. How did Joss Whedon do it? Why were we addicted so fast? Part of becoming a writer is learning how to dissect the pieces of fiction you love to find out what gives them their power. I’ve rewatched the Firefly TV series half a dozen times over the years, hoping to unlock Whedon’s secrets to addictive storytelling. I have a few theories, but here are the top seven reasons I think that Firefly was so powerful.

1. FIREFLY TRANSPORTS US TO A FANTASTIC PLACE AND TIME.

In Million Dollar Outlines, David Farland pointed out that many of the most successful movies of the last 50 years actively transported their audience to a different place or time. The ‘Verse that Whedon created certainly checked that box. Whedon’s world was dynamic, colorful, and exciting. The juxtaposition between the advanced societies of the Core and the space cowboy Rim was both charming and filled with conflict. And come on, who doesn’t want to be a space pirate living on the Serenity?

2. FIREFLY WAS TUNED TO SATISFY OUR EMOTIONAL NEEDS.

Part of Joss’ brilliance with the Firefly series was how well he was able to blend all sorts of emotional payoffs.

Excitement — I mean, space pirates, am I right?
Romance — There were three very different romantic subplots. The first, between Mal and Inara, was a reluctant attraction story all too reminiscent of modern dating. The second, between Simon and Kaylee, was more of a young love. It resonates well with our own first romantic exploits. Finally, there was the established love between Wash and Zoe. It was unlikely, yet stable and strong. Something many of us wish to find for ourselves.
Humor — Sometimes it was simple one liners, references to flowered bonnets or the “special Hell.” Other times it was a running gag, like when we had an entire episode about Jayne being a folk hero. Either way, there were plenty of laughs and inside jokes.
Mystery — River and Book’s back stories provided plenty of intriguing questions that have fueled fan speculation even long after the series ended.
Wonder — I mean, space pirates, am I right?

In so doing, Whedon was able to cast a wide net, both attracting and satisfying a large and diverse audience.

3. THE CREW OF THE SERENITY FIGHTS LIKE FAMILY.

This aspect is twofold. On the onehand, there was plenty of conflict on the Serenity. Each member of the ensemble drove the others crazy at times. That special sort of insanity reserved for siblings. It kept things interesting and dynamic. It also resonates strongly with much of the audience.

On the other hand, they also fought as a family, repeatedly and selflessly putting themselves at risk for one another. Watch the episode where they assault Niska’s station or the one where the crew goes back to rescue Simon and River from hill people. They were willing to die, and kill, to save their own. They loved one another, one of the truest human emotions and an undeniable anchor for audience empathy.

4. THEY AIMED TO MISS BEHAVE…

The crew of the Serenity were pirates, criminals and vagabonds. They stole from the rich, sold to the poor, and were gleeful in their exploits against the Alliance. In our world of well-ordered queues and 9 to 5 jobs, we enjoy stepping out of line with them every now and then.

5. …AND YET THEY HAD HEARTS OF GOLD.

When it came down to the line and they had to choose between fleeing near certain death or fighting, they stood their ground and fought for what was right.

6. THE ODDS WERE ALWAYS STACKED AGAINST THEM.

Audiences love underdogs, and the crew of the Serenity always faced overwhelming odds. The government of the Alliance was demonstrably selfish and neglectful, if not outright evil at times. Life on the Rim was brutal and occasionally cruel. However, our band of miss fits struggled to survive none the less, often escaping those chasing them by the narrowest of margins.

7. JOSS LEFT ENOUGH ROOM FOR GROWTH.

Each of the characters was treated as a whole person and given room to grow as an individual. They each had their own pasts, natures, and futures. Though they couldn’t all always share the spotlight, Joss allowed each their own time to shine. Throughout the series, we were able to watch them become better versions of themselves, carving out a home and a family in the uncaring ‘Verse they were born into.

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.