Creating New Age Characters

Before I launch into an alternative way of looking at characters, let me wish you all a truly wonderful Happy New Year. I hope writing on 1 January 2010 tops your New Year’s resolution list.

I recently started reading the works of Abraham-Hicks who consider humans to be transmitters and receivers of vibrational frequencies. More common, or palatable expressions include characters radiating “positive” or “negative” energy, “being in sync” or on the “same wavelength”, having “good vibes” or a “good feeling” about someone. Whatever your preferred model of human behavior, it all relates to the same thing; understanding how we operate, and for writers, how to enrich your characters.

Very briefly, the teachings of Abraham define humans as having a Source, or a vibrational core. All vibrations flow in a positive, joyous stream. There are no negative vibrations. We only affect their flow by either allowing or resisting them; much like a light switch with a dimmer. We attract joy by focusing on what we desire, and resist it by focusing on what we don’t. We experience an emotional discord when the external vibrational patterns are misaligned to our Source. This basically means that we react negatively when our desires are not met by our environment.

We operate on a scale of 22 emotional set points ranging from positive to negative, as follows:

1. Joy/ Knowledge/ Empowerment/ Freedom/ Love/ Appreciation
2. Passion
3. Enthusiasm/ Eagerness/ Happiness
4. Positive Expectation/ Belief
5. Optimism
6. Hopefulness
7. Contentment
8. Boredom
9. Pessimism
10. Frustration/ Irritation/ Impatience
11. Overwhelment
12. Disappointment
13. Doubt
14. Worry
15. Blame
16. Discouragement
17. Anger
18. Revenge
19. Hatred/ Rage
20. Jealously
21. Insecurity/ Guilt/ Unworthiness
22. Fear/ Grief/ Depression/ Despair/ Powerlessness

We all strive to move to the highest set point as possible. How does all this relate to creating characters in your screenplay? We generate tension and interest in a scene by inviting our audience to travel with our characters through as many of these emotional set points as possible. Otherwise known as an emotional roller coaster or journey. Make’ em laugh. Make ‘em cry. And everything in between.

If the basic template of of any story can be reduced to a hero battling a problem and it’s resultant emotional imbalance until a resolution is reached, we can essentially say that a their goal is to move to a higher emotional set point i.e from fear to joy.

Donnie Darko (2001) reduced our emotional states to a continuum of either fear or love. Some psychologists reduce basic emotions to five, while others to eight. I strongly recommend studying the following link summarizing basic emotions. Regardless of which theory you chose, the same types of emotions arise in each one. It is also of interest that joy and fear are considered hard-wired emotions, while surprise, disgust and acceptance are considered to arise from biological or learned responses.

As writers, it isn’t essential to delve too deeply into the psychology of emotion, but rather understand the different types in terms of character development.

Colour Your Plot

In the ever-changing world of story telling and formats, the way of adding interest to your plots is changing. Consider non-linear, mobile phones, audio bytes, virals and online formats which have revolutionized the way we can propel our plots. Many techniques can also be used in conventional storytelling media. Here are some of them:

ADDING CHARACTER TRAITS: Many years ago when non-linear storytelling was in it’s infancy, I was working on an interactive war game. I proposed adding more of “alpha” traits to a character, such as aggression and anger or “beta” traits such as calmness and reason. It was a hell of a lot of writing because I have to include a continuum of behaviours. In the end the project fell through due to it’s complexity.

BREAKING THE FOURTH FALL: No this isn’t anger management class gone horribly wrong. It simply refers to a character talking directly into the camera to the audience. Woody Allen and Mel Brooks have used this technique many times.

DREAM SEQUENCES: These can include daydreams, such as the ripple dissolves in “The Simpsons”, flashbacks, flashforwards as in “Flashforward”, premonitions as in “Medium” or fantasy sequences. The help break the monotony of linear stories.

MAKING OF: These can include reality tv,  projects such as “Paranormal Activity” or “behind the scenes” shows, when the characters are aware that they are being filmed. The can also include documentary formats such as Michael Jackson’s “This Is It”. They add a sense of immediacy and intimacy as the audience feels it’s directly experiencing the events in the story.

MONTAGE: These are sequences of images used to speed up the storytelling process. A music montage can also be used, for instance to depict an era or the trajectory of a band’s career.

AUTEUR: These are obvious nods to distinct directorial styles. I think Hitchcock is one of the most directors in terms of style.

SUPERNATURAL: These can include ghosts, a character’s conscience or guardian angels. “Lovely Bones” is a modern example of a girl observing her family after she’s been killed.

NARRATION: This can via text boards, voiceover or graphic narration. Use these sparingly because they’re often overused to cover internalized thoughts, which generally make bad cinema. Show don’t tell.

PARALLEL STORY LINES: Consider “The Hangover”, a basic bachelor party comedy with concurrent storylines, as the characters try to piece together what happened last night to find the groom. Split screen is also a good example of this.

FRACTURED STORYLINES: These come under the realm of non-linear storytelling. They can be as loose as “Reservoir Dogs” where dead characters reappear later in the film, or more stylized, such as “Memento” which was meticulously told in reverse snippets.

NEWS FLASH: These can include newspaper headlines, live news reports, photographs, headlines,  letters or leif motifs to move story forward.

ROSHOMON: A delightful technique often used in procedural tv as detectives piece together how a crime may have happened. It is basically  the same scene executed from another point of view. A good example is Tom Tykwer’s “Run Lola Run”.

RUNNING GAG: Something that pops up from time to time throughout a story

IDENTITY SWAP: This could be as simple as falling into someone else’s body such as “Freaky Friday”, reading minds such as “What Women Want”, gender swaps, going to another part of a character’s life such as childhood or old age, or you could even pull a “David Lynch” when one character simply transforms into another character to add to the confusion. Hey, if David Lynch made sense, he wouldn’t have such a dedicated fan base.

TIME TRAVEL: This is self explanatory. “Back To The Future” is a prime example. Characters are transported to a distant time and place.

I’m sure I’ve missed out a few, but you get the idea. Audiences will always be hungry for stories and they will always be delighted by innovative ways of telling them.

Creating Compelling Characters

Characters are arguably the most important component of your story since they drive action, which in turn, drives the theme. Characters in your screenplay are a composite of human traits, rather than a replica. It is therefore essential that your characters are given three dimensions to make them believable and more attractive to your audience. You can give your character opposing traits to give them a sense of balance. However, their characteristics must be skewed predominantly towards one cluster of traits. After all, human behaviors lie along a spectrum and they rarely sit at the poles. Nobody is entirely good or bad. Not even Hannibal Lecter.

I previously mentioned setting up character profiles for each of your main characters via a questionnaire. Decide basic characteristics such as gender, age, place of birth, education level, marital status, job and such like. I often ask additional questions such how would they react if…? These are useful in scene construction as they will guide you to drive your character in the right direction as your plot progresses. Questions include; how would your character react if their parents died in a car crash, had unexpected guests at dinner time, found a million dollars. found out they were about to be fired/ dumped, went to a nudist colony? I ask what does their bedroom look like? What do they wear to bed? What do they have for breakfast? It’s not vital to answer all these questions in your profile, but it helps you get to know your characters better. Think of it as speed dating. It also helps avoid character cliches such as the gangster who loves art, or is afraid of his mother, the prostitute with a heart of gold, or the icy librarian jilted at the altar.

Who else knew more about human nature than the supremo of psychologists; Sigmund Freud himself. He talked about human development in terms of inner drives and desires, or ego states.

• The Child State (Id). From birth, humans have to make their immediate selfish desires such thirst, hunger and discomfort known. It  is driven by the avoidance of pain and the seeking of pleasure. This is known as the pleasure principle.  If these basic needs are not met, they are manifested by heightened emotional states, such as tantrums, tears, shouting for instance.

• The Parent State (Ego). During the next three years, we understand that visceral responses such as tantrums and yelling are increasingly inappropriate. We learn what is right and wrong within our social constructs and that our actions have consequences. This is called the reality principle.

• The Adult State (Superego). By the age of five, we develop a conscience based on prevailing morals and social values. We learn to reason, debate and argue form multiple viewpoints.

We can see that these paradigms are also mirrored in Maslow’s hierarchy of human needs ranging from basic physiological to self actualization. These have been discussed in an earlier post. Freud also believed that we are all products of our pasts. As we progress through each ego state, we are imprinted with experiences that remain with us throughout life. This is called creating a backstory for your character as it helps us determine what motivates them. An example might be the ruthless CEO who was bullied at school. How would the same CEO behave if he/ she was loved and felt a sense of belonging at grade school? They must want something so badly, they’ll stop at nothing to achieve it by actively making decisions and taking actions. Characters must take both large (plot) and small (nuances) actions.

Feud also believed that the majority of our life experiences are not readily available to us on an emotional level. He used the ‘iceberg’ metaphor, with the tip above water level representing our conscious state, while the bulk of the iceberg being underwater and representing our subconscious and unconscious states. Our conscious state represents our highest level of awareness (superego) and relates to our immediate surroundings. Consider it the RAM of your brain to use a computer analogy. The subconscious or preconsious state of awareness (mainly ego, although it covers the entire spectrum of consciousness) lies just below sea level, and can be prompted for access. This relates to past experiences which influence our current behavior. Think of it was your hard drive. The unsconscious state (id) occupies the largest area of your consciousness because these experiences haven’t formally influenced your behavior/ personality yet. Think of it as an unformatted/ blank hard drive.

A little basic psychology can add substance and truth to your characters and give them authenticity. Here are some definitions you may find useful:

CHARACTER: a representation of a person or class of person (type).

PERSONALITY: a group of behavioral, temperamental, emotional and mental attributes that define and individual

TRAITS: broad dimensions of personality; usually defined in terms of the “Big Five”.

• Openness – appreciation for art, emotion, adventure, unusual ideas, curiosity, and variety of experience.
• Conscientiousness – a tendency to show self-discipline, act dutifully, and aim for achievement; planned rather than spontaneous behavior.
• Extroversion – energy, positive emotions, urgency, and the tendency to seek stimulation in the company of others.
• Agreeableness – a tendency to be compassionate and cooperative rather than suspicious and antagonistic towards others.
• Neuroticism – a tendency to experience unpleasant emotions easily, such as anger, anxiety, depression, or vulnerability.

TEMPERAMENT: a mood or disposition of an individual

I hope you’re all  doing some writing after your Christmas lunch.

State of The Indie World

I’ve previously discussed the current dire state of studio-based cinema, but have neglected to discuss the state of independent cinema. For much of 2009, it was widely considered that indie cinema was laid to rest, with many studio-based or affiliated distributors such as Warner Independent, FOx Atomic and Miramax either shutting their doors or being usurped by their studio parents in a reduced form. A decreasing number of companies such as Focus Pictures and Fox Searchlight were left carrying the distribution baton for most of the year.

Despite this, there has been considerable activity in the independent world. Jeremy Juuso, a Los Angeles based consultant, tracks independent film releases and writes business and marketing plans. His astuteness and business acumen stems from his Harvard economics background. He publishes monthly reports on independent cinema on his website in the film data section.

Each month, he publishes the AKA report which outlines the independent releases in North America (USA and Canada). There is a lag in data, so the following relates to releases from January to September 2009. It makes for refreshing reading. Of the 308 films released, 279 (90%) were independent and the remaining 10% were studio financed. Of those independent films, around 50% were privately financed (60-70% of budget) and 16% were distributor financed via pre-sales. This is encouraging to see since pre-sales had previously suffered a dramatic downturn.

84% of independently  made films debuted at film festivals, so they still remain significant avenues for sales and marketing.  The key festivals at which these films were screened are Sundance, Toronto and Cannes. Tribeca, Berlin and Venice remain major second tier festivals for independent films to be represented. Magnolia Pictures, IFC Films and Sony Pictures were the main distributed who purchased these films. It is of note that 22% of independent films were self distributed.

Just under half (48%) of these films were dramas. This in direct contrast to studio films which were almost exclusively comprised of action, comedy and thrillers. Documentaries were also well represented (22%) in the independent sector but barely seen in studio system. It is also refreshing to see that 33% of films, were in non English languages. According to reports from the AFM in Santa Monica last month, this figure is set to rise as film goers mature and embrace globalization. Diversity can only benefit independent cinema since it is not strangled by the high financial stakes plaguing studio films. Hopefully, we’ll see more “Slumdog Millionaire” type films, which was made on a modest ($15 million) budget, yet made a welcome impact at the box office. It would be ideal to see the profits filtering through to more independent films, so the industry can become self sustaining. Unfortunately, the majority of these films fail to recoup their budgets, let alone return a profit to investors.

It appears that the independent film market is competing for different audiences with different types and more varied films. It is rightly referred to as the specialty film business. However, such diverse films must be nurtured and delicately marketed to the boutique arthouse crowds in the face of blanket advertising of studio fare.

Given that the majority of independent films rely on a mix private equity and government funding, it is difficult to obtain reliable data on the proportion of films making a profit. Since much equity funding is regrettably purposed to generate a tax loss for high net worth individuals, and government funding simply supports local film makers with scant regard for factors such as market penetration, demand and profit, independent cinema remains a dubious business proposition. Hopefully, as distribution channels such as video on demand (VOD), cable tv and ancillary markets such as hotels mature, we will see more accessible independent films spread across a greater variety of platforms, and therefore stand a better chance of financial viability in the marketplace.

One Step, Two Step, Three Step, Four

How do writers get paid? Mainly by check, but sometimes in coffee beans…

The first type of payment for your script story is typically an OPTION. This is analogous to renting your literary property. They usually last for six to twelve months and are brokered at 10% of the purchase price. Once the option expires, the rights to your script automatically revert to the writer.

The second type is an outright PURCHASE. Although you’ll normally receive ten times the size of option payment, you are relinquishing all further rights and control over your work. Producers often do this when they like your story, but intend to hire another writer to develop it. If you want it back, you’ll need to buy it during a process called TURNAROUND. Another studio will often pay more than the initial studio paid for it to cover development and incidental costs. Therefore, many scripts get lost in development hell when the costs of another studio buying your script become prohibitive.

If a producer intends to keep you on to develop further drafts of the scripts, a STEP DEAL is usually negotiated. In the days of yore, multi-step deals were the norm. Three or even four step deals. This doesn’t mean that producers dance as they deliver your multiple checks. A step deal simply refers to various drafts of a script. At the end of each step, a writer’s services can be terminated depending on your contract. The WGA has minima in place which must be paid to the writer at each step. The amounts paid usually decrease with each step. So when you read the trades and see that a script has sold for six or seven figures, the writer doesn’t receive all that up front. Damn. Of course other factors come into play such as whether the screenplay is original or adapted or whether it’s a rewrite or a sequel all of which affect the fee.

A writer gets paid half the first step usually at 50% upon commencement and the remaining 50% once the material is submitted. At each step a writer’s commitment to further steps is contractually stated as being either optional or guaranteed. If you are guaranteed a certain number of steps, you must be paid for them, even if a producer hires another writer. Otherwise, they may not exercise the option of hiring you for further drafts. There is usually a PRODUCTION BONUS payable upon the first day of principle photography if your project is greenlit. It should be noted that studios are notorious for delaying payment by months, up to a year, so don’t quit your day job just yet. On the positive side, a studio script sale is usually quoted as one figure against a higher figure, such as $100,000 against $300,000 if the project enters production. I must add that the difference between the two figures is payable, not the sum. I’ve tried that one too, with no luck.

The first step could be a story, treatment or first draft. Subsequent steps include revisions and a polish. As studios are currently dispensing with development financing, they are increasingly offering one and two step deals. This means that they essentially want close to a shootable script as soon as you’re hired to write an assignment or purchase a script from you.

So you’ve landed a multi step deal guaranteed for two steps at $100,000. What next?

• If you have a writing partner, the pay check must be split. Unfortunately, you can’t ask for $100,000 each. I’ve tried. If there re more writers, you must all enter WGA arbitration.

• Next you must pay federal and state taxes which could amount to 25-30% depending on your individual circumstances.

• Then you need to pay your agent, which is another 10-15%

• If you have a manager, that’s another 10%

• If you’ve used an attorney for any part of the process, that’s another 5%

• Finally, you need to pay that pesky WGA, who negotiates fees on your behalf. If you’ve worked for a WGA signatory company (all studios are signatories), you’ll need to join the WGA for $2500. If you ask them nicely, they may offer you an installment plan. If you’re already a WGA member, your dues are 1.5% of your earnings. If you work they get paid. Sounds fair. It may seem like a lot of money, but it’s worth it when things go awry. You’ll never be able to negotiate these fees on your own.

So there you have it. After all the deductions are accounted for, you’re left with about $100. Spend it wisely.

Title – What’s In A Name?

Actually, a lot. Writers are often told to write that page turning opening scene to hook the reader, because that is the first thing they read in your script. Prior to reading the ubiquitous “fade in”, the title is actually the first thing a reader sets their eyes on. How does it make them feel? Do they want to read past the title page? What does it say about the content of your film? Consider your movie poster. Your potential audience will see a title combined with an image to help them decide if they will watch it or not. Given that a title is an integral part of the marketing, make sure it sands out.

Marketing departments spend a handsome budget devising titles to evoke a particular mood in target audiences. Never submit a script titled “Untitled Project” or “Working Title” even if you’re really established. It’s lazy and unpolished. A bad title at least shows you’ve made an effort. You spend considerable time to name your baby, so why not your script? How would your child be perceived if he was called Thaddeus? John? Dayton? Same kid, very different perceptions.

There are a number of approaches you can use to find the right title for your script. Above all, make it memorable and neatly compliment your story.

MAIN CHARACTER: This is probably the easiest. “Jerry Maguire”, “Milk”, “E.T.”, “Spiderman”,  “Shrek” and “Amelie” are common examples. You can even add a twist to further bait the audience. Examples include “Who’s Afraid Of Virginia Woolf?” or “Malcolm X”.

MAIN CHARACTER’S ROLE: An alternative to using the main character’s name, is their occupation. An example of this is “The Machinist” rather than the Trevor Reznik story. “The Queen” can be arguably more powerful than “Elizabeth Windsor”. “The Wrestler” says something more about the film than “Ram”.

PLOT/ THEME: A good title should give the audience and indication of the plot or themes covered “A Few Good Men” and “Atonement” give a  hint of the theme, although we’re not clear it’s about the military or Victorian England, respectively. “Escape From New York”, ‘Kill Bill”, “Dead Poets’ Society”  or “Toy Story” encapsulate the plot in the title.

MAJOR EVENT: This relates to the plot, but a major event can also act as a powerful title. Examples include “Independence Day” and “World Trade Center” (place and event).

PLACE: Peter Weir’s “Picnic At Hanging Rock”, “Australia”, “Sunset Boulevard”, ‘District 9″, “Fargo” and “Pearl Harbor” are examples. The first example depicts a plot and place, while “District 9″ is more elusive.

SIGNIFICANT DIALOGUE: A seemingly innocuous piece of dialogue that makes sense once the movie has been seen. An example includes “First Blood”.

GENRE: A title should also relate to a film’s genre. Consider “Jaws”. It wasn’t called “The Shark” because “Jaws” was more immediate and better conveyed the action genre. A comedy should have a funny title such as “40 Year Old Virgin” or “Knocked Up”. In these cases the entire plot is also conveyed. “I, Robot” suggests a science fiction movie, while “Paranormal Activity” indicates a supernatural thriller.

A PLAY ON WORDS: The only examples I can think of are “Preaching To The Perverted”, “Shaun Of The Dead” and “Legally Blonde”. Catchy and all help sell the films. They may indicate a parody to the original.

SOURCE MATERIAL: Often the film adaptation carries the same name as it’s source for continuity. It’s a powerful tool of the branding process to create familiarity, awareness and mental relationships. “Harry Potter” is a prime example as is “Closer” which originated as a stage play of the same name by Patrick Marber. A notable deviation is “There Will Be Blood”. This title is more obscure than the bolder title of Upton Sinclair’s novel “Oil”. The film title adds an element of mystery, death and saga, whereas “Oil” could be a story about acne.

OBSCURE TITLES: These are generally reserved for non-studio films to create an air of exclusivity to perhaps more high brow audiences who love to be challenged by what a film’s title actually meets. Consider the recently released film “Invictus” about Nelson Mandela’s shepherding of the Springboks to World Cup Rugby victory. Invictus is a Latin word meaning “unconquered”. Imagine if it was simply called “Mandela” or “Springboks Rule”? The Latin title adds prestige and so much depth to the film because South Africa winning the World Cup in 1995 was meant to unify South Africa. In 1995, rugby was more than a game. It was meant to conquer the evil ghosts of apartheid.

PARADOXICAL TITLES: Consider this year’s multi Academy award winning film “Slumdog Millionaire”. It’s diametrically opposed imagery causes instant intrigue.

NONSENSICAL TITLES: Examples include “Like Water For Chocolate” which doesn’t mean anything per se, but relates to the content of the film.

Since first impressions are critical, make your title puts your script’s best foot forward. Make your title have multiple layered meanings. Make it work hard like every other aspect of your script. Don’t consider it an afterthought.

In Too Deep – Deepen Your Depth (Subtext)

After a slight diversion, this is the last of the “In Too Deep” series. So what is subtext? In short, it’s the difference between what we actually and and what we can’t or won’t say. The greater the difference, the better.

Subtext is used to add layers, depth, richness and texture to screenplays through mystery, intrigue and interest. It makes the audience engage more deeply with the story as they figure out what is going on at a primal level beneath the superficiality of what’s on screen. It’s the intangible subtleties of the visceral human condition that adds subtext to a good screenplay. It beats the predictability, flatness and boredom associated with “on the nose” direct dialogue.

Subtext refers to how a recipient interprets a visual (action), auditory (dialogue) stimulus. But more importantly, how these messages are deliberately manipulated by the sender to influence conclusions, assumptions and outcomes. The premeditated nature of subtext juxtaposes it against a simple misunderstanding.

Isn’t the joy of human communication wonderful? Or even complex? Imagine if computers ran on subtextual commands rather than specific unambiguous instructions? As we grow older we’re typified by our propensity to never say what we truly mean or feel. This ranges from a white lie to a downright lie. Maybe a riddle, or a musing that appears to have nothing to do with the subject at hand. This even applies to children who are often used as pawns of absolute truth in cinema. Subtext is rarely used in children’s dialogue. They generally say what they want, when they want, how they want. Except of course when they realise, they may get into trouble. Did you eat all those cookies? The said child shakes his head “no” despite chocolate chips smearing his lips and crumbs staining his clothes.

The older we get, the better we lie. Hence the expression “read between the lines”. Since dialogue is so economic we writers must ask “what are we saying?”, “what are we trying to say?” and “what are really saying?” This is called subtext, the real meaning that lies beneath the surface of words our characters utter.

WHY DO WE DO IT?

• To avoid hurting someone’s feelings
• To avoid a conflict and
• To avoid being vulnerable, especially when the stakes are high are three key reasons.

Subtext can be introduced into a screenplay from a superior (audience knows what’s going on, but character doesn’t) or an inferior one. Consider a scene where a couple is having dinner and the guy sees an ex with whom he ended things badly. He wants to get the hell out of there, pronto. So he hints to his current date “The service here is atrocious. Let’s go to Jerry’s”. We can complicate the scene by making his date want to stay. The guy continues with a litany of excuses; the restaurant’s too noisy, too expensive, he doesn’t like the menu, it’s drafty, he’s underdressed. Anything, but the real reason he wants to leave. He doesn’t want to reveal the truth because his current date will want details on why and how the said relationship ended. The truth can hurt.

Much subtext can be elicited through seemingly vague, irrelevant dialogue, but also through tonality. Tonality can be conveyed via sarcasm, pitch, speed, inflections and modulation of voice. Consider the phrase “So lovely to see you”. Think about how the ways this can be said to convey a polar spectrum of meanings, ranging from “you’ve made my day” to “get away from me”.

Subtext can also be expressed through actions. Consider the above scene where the guy accidentally/ on purpose spills wine on his shirt as a pretext for having to leave. Imagine if he locked eyes with his former lover and holds his current date’s hand to show that he’s moved on? All this, without uttering a single word. Did he cheat on his former lover? Is she stalking him?

Mad Men scripts master the art of subtext, sometimes to a fault. Fans of the show are endlessly titillated as they are absorbed into the story. Critics argue that they don’t have a clue what’s going on. Consider  episode 10  of series 3 “The Color Blue” where Don Draper is in bed with his daughter’s teacher and they discuss the color blue. She says “What if it wasn’t really blue, but we just thought it was?” What does this say about perception, when they were previously discussing whether Don was committing adultery or not? Don segues into a speech about demographics. Does he believe he’s having an affair? Does he care? Does he love his wife? What’s his conscience saying?

Where did all this come from? Cast your mind back to the riddles that needed to be solved in Ancient Greek mythology. Remember the Sphinx and Oedipus? Although she was trying to warn him of the dangers of the oracle, but he managed to successfully answer her riddle and win the keys to the kingdom of Thebes. But at what cost? Ask his mother.

So there you go. Use the power of subtext wisely and enrich your scripts.

It’s a Mad, Mad, Mad, Mad World

While other industries have been struggling to survive over the past year, film exhibition has enjoyed a paradoxical boom. Around summer time, box office was around 15% higher than the same time last year.

Box Office is up around 9% this year compared to last year. That’s good, right? Yeah. We’re slowly emerging from the most protracted recession since the Depression. Fingers crossed. Studios should logically be reluctant to spend on high risk blockbusters, right? Film budgets should be reigned in, right? Wrong. The specialty film business is still moribund. Studios have either shut them down or incorporated them into their main film businesses. Distributing smaller films is a delicate business and requires much care and money.

Studios have discovered that the more they spend on a film, the higher the profits. Enter the world of mass consumerism, or pack mentality. The bigger and sexier something sounds, the more likely we are to see it. And the studios know it. It gives us something to talk about when we socialize. We tell our friends or our friends tell us about an “event” film, boosting ticket sales. And if you’re a 14-18 year old male, who sees such films multiple time, even better. We do this at the expense of watching other films.

Enter Avatar, the most expensive studio movie ever made, due for release later this month. Depending on who you believe, Avatar’s budget has come in at a modest $300 – $400 million. The upper estimate most likely includes a marketing budget which typically consumes an additional 30-40% of the production budget. These figures are not for the faint-hearted. We’re writers, but we still need to know where the studios are at.

Studios are currently uber-obsessed with branding, and not of the cattle kind. They would rather spend $100 million on a tent pole movie with franchise potential than $20 million on a heart rendering drama. It’s having an effect on agents and managers around town. They’re simply delaying or avoiding reading anything outside the current studio remit since there is an absence of buyers. Unless you’re Clint Eastwood selling “Gran Torino”, you’re screwed. Studios will also be producing fewer films next year as the abnormally high pre-WGA strike product has gradually filtered through the exhibition system.

Release patterns will also change. This year saw tent pole films released throughout the year, to highly profitable effect. It seems that the days of releasing the best films only around the holidays may be over.

The network television market is also taking a turn southward. Network television is facing audience declines of around 20-30% as viewers defect to cable, VOD and other distribution media. Current network scripted shows are in decline as cable picks up the flack. Those that have survived are hiring fewer staff writers; 6-8 rather than 8-12. Cable television is showing the highest market penetration overseas, particularly Asia. Global distributors and sales arms have their work cut out for them since films are currently broadly taking 50-60% of their box office outside America.

Not a pretty picture. As with all industries, films follow trends and cycles. So the thunderstorms today do not suggest that cinematic sunshine won’t follow next year.

Keep writing!

In Too Deep – Deepening Your Plot

George Bernard Shaw once wrote that plot was the creation, manoeuvering and destruction of relationships between characters. Plot is derived from character and it’s sole purpose is to drive the story so the character can attempt to achieve their goal. Every scene in your script must either reveal something about the character and advance the story. Flat scenes become boring and lose your audeince. Here are some plot devices that can pique your plot:

• DANGER – I cannot stress this one enough. It can be moral danger such as deciding to cheat on your spouse, or physical danger such as being trapped in a burning house. Raise the stakes and make your character earn their goal and pay for their mistakes. Give them insecurities, flaws, problems and issues we can all relate to. Make them fall into a ditch that they must crawl out of. A common plot device in action films is to either have multiple things go wrong at once or sequentially. The victim tries to escape, but they can’t find the keys to the car so they break in. Then there’s a flat battery so the can’t hot wire it to start. Then there’s no cell phone coverage… What’s needed may not arrive in time or not arrive at all. Oftentimes, dramatists use a Deus Ex Machina (literally God from the machine) whereby some life saving event occurs just in the nick of time before all is lost. Make sure this isn’t a lucky co-incidence or your audience will never forgive you.

• TIME BOMB - Give your characters a ticking time clock where something seriously bad will happen if they don’t achieve a goal. Maybe there isn’t enough time to defuse the bomb? Perhaps the main character doesn’t know how to defuse the bomb. Maybe the main character isn’t even aware of the bomb. Does the audience know? Giving either the audience or the main character such a superior position adds intrigue and interest. Alternatively, the main character can simply run out of options to achieve their goal rather than out of time.

• CONFESSION – After deep humiliation make your character confess to a secret, shortcoming, wound or a deep seeded fear or shame. Maybe they realise the error of their ways and take responsibility for their actions. Consider your audience. Being born out of wedlock is generally not considered a shameful act in the Western world. Forcing a pregnant unwed couple to marry may be acceptable is some cultures, but not in others. Play with morality in your plot. The beauty of it is that it’s never clearly right or wrong like a maths problem. Is it wrong to kill someone? What if they killed your family? What if it is in self defense?

• BETRAYAL – The hero’s buddy changes sides or is revealed as a traitor. What if the main character doesn’t realise this, or does so when it’s too late? What if the traitor leads them into a trap?

• DILEMMA – The hero is forced to make a choice between two equally bad alternatives. Consider the family with premature Siamese twins who must decide which one survives and which one doesn’t. What if the main character consciously decides not to act because they are faced with issues of duty for the higher good? Or even love?

• OBSTACLES – External influences such as bad weather or natural disasters forcing them to stop. Car or other vital piece of machinery breaks down and a replacement part is not immediately forthcoming. What if their progress is stalled due to injury, illness or other physical condition such as pregnancy or diabetes? What if someone in their team is killed or kidnapped? Running out of bullets, money, food, air all add to the excitement of danger.

• DISCOVERY – The element of surprise and shock always jolts your audience. Examples of this include a cover been blown of an undercover cop, the presence of an intruder being noticed, an escalating lie has been revealed. A discovery must pivot your story into a new direction, not simply act as a minor irritant. Remember the scene in “Mad Men” where Betty discovers Don’s true identity by opening a locked drawer? She didn’t sigh and carry on, she left him. Discoveries can also be wild goose chases. Following the wrong lead, the wrong map or the wrong advice.

• LOVE – Due to it’s universality, love will always add to a plot. What if a past lover returns? Consider Jodie Foster in “Sommersby”, when she tells her returned “husband” that he’s not the man she married because she didn’t love him like she loves the impostor. Add a love triangle; one bride versus two grooms. Add gender swaps, such as “Tootsie” who had enamored a man who thinks she’s a woman. Also consider the third wheel. The buddy who suddenly becomes the bride’s love interest when he reveals his true self. Love is also used to tame a savage, misanthropic heart.

• TRAITS – Give your character some endearing traits so the audience can partially overlook their negative ones. Give them courage, give them love. give them scruples so they are fighting for a good cause where the collateral damages justifies the cause, make them perform a good deed, make them desirable such as handsome, physical and funny. Make them spiritual, generous and wise. Ensure it all emerges from a place of truth and authenticity. Audiences retract from phonies. Give them fears, traumas which block their growth, masks which prevent other characters from seeing their real self.

• LIKES – Make your characters like children, animals and art. Give them great taste in cars, partners, houses, music, fashion, food and overall lifestyle. Audiences tend to admire what they aspire to be or what they perceive to be desirable.

So go forth and beef up those plotlines.

In Search Of – Finding Your Story & Voice

Humans have been telling stories to each other since time immemorial. They serve a deep psychological and sociological need. Let us examine a few key concepts:

WHAT IS A STORY?

Quite simply, it is a journey of inter-connected events with a beginning, middle and an end providing

• dramatic fulfillment
• education
• knowledge
• entertainment
• emotional stimulation and,
• a satisfying conclusion (we love closure)

Stories began as visual medium when our forebearers painted images on cave walls. or drew with sticks in the sand. They were accompanied by words or grunts. As complex language developed, stories were increasingly verbalized, and later on written. Stories today can be exclusively composed of images, written words or speech, but often times are a combination. Cinema is primarily a visual medium, with a lesser proportion of words (dialogue). Television is more dialogue based than cinema in general.

A story must have a purpose. For instance, the Australian Aboriginal woman at a rock formation called “The Devil’s Marbles” in the Northern Territory told stories to keep youngsters away from these rocks to avoid danger. A story can be as dry as a depiction of actual events or “life-like” events. Even fantasy fairy tales emulate “life-like” events through suspension of disbelief. Whatever dungeons and dragons we use, the events in a story must feel authentic .

Stories also need a theme (exploration of the human condition). What topics or concepts is your story exploring? Racism? The power of the human spirit during disaster? Love always triumphs over evil? Revenge? And the list goes on. This has been discussed in an earlier blog in the 36 dramatic situations by Georges Polti.  Be careful that you are only exploring one central theme and perhaps one or two minor ones. Otherwise your story loses focus which must be found.

In order to make a story compelling, there must be a protagonist (hero), a goal, a dilemma, conflict, an antagonist (nemesis) and a moral (leading to growth) to create a complete experience. And more importantly, an audience. Stories help us communicate with each other, and add meaning and enrichment to our lives. They bring people together through sharing and help us evolve and grow stronger.

Dramatica defines story as a grand argument dealing with a problem or an inequity. Huh? Basically, it raises the issue of a hero with a conflict as they are yanked from their natural world through a critical or inciting incident, and how they go about solving it.

During a recent seminar by Jen Grisanti (a Hollywood writers’ consultant and wonderful person too), she spoke of the importance of finding your story. What is the writer specifically trying to say? Why are they taking up her with a series of events? Is your story too episodic? What do you want your audience to get from watching your film? What message are you trying to convey to your audience?

The movie “Tootsie” spent close to a decade in development until the writer Larry Gelbart finally decided that ‘Tootsie” was a story about a man who had to become a woman in order to better understand them and himself. It wasn’t so much a story of desperation, the lengths people go to to make it as an actor, or about a guy liking to dress up. Consider “What Women Want” with Mel Gibson and Helen Hunt which was essentially the same story with body rather than clothes swapping.

Jen Grisanti sees stories as media for building communities. Pretty powerful stuff. A good story must have clarity and must be relevant to the times. How does the story make you feel? These are primal concepts, but difficult to nail down. It must also possess deeper symbolism to have a greater impact on us. She sees the important aspects of raising the emotional stakes in a story as being

• anticipation
• expectation
• participation
• surprise and,
• a delayed payoff

WHAT IS A PLOT?

A plot is simply the way a story is executed, or a cause and effect series of events. A road map. It is the mechanics of your story; how the sequence of events are put together. Many writers confuse the two and think writing event after event constitutes a story, especially in action films. Is your plot linear, non-linear or avariant? Classic examples of unconventional plotting include “Memento”, “Reservoir Dogs” and “Run Lola Run”. Plot also relates to structure, the most common being the Aristotelian three act structure. Is there a clear concept or story idea, which is more specific than a theme? Good versus evil isn’t a story concept.  Is there a well defined central/main character with a clear motivation, goal, a dilemma and obstacles. One way to enhance your plotting is to consider what is the worse case scenario if your main character doesn’t achieve their goal. The ultimate failure to achieve a goal is death.

Subplots are secondary or tertiary storylines. Some readers have complained that, because a writer hasn’t really found their story, some subplots are actually more intriguing than the main plot. It happens in unpolished scripts. Even to me! Another problem I recently grappled with is my choice of main character to drive the plot. In the end I switched the boy to a girl (literally not surgically) and everything fell into  place.

FINDING YOUR VOICE

These are the less tangible qualities that define you as a writer. Jen Grisanti claims that many newer writers lack a distinct voice which distinguishes them from other writers.

This is a difficult process of self exploration. It means that we need to delve deeper into our psyches than ever before. She made us define a critical or life changing incident where the rug was pulled from under our feet and we are forced to deal with a new reality. Sound familiar? In doing so, we help shape our characters which are products of our creativity and therefore ourselves. Imagine placing your profile on a social website. Think of how you would describe your personality? What are your likes and dislikes? What do you value most in your relationships with other people? Certain patterns will emerge which define you as an individual. Are you easy going? Wound up tight? Chatty? Pensive? Conventional? Alternative? Think about how a producer might discuss what qualities you possess as a writer. If a project is greenlit and a producer is looking for a writer and they say “This project is perfect for xxxx (insert your name)”, it’s because of your voice.

Part of finding your voice involves common themes in the stories we like to tell. Are we animal lovers? Philanthropists? Comedians? Feminists? Optimists? Cynical? Interested in human suffering? Are your characters strong, successful people? Are you strong and successful or do you aspire to be? Are characters underdogs? What is their disposition? Happy? Smarmy? Cheerful? Quirks?

Finding your story and finding your voice is rather like wanting a quick definition of the meaning of life. The only way to find it is to keep searching. And the search lies in the writing. So what are you waiting for?