So I'm curious about your process. I'm currently wrestling with an idea for a film that I really like. I've got a really good set-up and I like how the characters are being fleshed out.
The problem is - as always - Act Two. I've got a few different directions I can go in to get from Act One to Act Three. The difference mostly is a matter of the degree of escalation - slow-building tension, versus just going for the big boom earlier and letting people react to it.
Basically, I have two potential movies that seem to share the same set-up, and I'm not totally 100% sure of either one. Only once have I started a script without knowing the direction it was going to take. That experience proved to be interesting, but I don't think it's an approach that would be advisable with this story.
So here's today's talkback discussion topic: Have you ever found yourself torn about which direction to take a script? And if so, do you prefer to resolve that at the outline stage, or have you ever tried writing the script up until you reach that point and then seeing which way feels right?
Tuesday, November 27, 2012
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Theme is usually what I find the most helpful guide.
ReplyDeleteThough sometimes I've found myself reworking the theme to make it fit where the script kinda wants to take itself...
I'm having this same problem, so I'm just outlining both and deciding which one I like more. One is fun and one is deadly serious and the project stalled because it was so schizophrenic and this is the only way I could push forward.
ReplyDeleteWhen I write, I just start seeing where my mind is headed, but after about ten-fifteen pages, once I have an idea of the direction, I'll start outlining it. That way I have a basic understanding of the mood and characters. Ideally after the first fifteen pages I'll have a strong mood so outlining at that point would allow me to do more with that temporary energy.
I'm in a similar situation - great idea but no idea how to take it. I'm planning to just keep writing and see what happens. :/
ReplyDeleteWhich script to write? The best concept should win.
ReplyDeleteOutline or Not? Whichever works best for you. Guillermo Arriaga (Babel) thinks it's boring to know where the script is taking you. (But keep in mind that he says structure is never a problem for him. He has a builtin GPS.) Check out his BAFTA speech on the internet. Some other professionals will tell you they need to outline first.
How to handle Act 2? It may depend on your genre and what works best for the script. A lot of movies like to amp up the action. Throw conflict at the protag. And then there is the first episode of the first season of Downton Abbey. A period drama, something I would have no interest in -- except for its amazing execution. Every scene, and I mean every scene, has conflict. It's a drama -- but far from a boring soap opera.
But yeah. I do have one project with a second act problem that I would like to write some day. But the problem has to do with the difficulty of both the writing and playing fair with the audience. That's because it's a Twilight Zone type script -- but with a stunning reveal. And I would love to see it play out on a 70 foot screen.
I should have said stunning reveals.
Delete(We need an edit button.)
Outlining doesn't always solve the problem. If I can't decide between writing a thriller or a black comedy, I'll go ahead and write two different drafts. Normally I'll like one draft better than the other and my problem is solved.
ReplyDeleteI used to never like outlining, but after several scripts just dying out at around page 60 or so (out of steam to bridge the gap to Act 3), I've learned to lean heavily on outlines.
ReplyDeleteI set a goal of 25-30 bullet points (potential slugs) for each act. Flesh out the A story as much as possible. I don't even go to Final Draft until I feel sure I can fill 100 pages. And when it's time to go to Final Draft, I worry less about plot and can focus my energies in character development, dialogue, etc. I find it less daunting to know where the A story is heading.
Write the one with the earlier BOOM, but fuck 'letting people react to it.'
ReplyDeleteSet off two additional BOOMS.
Write high level outlines for both approaches. And then write the one you will enjoy more.
ReplyDeleteI think you're on the right track, Bitter Script Reader. And I would go for the big boom, then try in ACT II to follow that by even more booms. Every boom doesn't have to top the initial boom in Act I. Example: all the Raiders of the Lost Arc films.
ReplyDeleteTo date I have never been torn which way to take a script I set out to write. Sure, I'm always filling in the blanks and resolving story issues. BUT you do a lot of that in the outline stage.
From your post it sounds like you need more plot points. Sounds like you're rip-roaring to go, but don't have enough Act II plot points. I suggest, let the story emerge. Put up a corkboard with index cards off all your scenes sequentially, then see where you need more work. Start character bios. Sometimes by doing that your characters will fill in the missing places on the map.
Hope this helps. And I hope your story rocks, and is well recieved by all.
Write the loglines for both. Test loglines with your peers. Ask yourself which story would you buy a ticket to see.
ReplyDeleteTwo different approaches/scripts... which one hasn't been done before? That might be the way to go.
ReplyDeleteIf you have Act I & Act III, then for Act II you need to obstacle that mofo up -- throw everything you can at your protag -- setbacks, deep flaws, lousy friends, a worthy nemesis, etc. Make him/her earn that Act III.
Stu's right on target with his comment about theme. Whenever I don't know what to do, I go to the theme.
ReplyDeleteI've tried just putting the problem off until I get there, but whenever I do I end up stopping writing for weeks even, trying to figure it out. So now I ALWAYS solve the problem in outline stage. If I get to that point in the script and it doesn't work, then I can try some other stuff. But I don't like going in without a plan.
But the best tool I have is a friend of mine who will go into an online chat with me and let me bounce ideas off his brilliant brain. I'm not brilliant, but if you ever want to bounce ideas, I am available.
I always--always--take the road less traveled. Meaning--if instinct tells me the story should go this way (what a reader or audience would expect), I quickly bail and take another route. Is it harder? Yes, but way more satisfying. It's always cool to head fake.
ReplyDeleteDo you have a B-Story in mind? Usually when I'm light in the middle it's because I didn't worry enough about the 2nd and 3rd threads and how to intertwine them.
ReplyDeleteI'd jump into the middle of Act II and write a scene for each scenario. Does it make sense? Do the characters come alive? What ideas are created just from the act of writing it out? Does it have potential? Would I want to live with this concept/theme for the next x weeks?
ReplyDeleteThen I'd redo the outline with the path I'd chosen. If it stands out as absurd when mixed into the whole, then choose the other one. Otherwise keep it going and see what comes of it.
Probably depends on what your act 1 is like...
ReplyDeleteIf you've already got some big booms in act 1 then the need for it in act 2 is less and you can go for the slow build.
Otherwise maybe the big boom... but again depends on the sort of movie you're making.
If it's an action movie, then er, bring the boom. If not, ie maybe it's a crime drama... then slow-burn will work quite well.
All IMO etc etc.
Thanks to everyone who weighed in today!
ReplyDeleteWhen I feel torn, I try to figure out why I'm torn (is it because of plot? Character? Did my producer hat fall on my head?) then brainstorm my way out of it.
ReplyDeleteMy writing partner and I are working on a project that started stagnating in the outline stage, so we put the outline aside for the moment to start scripting. We did this to find the voice of some of the characters. To really get into their heads and understand who they are. Also to get a taste of what the script will read like. Once we have that settled, we should be able to return to the outline stage and rock the rest of the plot.
When I feel torn, I try to figure out why I'm torn (is it because of plot? Character? Did my producer hat fall on my head?) then brainstorm my way out of it.
ReplyDeleteMy writing partner and I are working on a project that started stagnating in the outline stage, so we put the outline aside for the moment to start scripting. We did this to find the voice of some of the characters. To really get into their heads and understand who they are. Also to get a taste of what the script will read like. Once we have that settled, we should be able to return to the outline stage and rock the rest of the plot.
There's an idea I came up with many years ago that i'd think would make a great action film. It takes a post-apocalyptic theme and make it play out like a spaghetti western. It has a killer beginning, a great climax and ending, and some very interesting characters. At least in my head.
ReplyDeleteProblem is the Act II business and that has everything to do with the main plot: I have these great characters and scenarios (interaction and action set pieces) but no point to it. There is no main conflict to drive these characters to do what they do. I have everything else figured out, like what said-conflict would affect which character which would make everything else fall into place but I have not come up with a compelling MacGuffin.
When the revelation finally comes, i'll prefer to take it to the outline stage. I tried writing blind before without much of a guide as to where to go and it created a rather good script, but it made it really hard to go back and do rewrites when I made a major change. An outline really helps me visualize the whole film in its entirety, make me judge whether or not it makes a good "film" and not just a good "idea". Two very important differences.
Good films have the interesting characters introduced in a compelling manner, have a main conflict introduced right away, escalates the problem to near-impossible odds, and have the characters win victoriously in a way where you feel great for them. I figure once you figure out your characters and what they need to do, everything else will come naturally. You'll know when the timing will be right for that quick gag or how to deal with that exposition that isn't executed clumsy or brings the plot to a halt.
The latest script I wrote is a short and while I think it's not bad, I realized there's a tweak I can make in the end that could make the entire ending much more satisfying. Just in case, i'm keeping the original draft in a separate file for review by my peers so they can judge which ending works better (even though i'm leaning towards the new tweak).
i'm in a spot right now where i have Acts II and III mapped out (for the most part), but i can't get them to Act II. doesn't that make sense? i can not for the life of me figure out a damn opening that isn't cheesy or doesn't hook in time or just the right way. it's making me crazy.
ReplyDelete