New Project I'm Working On (Feedback?)

[10s]

I'm sure WE (the forum brothers) ALL have similar bookcases!

And, BTW, I like how you made a THEME outline. Very helpful. Keeps everything on track.

Kyle, how do you handle Theme, do you use an outline or other tools? This is an area I've yet to explore. Any ideas would be much appreciated.

 

[kylekmd]

Story is King. Theme is Queen. Flaw is Court Jester.

Story is King. Theme is Queen. Flaw is Court Jester.

Hey 10s, sorry for the delay... I didn't realize there was a question for me on this thread.

I print the THEME, CHARACTER FLAW and LOG LINE on a small piece of paper, and afix it to the top of my computer monitor.

Early in the writing process, during the Brainstorming/Development stages, I design the character arc and the A, B, C stories based on THEME and FLAW, then put everything into a chart (using Storyview, but it can be done on paper), making sure that each scene reveals character and/or advances the story. Everything must pass through my THEME and FLAW filters; if something doesn't satisfy either one, I cut it. It's through this "story sieving" that a coherent, meaningful tale emerges.

I title each SEQUENCE (8 Sequences: ACT1, 2 seq.; ACT 2A, 2 seq.; ACT 2B, 2 seq.; ACT 3, 2 seq.) based on the GOAL/what needs to be accomplished, listing the KEY EVENTS and the KEY REVEAL(s) for each. This pushes the story forward in a cause-and-effect, logical fashion, which I believe feels most satisfying to readers/audiences. Just MHO.

My approach to CHARACTER ARC is very similar to that outlined in Dara Mark's book, Inside Story. Except she gives a nice term for each stage. She also does a nice job with charting out the A,B,C stories (also similar to my approach), shown in the 2nd attachment below.

 

[TimCollins]

Thanks, Kyle! That information is very helpful.

 

[kylekmd]

Tim,

Your story works. Run with it. There's a lot of potential there. The posts about it have been great so far.

 

[10s]

Hey 10s, sorry for the delay... I didn't realize there was a question for me on this thread.

I print the THEME, CHARACTER FLAW and LOG LINE on a small piece of paper, and afix it to the top of my computer monitor.

Early in the writing process, during the Brainstorming/Development stages, I design the character arc and the A, B, C stories based on THEME and FLAW, then put everything into a chart (using Storyview, but it can be done on paper), making sure that each scene reveals character and/or advances the story. Everything must pass through my THEME and FLAW filters; if something doesn't satisfy either one, I cut it. It's through this "story sieving" that a coherent, meaningful tale emerges.

I title each SEQUENCE (8 Sequences: ACT1, 2 seq.; ACT 2A, 2 seq.; ACT 2B, 2 seq.; ACT 3, 2 seq.), and list the KEY EVENTS and the KEY REVEAL(s) for each one. This pushes the story forward in a cause-and-effect, logical fashion, which I believe feels most satisfying to readers/audiences. Just MHO.

My approach to CHARACTER ARC is very similar to that outlined in Dara Mark's book, Inside Story. Except she gives a nice term for each stage. She also does a nice job with charting out the A,B,C stories (also similar to my approach), shown in the 2nd attachment below.

We need a new thread on this one


Thanks!

 

[Noel Evans]

One thing I wanted to add was dont overly complicate it.

I dont think Tom needs to have all this background you cant show. Just concentrate on who he is now and work/change his flaws from there IMO. I also wouldnt go with the possibility the baby is his brothers - when could not easily prove / disprove this and then youre left with such a rift finding the bridge to that in writing could be hard.

Id also consider dumping the baby scenario - done to death IMO.

Id stick with the brother trying to overcome his demons, and go with what Blaine said - street thug but - to keep your side in that he has a drug problem. You could show he is trying to get out, which could then mean a sacrifice on his part to help his brother i.e. he has to get closer to the world he wants to escape.

I think your ending could have the woman survive and the brother die. His death could be a final act that shows he is a good person, an act that shows the audience and his brother, inside he was a great person, but also shows his death is not in vain insofar as he achieved what he needed to. This could even be the final string that pushes Tom to gain the courage he needs.

Just random thoughts.

 

[kylekmd]

By now it's clear that I'm a firm believer in SEQUENCING.

As well as writing from THEME & FLAW.

If you haven't done so already, please spend the $30 on the DVD, On The Page, by Pilar Alessandra. And, no, I don't know her personally!

It's just that she teaches excellent principles. The class is $375 if you attend it, but DON'T because it's fully covered on the $30 DVD.

A great deal, no matter how you slice it.

http://www.onthepage.tv/shopDVD.php

I dont think Tom needs to have all this background you cant show. Just concentrate on who he is now and work/change his flaws from there IMO.

In reference to and in support of the above, Pilar shows you how not to get MIRED IN BACKSTORY. It's one of her techniques and makes complete sense.

 

[10s]

Thanks Kyle,

I've worked on Sequences using Paul Guilano's insight; he has some nice examples in his book & DVD; Toy Story being one of the best IMO, but the Theme filter thing/tool is something I've never seen. My theme method is a simple matter of just making sure each character is following their own arc, scence by scene, and ensuring all arcs add up into a meaningful whole. Hopefully this aggregate will convey the theme. I'm not aware of any other way than that, but if there's one, I'm all ears.

I will definately look into Pilar's DVD and class... ouch!...she's good looooking! oh, sorry about that anywise....

Tim, you should have enough input by now to keep you busy for the next month.

 

[kylekmd]

Sounds great 10s.

Not to beat a dead horse, but Pilar's DVD talks about generating plot points from Character/Flaw, Event, Premise. You'll be amazed at how much information can be MINED from Character/Flaw alone--a whole movie, in fact. You'll see. And, I agree, she's EASY ON THE EYES.

Hi, Melissa (my wife).:nads:

Sequencing is taught by very few people: Guilino, Howard, Soth, Wright... and soon me, on an instructional DVD geared specifically for the Neo-Horror genre. I know, not everyone likes Horror, but it's where I am right now with two tall tales called Render Town and Storm Cellar. Hopefully, one will sell.

 

[10s]

Good Horror, I know it when the hair on the back of my neck goes up, it can be a great cinematic experience. Really good horror is the stuff I really can't watch because it activates my nervous system into overdrive.

I'm working on a horror screeplay now also, besides a few action-thrillers. I'm really trying to push the boundary on Horror by making it have some depth rather than the usual. I know this might be trying to make something it shouldn't be, but there's something inside me that says it needs to be a little bit more then the norm.

I'll sign up for your DVD now, ...just bought Pilars.