Showing posts with label dramatic fiction. Show all posts
Showing posts with label dramatic fiction. Show all posts

Sunday, 23 March 2014

Show Don't Tell

Nice little instance here of how much you can tell by showing. This is from an Elmore Leonard novel called Swag, about two armed robbers who devise a list of ten rules to successful armed robbery, but start breaking those rules and shit gets real. This here is the introduction of the cop who's on their tail when the proverbial shit is really getting real. From the character taking a simple sip of coffee we learn where he works, the type of office he has, and that he likes coffee.

It's not a long description, it's short, punchy and to the point, delivering the essential information snugly wrapped around the action of drinking coffee.


Elmore Leonard is a don of crime fiction, for seedy but sumptuous characters, dazzling dialogue, and unexpected story turns, he smacks it every time. Tarantino owes him big - his flair for dialogue, as well as Jackie Brown outright, and Pulp Fiction watches like three short stories written by Elmore Leonard. This isn't to take anything away from Tarantino obvs, it's just interesting to know where the masters got their influence from.

Friday, 12 July 2013

Into the Woods - John Yorke


Insightful, accessible and totally comprehensive. John Yorke's 'Into the Woods' isn't just a book for aspiring screenwriters, it's for anyone interested in stories, and the psychology behind why we tell them. He doesn't only offer sage advice on how to tell (read - show) better stories, but why we do so in such a frequently recurring form.

John is primarily concerned with structure, and although he mainly references films his theories can be applied to any dramatic form, be they for the screen, stage or page. He successfully argues that the 5 act structure fits perfectly within the 3 act structure. In the traditional 3 act story, act 2 is twice as long as act 1 and act 3, and in John's example he divides this longer act 2 into 3 separate acts, therefore equating 5.

Around this central peg of structure he details how it affects each and every scene, how it influences subtext, characters and even dialogue. It's hard to pick out the most prevalent quote, seriously, at the risk of sounding a kiss ass, there were so many spot on sentences that perfectly articulated an idea, but the importance for every fiction writer to grasp how to show rather than tell, is essential and summed up succinctly.

"Screenwriting is showing not telling; structure is the presentation of images in such a way an audience are forced to work out the relationship between them."

This is where the audience's imagination comes into play, where they have to do a little work and interpret what they're seeing or reading, and this is why films, novels and plays can be so powerful - because good writers encourage their audience to invest some of themselves in the material, to make up their own minds, to form their own conclusions. Rather than shove the exact idea you want your public to take from your work, give them the ingredients, and see what recipe they come up with.

John also pulls no punches, respectfully critiquing gurus such as Robert McKee and Joseph Campbell, as well as some the best screenwriters working today, like Charlie Kauffman. The appendix is full of breakdowns of structural form, and outlines of protagonists' road of change, of some well known movies, from the Godfather to Indiana Jones.

Further Reading
Story - Robert McKee
The Hero with a Thousand Faces - Joseph Campbell
Screenplay - Syd Field
The Writer's Journey - Christopher Vogler
On Screenwriting - Frederick Gaffney




Thursday, 7 March 2013

Is This Your Life?


“How are the headaches, love?”

Darren Macer’s mother, Eileen, had a habit of pestering him at the most inopportune times. While he was backing his car out of the drive into the busy main road was a prime example.

“Watch this car.”

She was also a typical back seat driver.

“They’re a little better, thanks Mum. The new pills Dr Uberman prescribed seem to be help -

The canary yellow Ranger Rover slammed into the side of Darren’s Fiesta killing his mother instantly, and spraying Darren’s face in her blood.

It’s true that in the moments before you die, your life flashes in front of your eyes. But Darren didn’t recognise any of the memories currently playing before him.

The English countryside. A young boy climbing a silver birch tree with a beautiful older women who felt familiar and safe. The smell of fresh laundry. A Sunday afternoon spent taking an Amstrad computer apart with a handsome and distinguished older gentleman. The beautiful woman arguing with the handsome man. The young boy crying, soon consoled by the older couple. A birthday cake with 10 candles on it. When the boy blows them out there’s nothing but darkness, then the blurred image of an operating table. Surgical equipment. The sound of a woman sobbing in the background. Medical pads leaching his body. A scalpel in the talon-like fingers of a Doctor. The woman’s sobs become screams. The scalpel gets closer, the Doctor removes his face mask. He is the only recognisable character. Dr Uberman.

When Darren came to he knew he was in the country. The birds singing in the trees were something the smog ridden cities hadn’t had in years. Darren couldn’t focus, he could only make out shapes of light and dark. But he knew the blur mopping his forehead was female. She smelt of fresh laundry.

“Wh... where, am... I?”

“Sshhh. Don’t speak, sleep. The answers are coming.”

The cottage was quaint, rundown and full of character. The kitchen was small but adequate, arranged around a central Aga and deep porcelain sink. Over it, washing dishes, was a woman with long mahogany hair flowing down her back. She turned as he entered, wearing a smile as much full of grief as it was relief. It was the woman from his near death images.

“Who, who are you? Where are my parents?”

“Pah!”

The non-word was spat out with venom that didn’t fit her serenely beautiful face.

“They weren’t your parents, Cody. They were well paid, highly trained actors.”

A lightning strike of pain flashed through his head. He staggered to the dining table.

“I need, my pills.”

“Those pills are the cause of your headaches, not the cure.”

“They’re migraines. And what do you know?”

“Considerably more than you.”

“Alright then, Oracle. Enlighten me.”

“Your name is Cody Vegas. You’re the most gifted computer scientist on earth. You’ve experienced agonising migraines for as long as you can remember. They are due to the pills suppressing you mental potential, holding your brain back.”

“Why?”

“Because some very powerful idiots believe that one day, you will destroy the world.”

Friday, 22 February 2013

Brian's Novel - Family Guy

How's that novel coming along, huh?


For anyone who's tried or (fair play to you) still trying to write a novel.

Tuesday, 5 February 2013

The Shining - Jack's Writing Interrupted

Can't help but think of this every time my girlfriend texts me when I'm trying to write.


"Wendy, let me explain something to you..."