February 29, 2012 - Leap Day Special (or Effective Radio Storytelling)

Auditory Storytelling has been since the campfire. People grunted excited stories at each other and others grunted feedback. We've come a long way since then, but the process of storytelling without any visual element remains a viable medium. Think of radio in the early 20th century or streaming audio and podcasts in the 21st century.

You've come a long way, baby.

And if you want to be effective at aural storytelling, you've got to examine the masters of the medium. In 1938, Orson Welles wrote a radio production for the Mercury Theatre entitled "War of the Worlds." Most of you know it already and it scared the bejesus out of millions of people.

Them martians!

But why did Welles frighten the public? There are several things to look at that show his prowess on the radio.

Echoed Real Emotion

-When people were terrified they sounded terrified, and when they were authoritative, they were authoritative.

Echoed Real Lingo

-Similarly, the radio announcers used phrases like "This just in" and "breaking news" while the military man used the language of the military: "martial law" and "evacuate," etc.

Although, maybe I should have declared "martian law." Eh?

Unscripted Quality

-Since Welles wanted his story to have a ring of authenticity, it was imperative that his story did not sound as though actors were reading it. That's why you get Carl Phillips saying things like "Am I on?" and the farmer asking if he can tell more of his story.

Create Necessary Suspense

Welles used musical interludes that made the audience wish to hear about the attacks at Grover's Mill. It's a similar suspense method to reality shows cutting to commercial break. Just when things get good, they take it away from you.

Paint a Word Picture

This is the most important. item to remember. Welles used flowery, descriptive language so listeners could imagine the martians themselves.  "The eyes are black and gleam like a serpent. The mouth is V-shaped with saliva dripping from its rimless lips that seem to quiver and pulsate." As long as you are imaginative and descriptive, Orson Welles will be proud.

A rotund, engorged head lay amidst the endless fat rolls and enshrouded by what appears to be a cape.

February 27, 2012 - Pigs, Monkeys, and Wolves

Today's class was mostly a session for reprimanding. Professor Jenkins didn't feel we were capturing the essence of addiction in a 500-word sequel to the Three Little Pigs. The wolf should go through fear, loathing, and recovery. We want a Requiem for a Dream-type wolf.

Furthermore, we should be exploring the monkey's chaotic-evil personality as a manipulator. He would never want the wolf to overcome his problems and would thus create doubt and suspicion in the wolf's ability to not eat pigs. 

The pigs, meanwhile, have a lot of family trouble and resentment. It's a lot of themes to cram into one story, luckily the trick to that is to just use lots of dialog. Lots and lots of dialog. Be heavy on the Hemingway.

Seriously, he's like all dialogue.

Surely, the rewrite of the story will be much improved with all these helpful hints.

February 22, 2012 - Dialog (Also movies)

What do these two videos have in common? Great dialog, of course!

Each of these scenes has characters that change the flow of power throughout the scene with dialog to match. Notice the way Gunnery Sergeant Hartman changes his tone when talking with Private Joker. Or the way Barton Fink begins the scene as tense and terse, but ends it as pretentious and friendly.

Dialog is important to crafting excellent characters and there are a few things to watch out for.



-Don't have the names repeated over and over.
-Don't make the dialog sound weird
-Conversely, don't make it sound too "real." Real is boring, and has no precision.
-Write your characters differently. Not everyone should sound the same. Especially men and women.
-Drop the niceties and pleasantries. They're useless.
-Add movement, facial expressions, and silence. These all aid in avoiding overwriting.

Great dialog can be yours! You are a writer! You create! You are a creator!

February 17, 2012 - Creativity

Creativity. Where does it come from? Where does it go? Where does it come from, Cotton-eyed Joe?
Amazingly, in a totally uncreative fashion, there is a step-by-step process for finding and using creativity. (Yes, I see the irony in this).

Step 1. Hunt and Gather
Cavemen were some of the most creative types on the planet. They invented fires and wheels and got prehistoric animals to do their bidding. (All my neanderthal knowledge is from Flintstones.) And just like cavemen, we've got to hunt and gather ideas. Whether it be the internet or joining a different social group or watching the news. If you could hang out with the crazy homeless. They're full of unique insights into the inner machinations of the world.

At least he still has a closet.

2. Play with it. ; )

Work with your ideas. Brainstorm, or draw flow charts. Perhaps do some word association to get the mind flowing. Get all your good thoughts on paper and organize them. Switch around characters or conflicts. Just have fun.

3. Let it stew.

Then, after the fun, just walk away. Store it in a dark, cold place for a while so you have time away from it. This time is essential for forming new connections and thoughts in the brain. This step may not seem essential, but it is. 

And then, baby, you got yourself a stew goin'

4. Eureka!

One day, when you least expect it, you'll by the best idea you've had that will combine everything you've been thinking about. Your Eureka moment!

Eureka, I found that chicken bone.

5. Just Do It

Write it. Workshop it. Make it happen. Nobody ever great became great by being scared and lazy of their own creativity. Do you think Carl Weathers would be the Apollo Creed we all know and love if he had been scared and lazy. Would Carl Weathers run for governor if he wasn't the black guy from Predator? He's got the Apollo Creed-entials.

February 15, 2012 - The 10 Types of Stories

There are only 10 different variations of stories that can ever be told. It's kinda sad, but it also makes it pretty easy as a storyteller. Let's go through them.

1. Romance
This doesn't have to just be all Ryan Gosling and Rachel McAdams. This category comes into play anytime two characters develop a relationship, lose each other, and reconnect. It can be between a boy and his alien, two buddy cops, or even Tom Hanks and his volcano.

That's the plot of the movie, right? Love heats up between Joe and  a volcano?

2. Success and Failure

"Develop success from failures. Discouragement and failure are two of the surest stepping stones to success." --Dale Carnegie

If a character is ever on top, but forgets what made them great, that's a success/failure story.

If a character gets too cocky and confident only to be humbled, that's a success/failure story.

It's a little bit of Wall Street and a little bit of Rudy.

"When I get a hold of the son of a bitch, I'm gonna tear his eyeballs out and suck his fucking skull." --Rudy Gekko

3. Cinderella

We all the know the story of Cinderella.

Cinderella, 

dressed in yella, 

went upstairs to kiss her fella. 

By mistake she kissed a snake, 

How many doctors did it take? 

1...2...3...4...

Anytime a story has one character enter a new social/geographic setting only to be thrust back into their own life, It's a Cinderella story.





4. Conversion

Religious Conversion is just one type.

5. Sacrifice

Also Goku

6. Family

If storytelling were pinball, this would be the multiball. These stories usually feature ensemble casts who each have their own little story that needs to be wrapped up. Also movies where the connections between characters is slowly revealed. It's called Hyperlink Cinema, and it has become very popular in today's culture. Think "Crazy, Stupid Love" or "Babel" or "Crash." These all fall under the family category.

Although, a "family." They are better suited at #9

7. Triangle

Usually a love triangle, but could be any situation where a character desired by both protag and antag betrays one, then another, then goes back to the original one. This "swing" character must be able to claim redemption  in order for the audience to be on board with the character.

Bridget Jones, for example, is completely irredeemable. She's judgmental  and mean-spirited and crass and slow-witted and man did I hate her character. Yet, she's got both Colin Firth and Hugh Grant going after her? Is there any justice at all? Ladies, please don't take relationship cues from Bridget Jones, seriously. Sorry for the caption rant.

8. Return

When a protagonist learns something  new about the world or himself, then brings it back to share with his contemporaries. I would also lump revenge movies into this category. Like in "Oldboy." Oh Dae-su is kidnapped and imprisoned for 15 years. He then learns information about his captors and shares it with them . . .by killing them. Also, Count of Monte Cristo, Kill Bill, and the greatest revenge movie ever made.

Who knew the genre would peak in 1984?

9. Crime & Punishment

Why does people like crime and punishment stories? Because secretly we all want to be transgressive and law-breaking. Instead, we put forth that innate desire into watching characters do it. It's why we love "Dexter" or play video games like "Manhunt" or watch movies like "Henry: Portrait of a Serial Killer" or "Man Bites Dog." We just love to see crimes (especially heists) pulled off successfully.

The only  crime here is making a third one. Hiyo!

10. Heroic

Finally, we wrap it up with the hero stories. The only thing we like seeing more than a villain is a hero. We love characters that can up-end Maslow's pyramid and take it upon themselves to save the day. It doesn't just  mean superheroes. It could be police officers or father or mothers or anybody who shows heroic encourage.

It could even be Nic Cage as a bad lieutenant. Barely, though.

And that's the only types of stories there will ever be. Go ahead. Try to think of some more. . . You can't, can you? Oh well, hope you enjoyed the rundown anyway. Also, as a note. These types of stories are true of any medium, not just movies. The only reason I reference movies is because that's what I know best, but these archetypes will appear in books, plays, and video games as well.

February 8, 2012 - Three Little Pigs 2: House Made of Conflict

Today's class focused mainly on the class-creation of a Three Little Pigs Sequel. At first, we took it from a "Where Are They Now" perspective, and it was really just about brainstorming.

Straw Pig and Stick Pig
Thankful for their brother's use of the house, but annoyed by his "I-told-ya-so" attitude. They might be scheming something to knock their brother back in the pig-pen. However, as evidenced before, they are not the smartest pigs in the world, and they may just fail miserably. Perhaps they should team up with a wolf?

"See, what we should do is . . ."

Brick Pig

Since taking his brothers in, he's lost his individuality, privacy, and freedom. He grew accustomed to his lifestyle and he feels he is being punished even though his brothers are the ones at fault. He's considering letting them learn a lesson, not to hurt them, just to knock some sense into them.

The rich only have poor vision in one eye.

Wolf

Wounded and lacking confidence, he may feel the need to lash out at the pigs. They wrecked his unstoppable record. It may also be that he has an insatiable pig addiction that he's trying to work through. He is being taken in two directions. Should he fight his urges and seek redemption or fall back to his animal instincts and seek revenge?

Racked with indecision, the wolf hits himself with a hammer.

Potential New Characters

Pig Parents - Unable to take care of themselves, they move in with the pig brothers to the further annoyance of Brick Pig. They could serve as comic relief, but have some touching moments.

Wolf Crony - A monkey that plays up his sycophantic behavior only to seize power when its most opportune. He will stab his wolf boss in the back the first chance he gets, but for now, he's plays it dumb.

Romantic Interest Pig - The three brothers are each infatuated and love her, but she's got her eyes set on the bad boy wolf. She's got a florence nightingale syndrome and would love to heal the broken heart of the wolf with her tenderness

This story will continue on Friday, where we get into the real meat and potatoes of the story. The three acts, the central conflict, and the resolution. Next time on Three Little Pigs 2: House of Conflict

February 6, 2012 - Conflict (or Something Other than Characters)

There are only two types of conflicts that can exist in a story. The internal and the external.

External Conflict
This is usually characterized by an outside force. Some tangible creation that must be defeated by the protagonist. Every villain is an external conflict. The Predator was the conflict in "Predator," and similarly the Alien was the conflict in that one movie, you know--"Species."

However, external conflicts need not be personified. They could also be events like "The Titanic" sinking or global warming in "The Day After Tomorrow."

Or the rock from 127 Hours

Internal Conflict

This is a lot more personal. It involves the self and it always has to be defeated before the external conflict. Why? Because often what characters build up in their minds is way scarier than the actual conflict.

As Stephen King said, "Nothing is so frightening as what's behind the closed door."

Mr. Big always had to carry a flashlight with him.

The unknown is what really frightens people. "Jaws" was scarier because we rarely see the shark. "The Shining" was scarier because you never quite know what's going on.

In any good three-act structure, the conflict must be piled on and the external conflict should be decided by the character rather than just a deus ex machina.

It's like a baseball diamond, except the character never returns home. That's because ideally a character is growing.

February 3, 2012 - Characters Continued Cont.

Just a few more character notes.

Fact-Check Your Characters
This should be obvious. If you're writing about a fireman, you should research firemen. If you're writing about cotton candy salesman, try and sell some to your friends. If you're writing about a cop, make them realistic.

Oh my god, an alien on a bicycle! Grab your. . . walkie-talkies?

You've got to know the processes, the mannerisms, and the lingo of your character. "Slap the bracelets on that perp!" is apparently not just something you'll hear on Law & Order. Actual cops say it. When a cop goes on a "10-63," it just means he's grabbing a bite to eat (probably at Quik-trip where there are never  not cops there.) It's all about making sure your characters are believable and act within their specified roles.

"Can I take your order?"

The Hero's Journey

If you've taken any writing class, you've probably been subjected to hearing about "The Hero's Journey"

We all know and love Joseph Campbell.

"Joey C" to my friends.

Presented here is a *very* abbreviated version of the stages of the Hero's Journey.

The Reach

A young lady is struggling to reach for her favorite movie. She notices a much taller man with a much better reach near her, and she calls him to action.

The man also struggles to reach for said movie and winds up hurting his back. The man is being brutally tested by a road of trials.

Eventually, however, the man comes up with a plan and realizes he could use a chair to achieve his goals.

The man then returns to his normal, simpler life proud of his new-found knowledge.

He shows the lady his chair-trick and applies what he learned to do good for those around him. His journey has been complete.

And that's all there is to it!

February 1, 2012 - Characters Cont.

What makes a hero a hero? Other than a cape and tights, they must put other people's needs before their own as described in the Hero Pyramid from the last post.

It's really a matter of the animal within us battling the spirit  we all have. The animal tells us to be lazy and selfish, and only do things that matter to us. It's like we're being tempted by our animal instincts.

Come on kids! Smoking is cool!

Then, there's our spirit. It's what separates us from the animals and makes us human. We have a conscience and morals and ethics. We like to do right by our fellow man and be altruistic.

Smoking is only to be enjoyed by adults.

Some call this the struggle between body and soul. Like Billie Holiday.

Another important thing to remember is the difference between a character and a characterization.

A character will not have all their traits figured out just by looking at them. You can't tell who they are or what they're about just by looking at them.

He appears to be just a caveman.

Their truly human characteristics will be revealed under pressure. Putting a character in a dangerous situation could bring out their heroic qualities.

Now imagine the caveman rescuing special ed children from a burning bus.

Characterization is like making assumptions. They are made up of cliches and judgments. Characterization is just the outside shell to the tasty riches that wait inside. Like the hardening chocolate syrup on ice cream.

So go for the vanilla, not just the magic shell.