CHAPTER 16 PROBLEMS AND SOLUTIONS STORY. THE PROBLEMS OF: INTERESTSURPRISE COINCIDENC E COMEDY POINT OF VIEW ADAPATIONMELODRAMAHOLES.

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Presentation transcript:

CHAPTER 16 PROBLEMS AND SOLUTIONS STORY

THE PROBLEMS OF: INTERESTSURPRISE COINCIDENC E COMEDY POINT OF VIEW ADAPATIONMELODRAMAHOLES

INTEREST A story must capture interest, hold it unswervingly through time, then reward it at Climax. Curiosity: the intellectual need to answer questions and close open patterns. Concern: the emotional need for the positive values of life: justice, strength, survival, love, truth, courage.

Mystery, Suspense, Dramatic Irony Mystery: the audience knows less than the characters. Suspense: the audience and characters know the same information. Dramatic Irony: the audience knows more than the characters.

SURPRISE If what the audience expects to happen happens, or worse, if it happens the way the audience expects it to happen, this will be a very unhappy audience. We must surprise them. True surprise springs from the sudden revelation of the Gap between expectation and results. This surprise is “true” because it’s followed by a rush of insight, the revelation of a truth hidden beneath the surface of the fictional world.

COINCIDENCE First, bring coincidence in early to allow time to build meaning out of it. Second, never use coincidence to turn an ending. This is deus ex machina (god from machine), the writer’s greatest sin.

COMEDY In the best of circumstances human beings find some way to screw up. Comedy is pure: If the audience laughs, it works; if it doesn’t laugh, it doesn’t work. Laughter settles all arguments. Comic Design: when the Gap cracks open, the surprise explodes the great belly laughs of the night.

POINT OF VIEW Scene: where we locate ourselves in space to view the action. Story: the protagonist is the center of the universe. The more time spent with a character, the more opportunity to witness his [or her] choices. The result is more empathy and emotional involvement between audience and character.

ADAPTATION The purer the novel, the purer the play, the worse the film. Be willing to reinvent. Write in a purely dramatic and visual way, to show a natural world of natural human being behavior, to express the complexity of life without telling.

MELODRAMA Not the result of overexpression, but of under motivation; Not writing too big, but writing with too little desire. The power of an event can only be as great as the sum total of its causes.

HOLES A missing link in the chain of cause and effect. If you can forge a link between illogical events and close the hole, do so. Will they notice?