TECH: Story Bits 02
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writercises Original Posting Aug. 28, 2018
(whoops? It looks as if I wrote this, but forgot to send it? Okay, let's kick it out there...)
Sorry about the delay. Lots of other things going on, and I lost track. So, this is me reading Story: Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee rather slowly. Let's see, principles not rules, forms not formulas, and archetypes not stereotypes. So what happens next?
Story is about thoroughness, not shortcuts.
Remember, he's talking about his book, Story, and about screenwriting or screenplays. He starts out this little commentary by pointing out that a screenplay may take as much time to write as a novel. Screenplay pages often have a lot of white on them, which may mislead people into thinking it's faster writing. However, Robert says that it takes the same "density of world, character, and story." Yes, film writers spend a lot of time cutting their text down to the fewest possible words, but they're trying to express a lot in those few words. "Economy is key, brevity takes time, and excellence means perseverance."
Story is about the realities, not the mysteries of writing.
Oddly enough, there are no secrets about writing. Aristotle wrote The Poetics 23 centuries ago, and every library has the secrets on public display. It may even look easy! But, trying scene by scene to make a story work, it's hard. For one thing, everything is out front for a screenplay. There's no authorial voice, no soliloquy.
Which is interesting, especially for those of us who may be writing other genres. Do we really want to "hide behind our words," as Robert puts it. Or do we want to try to be as upfront as the screen writer?
Story is about mastering the art, not second-guessing the marketplace.
Knockoffs and retread stories are unfortunately common. But, the real winners are top quality, new stories.
Story is about respect, not disdain, for the audience.
Ouch. Robert suggests that bad writing usually stems from either an idea that you feel compelled to prove or an emotion that you're driven to express. On the other hand, good writing is driven by a desire to touch the audience. Simple, right?
Look at the audience. Admit that they have an incredible capacity for response. Robert says not only are they amazingly sensitive, but their collective IQ jumps 25 points! They're smart, they're focused, and they're waiting for you. You need to understand the reactions and anticipations. You need to satisfy their desires.
I think I'm going to stop there again. Thoroughness, reality, mastering the art, and respecting the audience. Well, he's certainly setting a high bar for what this book is all about.
(whoops? It looks as if I wrote this, but forgot to send it? Okay, let's kick it out there...)
Sorry about the delay. Lots of other things going on, and I lost track. So, this is me reading Story: Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee rather slowly. Let's see, principles not rules, forms not formulas, and archetypes not stereotypes. So what happens next?
Story is about thoroughness, not shortcuts.
Remember, he's talking about his book, Story, and about screenwriting or screenplays. He starts out this little commentary by pointing out that a screenplay may take as much time to write as a novel. Screenplay pages often have a lot of white on them, which may mislead people into thinking it's faster writing. However, Robert says that it takes the same "density of world, character, and story." Yes, film writers spend a lot of time cutting their text down to the fewest possible words, but they're trying to express a lot in those few words. "Economy is key, brevity takes time, and excellence means perseverance."
Story is about the realities, not the mysteries of writing.
Oddly enough, there are no secrets about writing. Aristotle wrote The Poetics 23 centuries ago, and every library has the secrets on public display. It may even look easy! But, trying scene by scene to make a story work, it's hard. For one thing, everything is out front for a screenplay. There's no authorial voice, no soliloquy.
Which is interesting, especially for those of us who may be writing other genres. Do we really want to "hide behind our words," as Robert puts it. Or do we want to try to be as upfront as the screen writer?
Story is about mastering the art, not second-guessing the marketplace.
Knockoffs and retread stories are unfortunately common. But, the real winners are top quality, new stories.
Story is about respect, not disdain, for the audience.
Ouch. Robert suggests that bad writing usually stems from either an idea that you feel compelled to prove or an emotion that you're driven to express. On the other hand, good writing is driven by a desire to touch the audience. Simple, right?
Look at the audience. Admit that they have an incredible capacity for response. Robert says not only are they amazingly sensitive, but their collective IQ jumps 25 points! They're smart, they're focused, and they're waiting for you. You need to understand the reactions and anticipations. You need to satisfy their desires.
I think I'm going to stop there again. Thoroughness, reality, mastering the art, and respecting the audience. Well, he's certainly setting a high bar for what this book is all about.