Ian Dawson's Blog, page 11
April 7, 2023
Antagonist April: Week #1 – What is an Antagonist? – Part Three
It’s Antagonist April, and all this month, I’ll be doing a deep dive into those characters that give our heroes and main characters opposition to their goals. This week, we’ll explore the characteristics of an antagonist.
Let’s continue!
Help Wanted
Last time, we discussed how a narrative “requires that the Adversary be an actual person” (Edson 57). More importantly, this needs to be a singular entity that directly opposes the main character. That doesn’t mean, however, that the antagonist doesn’t have help. If the hero can have allies, so can the villain.
We see this all the time in action movies and superhero movies. The adversary sends out his legions of henchpersons and minions to eliminate, stop, kill, seduce, or maim the hero. Of course, we know as viewers that these attempts are in vain; the protagonist will eventually come face-to-face with the antagonist, and a final battle will ensue.
When these characters aren’t just nameless, faceless drones, the story and their interactions with the main character are more interesting. These antagonist-related characters are an extension of their boss, so while they have the same enemy - the protagonist - their tactics can vary to give them their own personalities and depth.
And speaking of tactics…
Antagonist Tactics
An antagonist will use every resource, ally, and weapon available to them to stop the hero from achieving their goal. Depending on the genre and situation, the sky’s the limit on how much opposition can be thrown at the protagonist throughout the story.
Just as the protagonist is active in pursuing a goal, the antagonist must also be active in their opposition. Pick any action movie and list all the active verbs that can be used to describe the antagonist’s tactics.
Some basic ones could be: to stop, to kill, to pursue, to seduce, to assault, to eliminate, to destroy, to prevent, to coerce, to convince, to arrest, to capture, to chase, to imprison, to invade, to evade, to hide, to attack, etc.
The more tactics the antagonist employs, the greater the danger for the protagonist as they work to achieve their goal. Don’t make things easy for your hero. Make them work for what they want. Make sure the opposition doesn’t let up and gives them a fight.
Week #1 Wrap-Up
As week one of Antagonist April comes to an end, it should be noted that “[t]he importance of the antagonist is constant across genres, but the nature of the antagonist depends on the level of realism associated with particular genres” (Dancyger & Rush 78). While these characters should be present to create conflict, make sure that the opposition serves the story and genre you’ve chosen.
We’ve covered a lot over the last three days. We learned what an antagonist is and the types of antagonists. We talked about why it’s important to only have one main antagonist in your story, how things aren’t always straightforward regarding antagonists being all bad, and the need to humanize the opposition through empathy and sympathy. Finally, we covered the role antagonist allies can play and the various tactics an antagonist can use in a story.
I’ve had a lot of fun, and I hope you have, too! Next week, we’ll discuss creating an antagonist for your stories and give you some tools to make that happen.
Happy Writing, and I’ll see you next week!
Sources:
Dancyger, Ken & Jeff Rush. Alternative Scriptwriting. Focal Press, 2007.
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
Let’s continue!
Help Wanted
Last time, we discussed how a narrative “requires that the Adversary be an actual person” (Edson 57). More importantly, this needs to be a singular entity that directly opposes the main character. That doesn’t mean, however, that the antagonist doesn’t have help. If the hero can have allies, so can the villain.
We see this all the time in action movies and superhero movies. The adversary sends out his legions of henchpersons and minions to eliminate, stop, kill, seduce, or maim the hero. Of course, we know as viewers that these attempts are in vain; the protagonist will eventually come face-to-face with the antagonist, and a final battle will ensue.
When these characters aren’t just nameless, faceless drones, the story and their interactions with the main character are more interesting. These antagonist-related characters are an extension of their boss, so while they have the same enemy - the protagonist - their tactics can vary to give them their own personalities and depth.
And speaking of tactics…
Antagonist Tactics
An antagonist will use every resource, ally, and weapon available to them to stop the hero from achieving their goal. Depending on the genre and situation, the sky’s the limit on how much opposition can be thrown at the protagonist throughout the story.
Just as the protagonist is active in pursuing a goal, the antagonist must also be active in their opposition. Pick any action movie and list all the active verbs that can be used to describe the antagonist’s tactics.
Some basic ones could be: to stop, to kill, to pursue, to seduce, to assault, to eliminate, to destroy, to prevent, to coerce, to convince, to arrest, to capture, to chase, to imprison, to invade, to evade, to hide, to attack, etc.
The more tactics the antagonist employs, the greater the danger for the protagonist as they work to achieve their goal. Don’t make things easy for your hero. Make them work for what they want. Make sure the opposition doesn’t let up and gives them a fight.
Week #1 Wrap-Up
As week one of Antagonist April comes to an end, it should be noted that “[t]he importance of the antagonist is constant across genres, but the nature of the antagonist depends on the level of realism associated with particular genres” (Dancyger & Rush 78). While these characters should be present to create conflict, make sure that the opposition serves the story and genre you’ve chosen.
We’ve covered a lot over the last three days. We learned what an antagonist is and the types of antagonists. We talked about why it’s important to only have one main antagonist in your story, how things aren’t always straightforward regarding antagonists being all bad, and the need to humanize the opposition through empathy and sympathy. Finally, we covered the role antagonist allies can play and the various tactics an antagonist can use in a story.
I’ve had a lot of fun, and I hope you have, too! Next week, we’ll discuss creating an antagonist for your stories and give you some tools to make that happen.
Happy Writing, and I’ll see you next week!
Sources:
Dancyger, Ken & Jeff Rush. Alternative Scriptwriting. Focal Press, 2007.
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
April 5, 2023
Antagonist April: Week #1 – What is an Antagonist? – Part Two
It’s Antagonist April, and all this month, I’ll be doing a deep dive into those characters that give our heroes and main characters opposition to their goals. This week, we’ll explore the characteristics of an antagonist.
Let’s continue!
There Can Only Be One
A story is filled with many characters and connections, but “the most important is the relationship between the hero and main opponent” (Truby 88). Notice opponent is singular, and that’s essential to remember as you develop this particular character. Even if the antagonist has others assisting them, it’s important to know that one person is the driving force causing all the chaos.
Since “the main opponent is the one person in the world best able to attack the great weakness of the hero,” they may employ a variety of helpers to assist them in their quest for destruction (Truby 89). Even if you have several oppositional figures in the story, you have to know who is in charge and who’s running the show.
Let’s look at two films where who this primary antagonist is can be up for debate.
Batman Returns
While we’re made to think that Catwoman or The Penguin are the film’s primary villains, I would argue that Max Shreck is the main antagonist. He “creates” both of Batman’s adversaries – one on accident, one intentionally – all to further his own corruption and political schemes. He even has interactions with Bruce Wayne where it’s clear they are at odds about Shreck’s involvement with The Penguin and his gang.
Since we can’t have three main villains running around, I vote for Max Shreck. Thoughts?
The World is Not Enough
I encountered another intriguing debate on Calvin Dyson’s James Bond channel. In this Bond film, you have two intertwined villains, but which one is in control? Check out the video to see Calvin’s analysis:
https://youtu.be/KUpnRD-Sd9Q
I believe Elektra King is the main villain of the film. She may have initially been a victim of Renard’s, but she seems to be calling the shots and out for vengeance against her father, M, and others who get in her way. Elektra uses Renard and his connections as a terrorist to get the resources she needs to complete her plans.
Plus, if the antagonist’s goal is exploiting the hero’s weaknesses, King does an excellent job manipulating Bond and making him believe she is a femme fatale while messing with him throughout the story.
Since “both hero and opponent believe that they have chosen the correct path, and both have reasons for believing so,” having a singular character in opposition is vital for a story to work effectively (Truby 90). Obviously, they can have others working for them, but ultimately the buck stops with them.
Things Aren’t Always Black and White
An antagonist isn’t always bad; likewise, a protagonist isn’t always good. In fact, “most [antagonists] do not think of themselves as villains or enemies” (Vogler 74). The antagonist is the hero of their own story; those who attempt to stop them are in the wrong.
We want the antagonist to “challenge the hero and give [them] a worthy opponent in the struggle,” but if the protagonist’s goals are ill-advised or problematic, does that make the antagonist the good person in the situation (Vogler 72)?
It’s important to note that this binary relationship isn’t predicated on the concept of good vs. evil. Characters can have ambiguity and grey areas that can show a darker side of the protagonist and a lighter side of the antagonist. Neither character should be one-dimensional, which allows you to create an antagonist with “some charming or thoughtful qualities” (Edson 58).
Humanizing the Antagonist?
Should we have sympathy for the opposition? Empathy? Should we be able to relate to their frustrations with the world and why they want to stop the hero? Often these characters are given pretty out-of-touch plans that make it hard for audiences to relate to them. Often, we may be amused by their plots, but ultimately, we know that good will triumph over bad and the world will be righted again.
But what if the antagonist is a father who experienced the loss of one child in his past and is opposed to his daughter going down a similar path? Or is the antagonist a best friend who warns the main character about dating someone they are suspicious of? Both situations can lead to audiences finding sympathy or empathy with the antagonist and wanting them to succeed or be right in their concerns.
Once again, we covered a lot, but there’s more to come! Antagonist April continues on Friday. See you then!
Sources:
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
Truby, John. The Anatomy of Story. Faber and Faber, 2007.
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. Michael Wiese Productions, 1998.
Let’s continue!
There Can Only Be One
A story is filled with many characters and connections, but “the most important is the relationship between the hero and main opponent” (Truby 88). Notice opponent is singular, and that’s essential to remember as you develop this particular character. Even if the antagonist has others assisting them, it’s important to know that one person is the driving force causing all the chaos.
Since “the main opponent is the one person in the world best able to attack the great weakness of the hero,” they may employ a variety of helpers to assist them in their quest for destruction (Truby 89). Even if you have several oppositional figures in the story, you have to know who is in charge and who’s running the show.
Let’s look at two films where who this primary antagonist is can be up for debate.
Batman Returns
While we’re made to think that Catwoman or The Penguin are the film’s primary villains, I would argue that Max Shreck is the main antagonist. He “creates” both of Batman’s adversaries – one on accident, one intentionally – all to further his own corruption and political schemes. He even has interactions with Bruce Wayne where it’s clear they are at odds about Shreck’s involvement with The Penguin and his gang.
Since we can’t have three main villains running around, I vote for Max Shreck. Thoughts?
The World is Not Enough
I encountered another intriguing debate on Calvin Dyson’s James Bond channel. In this Bond film, you have two intertwined villains, but which one is in control? Check out the video to see Calvin’s analysis:
https://youtu.be/KUpnRD-Sd9Q
I believe Elektra King is the main villain of the film. She may have initially been a victim of Renard’s, but she seems to be calling the shots and out for vengeance against her father, M, and others who get in her way. Elektra uses Renard and his connections as a terrorist to get the resources she needs to complete her plans.
Plus, if the antagonist’s goal is exploiting the hero’s weaknesses, King does an excellent job manipulating Bond and making him believe she is a femme fatale while messing with him throughout the story.
Since “both hero and opponent believe that they have chosen the correct path, and both have reasons for believing so,” having a singular character in opposition is vital for a story to work effectively (Truby 90). Obviously, they can have others working for them, but ultimately the buck stops with them.
Things Aren’t Always Black and White
An antagonist isn’t always bad; likewise, a protagonist isn’t always good. In fact, “most [antagonists] do not think of themselves as villains or enemies” (Vogler 74). The antagonist is the hero of their own story; those who attempt to stop them are in the wrong.
We want the antagonist to “challenge the hero and give [them] a worthy opponent in the struggle,” but if the protagonist’s goals are ill-advised or problematic, does that make the antagonist the good person in the situation (Vogler 72)?
It’s important to note that this binary relationship isn’t predicated on the concept of good vs. evil. Characters can have ambiguity and grey areas that can show a darker side of the protagonist and a lighter side of the antagonist. Neither character should be one-dimensional, which allows you to create an antagonist with “some charming or thoughtful qualities” (Edson 58).
Humanizing the Antagonist?
Should we have sympathy for the opposition? Empathy? Should we be able to relate to their frustrations with the world and why they want to stop the hero? Often these characters are given pretty out-of-touch plans that make it hard for audiences to relate to them. Often, we may be amused by their plots, but ultimately, we know that good will triumph over bad and the world will be righted again.
But what if the antagonist is a father who experienced the loss of one child in his past and is opposed to his daughter going down a similar path? Or is the antagonist a best friend who warns the main character about dating someone they are suspicious of? Both situations can lead to audiences finding sympathy or empathy with the antagonist and wanting them to succeed or be right in their concerns.
Once again, we covered a lot, but there’s more to come! Antagonist April continues on Friday. See you then!
Sources:
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
Truby, John. The Anatomy of Story. Faber and Faber, 2007.
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. Michael Wiese Productions, 1998.
April 3, 2023
Antagonist April: Week #1 – What is an Antagonist? – Part One
It’s Antagonist April, and all this month, I’ll be doing a deep dive into those characters that give our heroes and main characters opposition to their goals. This week, we’ll explore the characteristics of an antagonist.
Let’s get started!
What is an Antagonist?
Whether they’re called an antagonist, a villain, the opposition, the enemy, or an adversary, this character in your story is against whatever goal your protagonist or main character wishes to achieve. The antagonist “holds back the ruthlessly onrushing protagonist,” making their lives and plans more difficult throughout the story (Egri 116).
This particular character is an essential narrative component, helping to drive the conflict and the story forward. In fact, “[s]tructurally the opponent always holds the key, because your hero learns through his opponent. It is only because the opponent is attacking the hero’s greatest weakness that the hero is forced to deal with it and grow” (Truby 88).
If things go smoothly and without any problems, then you don’t have a story that will grab a reader’s attention. There has to be something present that pushes back on the main character, and that opposing force helps them reassess, reevaluate, and develop as a character throughout the story. Essentially, this happens because “the values of the opponent come into conflict with the values of the hero” (Truby 90). This clash in values creates the conflict that results in drama, and that dramatic engine helps drive the story forward.
Think about your favorite movie. Who is the main character? What is their goal? Who in the story opposes that goal and wants to prevent them from reaching it? That is your antagonist. They can be overtly oppositional or covertly oppose the hero. Still, their presence is needed to keep the story moving and the main character in a constant uphill battle to reach their intended goal.
A story’s antagonist is a force to be dealt with, and “by ‘forces of antagonism’ we mean the sum total of all forces that oppose the character’s will and desire” (McKee 317-318). It cannot be avoided; it must be faced by the hero and defeated by the end of the story. This is why an antagonist has to be presented as a formidable foe since “a strong enemy forces a hero to rise to the challenge” (Vogler 72). If the antagonist has no power or control over the main character’s world, situation, or goals, then they are not a viable opposing force.
This is why “[t]he Adversary must appear to be the most powerful character in the story” (Edson 57). They have to have a clear edge and advantage over the hero for there to be stakes for the hero to traverse and overcome. Classic Disney villains possess this quality and have all the power, control, and abilities that the hero of the story lacks.
Now that we know who they are, let’s discuss the various types of antagonists that exist.
Types of Antagonists
“The Principle of Antagonism: A protagonist and his story can only be as intellectually fascinating and emotionally compelling as the forces of antagonism make them” (McKee 317). Not all stories require a Marvel-style villain or a James Bond-level threat. Some stories have a human opposition that’s real and not out to take over the world.
Versus
These are the antagonists in comic book movies, action movies, or Bond films. They are oppositional forces that are clear-cut and easy to see for the adversaries that they are. In these cases, “[i]f the antagonist is evil, or capable of cruel and criminal actions, he or she is called the villain” (Abrams 225).
Sports films like The Rocky movies and other sports stories also utilize this type of antagonist structure. The opposing team or person may not be a villain, but their actions could be seen as unethical or tainted by negative qualities in the eyes of the hero.
Environmental, Social, Governmental
The antagonist is an oppositional force that is part of a larger system. However, it should be noted that “like every other type of story, man-against-nature movies work best when there’s also a human Adversary present” (Edson 60). So, even if the main driver of the story is a volcano, the hero has to have a human antagonist present to oppose them.
In the 1997 film Volcano, while the L.A.-based disaster is at the forefront, our main character – OEM Director Mike Roark – still has to deal with the oppositional opinions and ideas of seismologist Dr. Amy Barnes as the disaster unfolds.
When it’s a story dealing with a natural disaster, I feel that the opposing forces can disagree on how to deal with the situation, which could result in the antagonist’s demise in some disaster-related way. This is evident in the 1996 film Twister, where the storm-chasing opposition, led by Dr. Jonas Miller, is “in it for the money, not the science,” a sentiment that ultimately gets him killed thanks to his arrogance.
Societal antagonism can rear its ugly head in the form of racism, sexism, homophobia, and other society-based ills. While these can be overarching backdrops for a story, these need to have a singular adversary for the hero to confront. In the 2007 film, Hairspray, Tracy Turnblad fights against a whitewashed system that refuses to allow integration on a local TV show. Her opposition is Velma Von Tussle, who represents the bigoted and racist views of 1962 society in human form in the story.
It’s the same with government systems. The main character may be fighting the system, but the system needs a representative antagonist for the hero to confront and fight against. In the 1994 film, The Shawshank Redemption, Andy Dufresne’s antagonist is Warden Norton, the human face of the prison system that Andy must fight against - and ultimately escape - in the story.
In the societal and governmental areas, you want “one single, powerful character who’s every bit as committed to preventing the Hero from reaching her goal as the Hero is to accomplishing it” (Edson 56).
Realistic
While antagonists can often be bigger than life, imposing forces of evil and destruction, some antagonists are more realistic in their scope. Sometimes “[a]ntagonists may not be quite so hostile – they may be Allies who are after the same goal but who disagree with the hero’s tactics” (Vogler 71). A father who wants his son to forget about rockets and focus on his future in the coal mines, like in the 1999 film October Sky. The father wants what’s best for his son and wants him to have a realistic outlook on his future. This is in opposition to what the son wants, which in turn creates a realistic conflict.
This is why it’s good to remember that “[a]n Adversary is the main opposing force, but [they are] not necessarily a bad or evil person” (Edson 61). They might strongly disagree with the main character’s goals. They may want the main character to pursue something else, not do something they feel is problematic or even have had a tragedy in their past that influences their opposition.
Whew, that was a lot to cover! But we’re only getting started. I’ll be back on Wednesday as we continue to explore antagonists all month! See you then!
Sources:
Abrams, M.H. A Glossary of Literary Terms. Harcourt Brace, 1999.
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
Egri, Lajos. The Art of Dramatic Writing. Simon & Schuster, 2004.
McKee, Robert. Story. Harper Collins, 1997.
Truby, John. The Anatomy of Story. Faber and Faber, 2007.
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. Michael Wiese Productions, 1998.
Let’s get started!
What is an Antagonist?
Whether they’re called an antagonist, a villain, the opposition, the enemy, or an adversary, this character in your story is against whatever goal your protagonist or main character wishes to achieve. The antagonist “holds back the ruthlessly onrushing protagonist,” making their lives and plans more difficult throughout the story (Egri 116).
This particular character is an essential narrative component, helping to drive the conflict and the story forward. In fact, “[s]tructurally the opponent always holds the key, because your hero learns through his opponent. It is only because the opponent is attacking the hero’s greatest weakness that the hero is forced to deal with it and grow” (Truby 88).
If things go smoothly and without any problems, then you don’t have a story that will grab a reader’s attention. There has to be something present that pushes back on the main character, and that opposing force helps them reassess, reevaluate, and develop as a character throughout the story. Essentially, this happens because “the values of the opponent come into conflict with the values of the hero” (Truby 90). This clash in values creates the conflict that results in drama, and that dramatic engine helps drive the story forward.
Think about your favorite movie. Who is the main character? What is their goal? Who in the story opposes that goal and wants to prevent them from reaching it? That is your antagonist. They can be overtly oppositional or covertly oppose the hero. Still, their presence is needed to keep the story moving and the main character in a constant uphill battle to reach their intended goal.
A story’s antagonist is a force to be dealt with, and “by ‘forces of antagonism’ we mean the sum total of all forces that oppose the character’s will and desire” (McKee 317-318). It cannot be avoided; it must be faced by the hero and defeated by the end of the story. This is why an antagonist has to be presented as a formidable foe since “a strong enemy forces a hero to rise to the challenge” (Vogler 72). If the antagonist has no power or control over the main character’s world, situation, or goals, then they are not a viable opposing force.
This is why “[t]he Adversary must appear to be the most powerful character in the story” (Edson 57). They have to have a clear edge and advantage over the hero for there to be stakes for the hero to traverse and overcome. Classic Disney villains possess this quality and have all the power, control, and abilities that the hero of the story lacks.
Now that we know who they are, let’s discuss the various types of antagonists that exist.
Types of Antagonists
“The Principle of Antagonism: A protagonist and his story can only be as intellectually fascinating and emotionally compelling as the forces of antagonism make them” (McKee 317). Not all stories require a Marvel-style villain or a James Bond-level threat. Some stories have a human opposition that’s real and not out to take over the world.
Versus
These are the antagonists in comic book movies, action movies, or Bond films. They are oppositional forces that are clear-cut and easy to see for the adversaries that they are. In these cases, “[i]f the antagonist is evil, or capable of cruel and criminal actions, he or she is called the villain” (Abrams 225).
Sports films like The Rocky movies and other sports stories also utilize this type of antagonist structure. The opposing team or person may not be a villain, but their actions could be seen as unethical or tainted by negative qualities in the eyes of the hero.
Environmental, Social, Governmental
The antagonist is an oppositional force that is part of a larger system. However, it should be noted that “like every other type of story, man-against-nature movies work best when there’s also a human Adversary present” (Edson 60). So, even if the main driver of the story is a volcano, the hero has to have a human antagonist present to oppose them.
In the 1997 film Volcano, while the L.A.-based disaster is at the forefront, our main character – OEM Director Mike Roark – still has to deal with the oppositional opinions and ideas of seismologist Dr. Amy Barnes as the disaster unfolds.
When it’s a story dealing with a natural disaster, I feel that the opposing forces can disagree on how to deal with the situation, which could result in the antagonist’s demise in some disaster-related way. This is evident in the 1996 film Twister, where the storm-chasing opposition, led by Dr. Jonas Miller, is “in it for the money, not the science,” a sentiment that ultimately gets him killed thanks to his arrogance.
Societal antagonism can rear its ugly head in the form of racism, sexism, homophobia, and other society-based ills. While these can be overarching backdrops for a story, these need to have a singular adversary for the hero to confront. In the 2007 film, Hairspray, Tracy Turnblad fights against a whitewashed system that refuses to allow integration on a local TV show. Her opposition is Velma Von Tussle, who represents the bigoted and racist views of 1962 society in human form in the story.
It’s the same with government systems. The main character may be fighting the system, but the system needs a representative antagonist for the hero to confront and fight against. In the 1994 film, The Shawshank Redemption, Andy Dufresne’s antagonist is Warden Norton, the human face of the prison system that Andy must fight against - and ultimately escape - in the story.
In the societal and governmental areas, you want “one single, powerful character who’s every bit as committed to preventing the Hero from reaching her goal as the Hero is to accomplishing it” (Edson 56).
Realistic
While antagonists can often be bigger than life, imposing forces of evil and destruction, some antagonists are more realistic in their scope. Sometimes “[a]ntagonists may not be quite so hostile – they may be Allies who are after the same goal but who disagree with the hero’s tactics” (Vogler 71). A father who wants his son to forget about rockets and focus on his future in the coal mines, like in the 1999 film October Sky. The father wants what’s best for his son and wants him to have a realistic outlook on his future. This is in opposition to what the son wants, which in turn creates a realistic conflict.
This is why it’s good to remember that “[a]n Adversary is the main opposing force, but [they are] not necessarily a bad or evil person” (Edson 61). They might strongly disagree with the main character’s goals. They may want the main character to pursue something else, not do something they feel is problematic or even have had a tragedy in their past that influences their opposition.
Whew, that was a lot to cover! But we’re only getting started. I’ll be back on Wednesday as we continue to explore antagonists all month! See you then!
Sources:
Abrams, M.H. A Glossary of Literary Terms. Harcourt Brace, 1999.
Edson, Eric. The Story Solution. Michael Wiese Productions, 2011.
Egri, Lajos. The Art of Dramatic Writing. Simon & Schuster, 2004.
McKee, Robert. Story. Harper Collins, 1997.
Truby, John. The Anatomy of Story. Faber and Faber, 2007.
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. Michael Wiese Productions, 1998.
March 31, 2023
Writing Exercise of the Week: Let’s Talk About Sports!
Hello, sports fans and non-sports fans! This week, I thought we’d dive into more description exercises using sports as our topic. Baseball, basketball, hockey, soccer, badminton, horse racing, the list goes on and on. No matter who you are, you can find some sport or game that piques your interest, and that is what this week’s exercise is all about.
Let’s get started!
Exercise #1
Pick a sport. Go on YouTube and find a short clip of that sport being played with the sound off. It can be a greatest moment highlight or a blooper, doesn’t matter.
As you watch, jot down notes on the following:
• What’s the sport? Is the clip professional or amateur?
• What happens in the clip? Jot down the beginning, middle, and end of the clip. Does it have a narrative arc?
• What’s the general tone of the clip? Are fans and players excited? Disappointed? Angry?
• What sights, sounds, smells, tastes, and tactile sensations are related to the game and clip?
• How would you describe the location where the game is being played?
• How would you describe the uniforms?
• Are there any fans that stand out in the crowd? Why?
Write a detailed descriptive narrative (500 words) about the clip. You can have it on hand for reference. Paint a picture with words and describe the scene as it unfolds. Make readers feel like they are at the game, taking in all the sights, sounds, and smells around them.
Exercise #2
In the same clip, choose a player. Any player.
• Describe their uniform, the colors, the team they play for, and if they have a name and jersey number.
• What are they doing?
• What’s their body language telling you?
• What do you think they are thinking during this moment?
• Where do they start the clip, and where do they end it?
Write a first-person narrative and have this player tell us what’s going on from their perspective. Give us their emotions, actions, and reactions to the events unfolding during the game.
Exercise #3
Find a clip of a sport or game you know little about. Don’t look up anything about the sport or game; just watch a few times without sound and answer these questions:
• Write down your first impressions.
• What do you think the basic rules are?
• How do you think the game is played?
• What are the players wearing?
• What are the fans doing during the game?
• What is the general mood at the game during the clip?
You’re a reporter who has to fake their way through writing about this game, but you have to do all you can to make yourself seem like you know what you’re talking about. Can you write about this sport or game, then hand what you wrote to someone else and be confident they’ll know what you’re talking about?
Why Am I Doing This?
Often when we write, we like to write about things familiar to us. But sometimes, we have to step outside the box and write about something new and different that we may not understand but need to describe in a way that makes us seem knowledgeable.
This is especially true regarding locations we write about but have never traveled to or objects we’ve seen in pictures but never encountered. It’s our job as writers to paint a picture with words that place the reader in that location, even if we’ve never been there ourselves.
Happy Writing, and I’ll see you next time!
Let’s get started!
Exercise #1
Pick a sport. Go on YouTube and find a short clip of that sport being played with the sound off. It can be a greatest moment highlight or a blooper, doesn’t matter.
As you watch, jot down notes on the following:
• What’s the sport? Is the clip professional or amateur?
• What happens in the clip? Jot down the beginning, middle, and end of the clip. Does it have a narrative arc?
• What’s the general tone of the clip? Are fans and players excited? Disappointed? Angry?
• What sights, sounds, smells, tastes, and tactile sensations are related to the game and clip?
• How would you describe the location where the game is being played?
• How would you describe the uniforms?
• Are there any fans that stand out in the crowd? Why?
Write a detailed descriptive narrative (500 words) about the clip. You can have it on hand for reference. Paint a picture with words and describe the scene as it unfolds. Make readers feel like they are at the game, taking in all the sights, sounds, and smells around them.
Exercise #2
In the same clip, choose a player. Any player.
• Describe their uniform, the colors, the team they play for, and if they have a name and jersey number.
• What are they doing?
• What’s their body language telling you?
• What do you think they are thinking during this moment?
• Where do they start the clip, and where do they end it?
Write a first-person narrative and have this player tell us what’s going on from their perspective. Give us their emotions, actions, and reactions to the events unfolding during the game.
Exercise #3
Find a clip of a sport or game you know little about. Don’t look up anything about the sport or game; just watch a few times without sound and answer these questions:
• Write down your first impressions.
• What do you think the basic rules are?
• How do you think the game is played?
• What are the players wearing?
• What are the fans doing during the game?
• What is the general mood at the game during the clip?
You’re a reporter who has to fake their way through writing about this game, but you have to do all you can to make yourself seem like you know what you’re talking about. Can you write about this sport or game, then hand what you wrote to someone else and be confident they’ll know what you’re talking about?
Why Am I Doing This?
Often when we write, we like to write about things familiar to us. But sometimes, we have to step outside the box and write about something new and different that we may not understand but need to describe in a way that makes us seem knowledgeable.
This is especially true regarding locations we write about but have never traveled to or objects we’ve seen in pictures but never encountered. It’s our job as writers to paint a picture with words that place the reader in that location, even if we’ve never been there ourselves.
Happy Writing, and I’ll see you next time!
March 29, 2023
Writing Tip of the Week: Holidays as Writing Deadlines?
Every country has holidays, and most calendars have holidays printed on them. And whether you celebrate them or not, these set-in-stone dates can be a valuable tool to help you set milestones and deadlines for your writing goals.
While it’s easy to say, “I’ll finish my first draft in three months,” what if that date was tied to a holiday on the calendar? So, if you set this goal on January 1, maybe you will have the first draft done by St. Patrick’s Day. Now, you have a target date associated with a major holiday, and you have a built-in reason to celebrate your writing win!
If using holidays isn’t for you, maybe use birthdays or anniversaries of family and friends. Now, you know that you’ll have a draft done on Aunt Trudy’s birthday or when your cousin celebrates their fifth wedding anniversary.
If you want to get crazy, find a site that shows all the unofficial holidays and use one of those dates as a goal. Maybe you National Donut Day, which is Friday, June 2, and grab yourself a donut in celebration of your creative accomplishment.
Here’s a list of unofficial holidays (it’s pretty extensive):
https://anydayguide.com/calendar/cate...
I’m using official calendar holidays for writing milestones this year, and it’s allowed me to focus better since I know definitively when each writing project needs to be completed. This year’s schedule is set like this:
• April 7 (Good Friday) – Revised Draft of New Novel Completed
• May 29 (Memorial Day) – Polished Draft of Screenplay #1
• July 4 (Independence Day) – Revised Draft of Book #3 in YA Series
• September 4 (Labor Day) – Polished Draft of Screenplay #2
This doesn’t mean these are 100% completed and ready to go out; by those dates, I’ll have a finished draft of each project that can be edited and worked on further. It also means that, ideally, by Labor Day, four writing projects will be done, which is exciting!
Try it! Set a holiday-based deadline for one of your writing goals this year and see if you can complete it by that date. Make sure you give yourself time to work on it, so pick a holiday later in the year. If you finish before then, great! Keep writing and set a new goal.
Happy Goal Setting, and I’ll see you next time!
While it’s easy to say, “I’ll finish my first draft in three months,” what if that date was tied to a holiday on the calendar? So, if you set this goal on January 1, maybe you will have the first draft done by St. Patrick’s Day. Now, you have a target date associated with a major holiday, and you have a built-in reason to celebrate your writing win!
If using holidays isn’t for you, maybe use birthdays or anniversaries of family and friends. Now, you know that you’ll have a draft done on Aunt Trudy’s birthday or when your cousin celebrates their fifth wedding anniversary.
If you want to get crazy, find a site that shows all the unofficial holidays and use one of those dates as a goal. Maybe you National Donut Day, which is Friday, June 2, and grab yourself a donut in celebration of your creative accomplishment.
Here’s a list of unofficial holidays (it’s pretty extensive):
https://anydayguide.com/calendar/cate...
I’m using official calendar holidays for writing milestones this year, and it’s allowed me to focus better since I know definitively when each writing project needs to be completed. This year’s schedule is set like this:
• April 7 (Good Friday) – Revised Draft of New Novel Completed
• May 29 (Memorial Day) – Polished Draft of Screenplay #1
• July 4 (Independence Day) – Revised Draft of Book #3 in YA Series
• September 4 (Labor Day) – Polished Draft of Screenplay #2
This doesn’t mean these are 100% completed and ready to go out; by those dates, I’ll have a finished draft of each project that can be edited and worked on further. It also means that, ideally, by Labor Day, four writing projects will be done, which is exciting!
Try it! Set a holiday-based deadline for one of your writing goals this year and see if you can complete it by that date. Make sure you give yourself time to work on it, so pick a holiday later in the year. If you finish before then, great! Keep writing and set a new goal.
Happy Goal Setting, and I’ll see you next time!
March 27, 2023
Writing Tip of the Week: Are You Afraid to Finish Your Story?
Have you stopped working on a writing project out of fear of finishing? It’s an interesting question. Most people are consumed with fear when they begin a project, but there are times when finishing to manuscript or script can cause just as much fear and anxiety. Why?
Let’s talk about it!
It’s All Over!
Writing can be an intensely creative and emotional process. If you’ve thrown all your time, effort, thoughts, and energy into a story, coming to its inevitable conclusion can feel like the end of a relationship. Think about all the time and dedication you’ve spent to get the story and its characters right. The late nights, long weekends, and hours spent trying to fix an issue that you realized caused a plot hole later in the story.
And now, you’re headed toward the end of the story. It can be both cathartic and anxiety-inducing. How can you leave these characters and this setting? They’re like family!
First, take a deep breath, exhale, and know that even if you write “The End,” you’re not done with the story yet. Especially if you are still in the draft phase, you’ll have plenty of hours to edit and rewrite, so rest assured, even when the draft is done, there’s still work to do.
I understand the challenge of letting go if this is a polished draft. To give it to someone else, to release it to the world. That could be the reason for your anxiety. It’s that pesky inner critic who’s subconsciously taunting you, causing you to fear completing the story, keeping you trapped with only a few chapters left to go.
Ignore it. Push through. Get the project done. While you may need time to mourn its end, know that you accomplished something great: you finished a writing project! Go out and celebrate!
What’s Next?
Another reason some writers fear finishing a project is the inevitable question that pops up when you tell someone you’re done: What’s next? Often, we’ve labored over a project for so long, and we’re happy to see it done that the last thing we need to hear is inquiries about what we’re doing afterward.
So, if we’re always working on that novel or script, people stop asking. It’s a safer place to be.
I suggest having another project in mind, so you have an answer ready when the time comes. “I’m working on a period drama next,” or “I have some funny ideas for a short film script.” Keep it vague, but this will give you cover as you develop something new. Don’t let the fear of being asked that question stop you from getting the work done.
Line ‘Em Up
Don’t allow yourself to have time to mourn the end of one project. Have others in development and ready to jump to the next. Now, you’re on to the next project, creativity flowing, ideas bouncing around, and you have the momentum from finishing the last project to keep you going.
The fear of completing a project comes from the fear of the unknown. If you don’t know what you’re doing next, it can create a creative vacuum once what you’ve been working on is finally done.
Mix it up, too. If you just wrote a novel, write a screenplay next. Wrote a book of poems? Write a play. Keep your creativity energized by changing the type of work you’re doing, and you’ll be so focused and ready to move on to the next project you won’t be sad when the current one ends.
Give yourself a reason to get your current project off your mind so you can move on to the next exciting thing.
What I’m Up To…
I’m writing two novels and two screenplays this year, but I’m alternating between them. All are in different genres and styles, which give my brain new creative avenues to explore. Even while I’m, nearing the end of my current novel project, my brain is tossing out ideas for the screenplay I’m working on in April.
Creativity is a mysterious and awesome force, so it’s good to keep it active and work toward your writing goals as much as possible.
Final Thoughts
It can be sad for a project to end, so it’s important not to allow yourself to fear its completion. Have other projects in mind, keep your creativity flowing, and don’t allow anxiety to overtake your creative impulses.
Get in there and get to The End so you can bring other characters and worlds to life!
Happy Writing, and I’ll see you next time!
Let’s talk about it!
It’s All Over!
Writing can be an intensely creative and emotional process. If you’ve thrown all your time, effort, thoughts, and energy into a story, coming to its inevitable conclusion can feel like the end of a relationship. Think about all the time and dedication you’ve spent to get the story and its characters right. The late nights, long weekends, and hours spent trying to fix an issue that you realized caused a plot hole later in the story.
And now, you’re headed toward the end of the story. It can be both cathartic and anxiety-inducing. How can you leave these characters and this setting? They’re like family!
First, take a deep breath, exhale, and know that even if you write “The End,” you’re not done with the story yet. Especially if you are still in the draft phase, you’ll have plenty of hours to edit and rewrite, so rest assured, even when the draft is done, there’s still work to do.
I understand the challenge of letting go if this is a polished draft. To give it to someone else, to release it to the world. That could be the reason for your anxiety. It’s that pesky inner critic who’s subconsciously taunting you, causing you to fear completing the story, keeping you trapped with only a few chapters left to go.
Ignore it. Push through. Get the project done. While you may need time to mourn its end, know that you accomplished something great: you finished a writing project! Go out and celebrate!
What’s Next?
Another reason some writers fear finishing a project is the inevitable question that pops up when you tell someone you’re done: What’s next? Often, we’ve labored over a project for so long, and we’re happy to see it done that the last thing we need to hear is inquiries about what we’re doing afterward.
So, if we’re always working on that novel or script, people stop asking. It’s a safer place to be.
I suggest having another project in mind, so you have an answer ready when the time comes. “I’m working on a period drama next,” or “I have some funny ideas for a short film script.” Keep it vague, but this will give you cover as you develop something new. Don’t let the fear of being asked that question stop you from getting the work done.
Line ‘Em Up
Don’t allow yourself to have time to mourn the end of one project. Have others in development and ready to jump to the next. Now, you’re on to the next project, creativity flowing, ideas bouncing around, and you have the momentum from finishing the last project to keep you going.
The fear of completing a project comes from the fear of the unknown. If you don’t know what you’re doing next, it can create a creative vacuum once what you’ve been working on is finally done.
Mix it up, too. If you just wrote a novel, write a screenplay next. Wrote a book of poems? Write a play. Keep your creativity energized by changing the type of work you’re doing, and you’ll be so focused and ready to move on to the next project you won’t be sad when the current one ends.
Give yourself a reason to get your current project off your mind so you can move on to the next exciting thing.
What I’m Up To…
I’m writing two novels and two screenplays this year, but I’m alternating between them. All are in different genres and styles, which give my brain new creative avenues to explore. Even while I’m, nearing the end of my current novel project, my brain is tossing out ideas for the screenplay I’m working on in April.
Creativity is a mysterious and awesome force, so it’s good to keep it active and work toward your writing goals as much as possible.
Final Thoughts
It can be sad for a project to end, so it’s important not to allow yourself to fear its completion. Have other projects in mind, keep your creativity flowing, and don’t allow anxiety to overtake your creative impulses.
Get in there and get to The End so you can bring other characters and worlds to life!
Happy Writing, and I’ll see you next time!
March 24, 2023
Writing Exercise of the Week: Examining Your Subplots
This week, we explored the characteristics of subplots and how they can be character- or story-driven. If you are working on a writing project or outlining one, you probably have ideas for subplots bouncing around in your head.
As you develop or revise, take some time to ask yourself some questions that can help you make them stronger and more effective.
• Does each subplot tie into the main story through related characters or events?
• Do the subplots serve a purpose?
• Do the subplots enhance the main story?
• Does each subplot have its own story arc?
• Does each subplot have a clear ending?
• Which characters are central to each subplot? Does one of the characters have some relationship to the main character or primary storyline?
• Is each subplot vital? Would it impact the main story if you removed one or two of them?
• Is one or more of the subplots overtaking the main story in terms of being more interesting or compelling? Could this subplot be its own story?
These are just a few questions to mull over as you delve into creating subplots for your story. Making sure each subplot matters and helps move the main story along. I also think it’s important that at least one subplot helps give us further insight into the main character’s development and growth as a person throughout the story.
I hope you enjoyed this look into subplots.
Happy Writing, and I’ll see you next time!
As you develop or revise, take some time to ask yourself some questions that can help you make them stronger and more effective.
• Does each subplot tie into the main story through related characters or events?
• Do the subplots serve a purpose?
• Do the subplots enhance the main story?
• Does each subplot have its own story arc?
• Does each subplot have a clear ending?
• Which characters are central to each subplot? Does one of the characters have some relationship to the main character or primary storyline?
• Is each subplot vital? Would it impact the main story if you removed one or two of them?
• Is one or more of the subplots overtaking the main story in terms of being more interesting or compelling? Could this subplot be its own story?
These are just a few questions to mull over as you delve into creating subplots for your story. Making sure each subplot matters and helps move the main story along. I also think it’s important that at least one subplot helps give us further insight into the main character’s development and growth as a person throughout the story.
I hope you enjoyed this look into subplots.
Happy Writing, and I’ll see you next time!
March 22, 2023
Writing Tip of the Week: Subplots – Part Two
Last time, we began to explore what a subplot is, its purpose, and how they can be used to enhance the main story. Today, we’ll continue that discussion with examples from Jurassic Park.
Let’s keep going!
Subplots have ARCS
A subplot should be considered a mini-story within the main story, with its own beginning, middle, and end. Often, subplots might be introduced in a film, but they lack a conclusion for one reason or another. Ensure that your subplots have an end-point and that their conclusion ties into the main story.
In Jurassic Park, Dr. Grant’s character-driven subplot has a definite arc. From him making it clear at the dig site that he has no patience for kids and then not wanting anything to go in the same SUV as Lex and Tim when he first meets them.
Grant becomes their savior and protector when things go to hell on the island, even telling a panicked Lex that he’s not gonna leave her and her brother. He then becomes a father figure to them, educating them about the dinosaurs as they hike back to safety. By the film’s end, Grant no longer seems to have any aversion to kids and seems rather comfortable around them.
With Nedry, his story-driven subplot arc is shorter but still impactful. His greed leads him to steal the embryos from the island to give to Nedry. His plans are complicated by a storm that hits the island, making it harder for him to get to the boat in time to get away. He rigs the security, camera, and power systems to assist in his theft.
Still, his actions result in dinosaurs getting loose. As he escapes to the East Dock, he skids off the road, runs into a “playful” Dilophosaurus, and meets his fate; the embryos are lost under a pile of mud.
Both subplots have a clear beginning, middle, and end. If we never saw Nedry’s fate but found out about it in passing during The Lost World, that would not have been a satisfying conclusion to that subplot.
Or, if Grant had left on a separate helicopter from Lex and Tim, we wouldn’t have been given a conclusion that indicates that his thoughts about kids have now changed for the better.
Subplots END
This seems logical, but sometimes if there are too many story threads, some can get lost, and their endings never happen. The reader or viewer can be left with questions about what happened or even frustrated that a subplot was introduced and never finished.
As you revise your manuscript or screenplay, please keep track of your subplots and make sure they conclude at some point. Their endings should have some impact or meaning to the main story, and if they don’t, they aren’t necessary to include.
Can a subplot begin before or end after the main story? Yes. Grant’s subplot begins before he and Ellie are invited to the island and ends after they leave. But a subplot shouldn’t drag on much longer past the ending of the main story.
Final Thoughts
A subplot’s purpose is to enhance the main plot by being character-driven or story-driven. Subplots should have a definite arc, with a beginning, middle, and end, and a subplot must link to the main story.
What are some subplots in novels, TV shows, or movies that you’ve noticed lack connection to the main story or have no conclusion? Leave a comment and let me know!
Happy Writing, and I’ll see you next time!
Let’s keep going!
Subplots have ARCS
A subplot should be considered a mini-story within the main story, with its own beginning, middle, and end. Often, subplots might be introduced in a film, but they lack a conclusion for one reason or another. Ensure that your subplots have an end-point and that their conclusion ties into the main story.
In Jurassic Park, Dr. Grant’s character-driven subplot has a definite arc. From him making it clear at the dig site that he has no patience for kids and then not wanting anything to go in the same SUV as Lex and Tim when he first meets them.
Grant becomes their savior and protector when things go to hell on the island, even telling a panicked Lex that he’s not gonna leave her and her brother. He then becomes a father figure to them, educating them about the dinosaurs as they hike back to safety. By the film’s end, Grant no longer seems to have any aversion to kids and seems rather comfortable around them.
With Nedry, his story-driven subplot arc is shorter but still impactful. His greed leads him to steal the embryos from the island to give to Nedry. His plans are complicated by a storm that hits the island, making it harder for him to get to the boat in time to get away. He rigs the security, camera, and power systems to assist in his theft.
Still, his actions result in dinosaurs getting loose. As he escapes to the East Dock, he skids off the road, runs into a “playful” Dilophosaurus, and meets his fate; the embryos are lost under a pile of mud.
Both subplots have a clear beginning, middle, and end. If we never saw Nedry’s fate but found out about it in passing during The Lost World, that would not have been a satisfying conclusion to that subplot.
Or, if Grant had left on a separate helicopter from Lex and Tim, we wouldn’t have been given a conclusion that indicates that his thoughts about kids have now changed for the better.
Subplots END
This seems logical, but sometimes if there are too many story threads, some can get lost, and their endings never happen. The reader or viewer can be left with questions about what happened or even frustrated that a subplot was introduced and never finished.
As you revise your manuscript or screenplay, please keep track of your subplots and make sure they conclude at some point. Their endings should have some impact or meaning to the main story, and if they don’t, they aren’t necessary to include.
Can a subplot begin before or end after the main story? Yes. Grant’s subplot begins before he and Ellie are invited to the island and ends after they leave. But a subplot shouldn’t drag on much longer past the ending of the main story.
Final Thoughts
A subplot’s purpose is to enhance the main plot by being character-driven or story-driven. Subplots should have a definite arc, with a beginning, middle, and end, and a subplot must link to the main story.
What are some subplots in novels, TV shows, or movies that you’ve noticed lack connection to the main story or have no conclusion? Leave a comment and let me know!
Happy Writing, and I’ll see you next time!
March 20, 2023
Writing Tip of the Week: Subplots – Part One
The subplot. Most stories have at least one, and others have several. Whether it’s known as a subplot or a B-story, these can help enhance your narrative, add depth to your characters, or give the reader a breather when things get too intense in the main story.
Let’s talk about subplots!
What is a Subplot?
A subplot is a secondary story connected to the main story, either directly or indirectly. It can include the main character, or it can be related to a side character whose actions in the subplot will affect the main story at some point.
As stated in the intro, there can be more than one, but all should wind up intersecting with the main story at some point. Seinfeld and Curb Your Enthusiasm do this masterfully, weaving multiple storylines into the main one by the end of the episode.
In Jurassic Park (which I will use for my examples in this post), we are introduced to two subplots early in the film: Dr. Grant’s dislike of children; and Dennis Nedry’s deal with Dodgson to steal the dinosaur embryos.
Let’s talk about the qualities of a subplot using these examples.
Subplots have PURPOSE
You ever watch a movie where a subplot is introduced that leads absolutely nowhere? There doesn’t seem to be any reason for it to exist other than to eat up time. A compelling subplot has a reason to exist. It can be either character-driven or story-driven, but by the end, it’s clear why it was part of the story.
Dr. Grant’s dislike of children is a character-driven subplot. We are shown this side of Grant early, so when he meets Lex and Tim on the island, we already know his opinions about kids, which gives us a baseline for character growth.
Nedry being paid to steal the embryos is a story-driven subplot. His actions in getting the embryos – shutting off power and fences – lead to the T-Rex escape that catapults the plot of the film forward.
Subplots ENHANCE
Subplots need to add something to the overall story. They are only useful if they impact something happening in the main story. A subplot needs to give us insight into who a character is, where the story might lead, or emphasize one of the story’s themes.
Dr. Grant’s character-driven subplot enhances his character as he’s placed in situations where he has to rescue Lex and Tim, save Tim’s life, and rely on Lex to reboot the park’s security system. His views on kids evolve as the story unfolds through the film’s final moments, where Lex and Tim are asleep next to him in the helicopter.
Likewise, Nedry’s story-driven subplot enhances the narrative by causing the chaos that leads to dinosaurs escaping their paddocks and roaming free around the island. Since Nedry has locked everyone out of the system, the only solution is for the power to be shut off entirely and the system rebooted, which then causes the Raptors to escape. All of Nedry’s actions help to move the story forward.
But Wait, There’s More!
Next time, we’ll explore a couple more subplot characteristics. See you then!
What’s your favorite subplot from a movie or TV show? Leave a comment and let me know!
Let’s talk about subplots!
What is a Subplot?
A subplot is a secondary story connected to the main story, either directly or indirectly. It can include the main character, or it can be related to a side character whose actions in the subplot will affect the main story at some point.
As stated in the intro, there can be more than one, but all should wind up intersecting with the main story at some point. Seinfeld and Curb Your Enthusiasm do this masterfully, weaving multiple storylines into the main one by the end of the episode.
In Jurassic Park (which I will use for my examples in this post), we are introduced to two subplots early in the film: Dr. Grant’s dislike of children; and Dennis Nedry’s deal with Dodgson to steal the dinosaur embryos.
Let’s talk about the qualities of a subplot using these examples.
Subplots have PURPOSE
You ever watch a movie where a subplot is introduced that leads absolutely nowhere? There doesn’t seem to be any reason for it to exist other than to eat up time. A compelling subplot has a reason to exist. It can be either character-driven or story-driven, but by the end, it’s clear why it was part of the story.
Dr. Grant’s dislike of children is a character-driven subplot. We are shown this side of Grant early, so when he meets Lex and Tim on the island, we already know his opinions about kids, which gives us a baseline for character growth.
Nedry being paid to steal the embryos is a story-driven subplot. His actions in getting the embryos – shutting off power and fences – lead to the T-Rex escape that catapults the plot of the film forward.
Subplots ENHANCE
Subplots need to add something to the overall story. They are only useful if they impact something happening in the main story. A subplot needs to give us insight into who a character is, where the story might lead, or emphasize one of the story’s themes.
Dr. Grant’s character-driven subplot enhances his character as he’s placed in situations where he has to rescue Lex and Tim, save Tim’s life, and rely on Lex to reboot the park’s security system. His views on kids evolve as the story unfolds through the film’s final moments, where Lex and Tim are asleep next to him in the helicopter.
Likewise, Nedry’s story-driven subplot enhances the narrative by causing the chaos that leads to dinosaurs escaping their paddocks and roaming free around the island. Since Nedry has locked everyone out of the system, the only solution is for the power to be shut off entirely and the system rebooted, which then causes the Raptors to escape. All of Nedry’s actions help to move the story forward.
But Wait, There’s More!
Next time, we’ll explore a couple more subplot characteristics. See you then!
What’s your favorite subplot from a movie or TV show? Leave a comment and let me know!
March 17, 2023
Writing Exercise of the Week: What’s Going On Here?
As the old cliché states, “A picture is worth a thousand words.” For some reason, this statement popped into my head today and gave me an idea for today’s writing exercise.
Let’s get started!
Search the Classics
Use Google or Bing and search for “classic paintings.” Feel free to add descriptors like “classic African American paintings” or “classic Latin American paintings.” You’re looking for paintings that present a scene with people in a location doing things.
What Do You See?
Once you’ve found a painting to use, scrutinize it, asking yourself questions as you do:
• What happened before this scene took place? What led to these events?
• Who are these people? What are their relationships with each other?
• Where are they? Why are these people gathered in this location?
• What is each person thinking about during the events depicted in the scene?
• What is the significance of the events or actions displayed in the scene?
• How do you think the scene ends based on what is shown in the painting?
• Why are these events in the painting taking place? Why are these people present?
All of the answers – and any responses to questions you come up with on your own – should be from your imagination. Don’t research the painting or the artist or go down the rabbit hole of art historian interpretations. This should be from your creative mindset and viewpoint.
Tell the Tale
Using your imaginative answers, write a 1,000-word story about the scene portrayed in the painting. Utilize the visuals to describe clothing, characters, location, and other details. You want to flesh out all the different story elements from your creativity.
You can make the tone funny, tragic, heroic, terrifying, mysterious, erotic, etc. Whatever you decide, it’s all based on your personal creative interpretation of the painting.
Repeat the Process
Find another painting and do the exercise again.
You could also use the same painting and create a completely different story. How might you interpret the images in a way that’s the opposite of what you initially came up with?
Why Am I Doing This?
Much like an artist uses paint to create vivid images and scenes, as authors, it’s our job to create them through words. By utilizing the power of words to interpret a painting, we can elevate it further by adding a new creative context and additional meaning based on our own imagination and creativity.
Happy Writing, and I’ll see you next time!
Let’s get started!
Search the Classics
Use Google or Bing and search for “classic paintings.” Feel free to add descriptors like “classic African American paintings” or “classic Latin American paintings.” You’re looking for paintings that present a scene with people in a location doing things.
What Do You See?
Once you’ve found a painting to use, scrutinize it, asking yourself questions as you do:
• What happened before this scene took place? What led to these events?
• Who are these people? What are their relationships with each other?
• Where are they? Why are these people gathered in this location?
• What is each person thinking about during the events depicted in the scene?
• What is the significance of the events or actions displayed in the scene?
• How do you think the scene ends based on what is shown in the painting?
• Why are these events in the painting taking place? Why are these people present?
All of the answers – and any responses to questions you come up with on your own – should be from your imagination. Don’t research the painting or the artist or go down the rabbit hole of art historian interpretations. This should be from your creative mindset and viewpoint.
Tell the Tale
Using your imaginative answers, write a 1,000-word story about the scene portrayed in the painting. Utilize the visuals to describe clothing, characters, location, and other details. You want to flesh out all the different story elements from your creativity.
You can make the tone funny, tragic, heroic, terrifying, mysterious, erotic, etc. Whatever you decide, it’s all based on your personal creative interpretation of the painting.
Repeat the Process
Find another painting and do the exercise again.
You could also use the same painting and create a completely different story. How might you interpret the images in a way that’s the opposite of what you initially came up with?
Why Am I Doing This?
Much like an artist uses paint to create vivid images and scenes, as authors, it’s our job to create them through words. By utilizing the power of words to interpret a painting, we can elevate it further by adding a new creative context and additional meaning based on our own imagination and creativity.
Happy Writing, and I’ll see you next time!
