Writer of things that go bump in the night

Category: Craft (Page 2 of 2)

Journey’s End: Rushkoff and the Collapse of Narrative

And now for something completely different:  How about a magic trick?

Think of your favorite story—book or movie.  (Hell, say it aloud, if you’re inclined—I can’t hear you.)  If you’ve got several candidates, just pick one quickly, at random.

Got one firmly in mind?

Betcha I can tell you how the plot unfolds.

Here goes:  The protagonist is faced with an unforeseen crisis that upends the status quo, and, after some initial resistance, accepts the call to adventure.  Through a series of trials and setbacks in which both allies and enemies are made, our hero finds the strength to rise to the challenge and, in doing so, achieves personal catharsis (what we in Hollywood call the “character arc”), returning once again to an ordinary state of affairs… a little bit wiser for his troubles.  The End.

How’d I do?

It’s a little general, I’ll grant you—I probably wouldn’t wow them in Vegas with that act—but, at your story’s most basic structural level, that pretty much sums it up, no?

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Imaginations on Fire: Rush’s Geddy Lee on Artistic Originality

“When I feel the powerful visions/Their fire has made alive/I wish I had that instinct—/I wish I had that drive”

—“Mission” from Hold Your Fire (1987); lyrics by Neil Peart

Two things have grown considerably in the fifteen or so years that I’ve been a screenwriter:  the volume of material in my portfolio, and, correspondingly, my confidence in my creative skills.

With so many screenplays under my belt (I’ve lost count at this point), as well as two novels I’m readying for publication next year, I can look over my body of work and see the influences from—the echoes of—artists that inspired me in my formative years.  I was in high school when I realized that the same wondrous mind was responsible for both Star Wars and Indiana Jones—who the hell was blessed with that kind of imagination?!—and spent a considerable portion of my adolescence studying the screenplays and biographies of George Lucas (those resources, mind you, were not easily available online at that time).  One of my early stories during that period, long before fan fiction found a thriving forum on the Internet, was titled “Indiana Jones and the River Styx.”  When my novels are published, I’ll cite specific influences that helped shape them here on the blog.

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Thoughts on “Ghostbusters II”: The Sequel

My analysis of Ghostbusters II provoked some healthy debate when it was posted on Proton Charging’s Facebook page yesterday.  It is a testament to Ghostbusters—the movie, the franchise, and the sequel—that it continues to inspire such a passionate following over twenty-five years after the last installment was released.

Speaking of which, I suspect the development of Ghostbusters II went something like this:  Someone on the creative team—probably Dan Aykroyd—became taken with the notion of a river of slime as a key element of the sequel (I believe I’ve even seen drafts of the script in which “River of Slime” was suggested as the movie’s subtitle).  It probably didn’t take long to realize, however, that a river of slime is a noncorporeal entity—flowing ectoplasm has no agenda beyond existing, no antagonistic impulses whatsoever—and this Monster in the House movie was clearly in need of a monster—i.e., someone the Ghostbusters could actually fight.  Hence, Vigo the Carpathian was conceived.

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Fallacies of Storytelling: More on Goals

It turns out the subject of character goals was in the air this week.

This morning, the “Cats” over at Save the Cat! (which does not include the innovator of the techniques they practice, Blake Snyder, as he regrettably passed away in 2009 quite unexpectedly and prematurely) posted a podcast in which they advocate for the requirement of a tangible, external goal on the part of a story’s protagonist, citing, among other examples, Academy Award Best Picture winner American Beauty (1999) as a case study.  If you read yesterday’s post, you know how I feel about this, but I elaborated my position in the comments section of the Save the Cat! website, which I am also making available here:

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Fallacies of Storytelling: The Protagonist’s Goal

Back to the FutureEscape from New YorkRaiders of the Lost ArkSaving Private Ryan.  Even in a cultural media vacuum, what narrative fundamental do the titles to those movies tell you about their respective plots?

They are goal-driven.

Goals can be an invaluable tool to establish suspense, propel a plot, and create an active protagonist.  But, like any storytelling appliance, they are an elective, not a mandate.  In the movie business, insecure creative execs will insist on their inclusion in every screenplay—a silver bullet for any plot that fails to effectively engross (which relates to an industry-wide problem I addressed in my first post:  the misapplication of craft).

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Revisiting Old Haunts: A Paranormal Investigation of “Ghostbusters II”

Given that this summer marks the thirtieth and twenty-fifth anniversaries, respectively, of Ghostbusters (enjoying a limited theatrical rerelease this week) and Ghostbusters II, I recently took an opportunity—the first since screenwriting on a professional basis—to re-watch them.  This can be something of a perilous exercise—bringing my experienced analytical eye to a movie that carries such personal nostalgic weight for me—but I almost always walk away with an enhanced appreciation for the film in question, be it a newfound recognition of its merits or clearer grasp of its shortcomings.

Much has been written about Ghostbusters; much less about Ghostbusters II.  In the years since its release, the latter has come to be considered the bastard, redheaded stepchild of the franchise, which includes the highly regarded animated series The Real Ghostbusters (1986–1991).  When discussing Ghostbusters, the sequel typically merits an obligatory, passing mention, though often with a discernible tenor of embarrassment; even series director Ivan Reitman offered this vague and somewhat apologetic assessment of the follow-up in a recent retrospective published by Vanity Fair:  “It didn’t all come together.  We just sort of got off on the wrong foot story-wise on that film.”

Other appraisals of Ghostbusters II are equally nonspecific.  Other than a general consensus that “it wasn’t as good as the original,” I’ve been hard-pressed to find a critique that adequately identifies why, as Vanity Fair notes, it “failed to generate the passionate enthusiasm spurred by the first film.”

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