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The Problem with Avatar

on writing 2 Comments »

So I think it is time for me to make a writing comment on Avatar since by now everybody, even impoverished children in Africa have probably seen it. While it was pretty, and the story was epic, it wasn’t without its writing flaws. James Cameron is, I think, the best person in Hollywood for polishing the turd. I think he has had only a couple of original stories (The Abyss and Strange Days), and even those I’m beginning to doubt. He ripped off the Terminator from a Harlan Ellison written Outer Limits storyline. Titanic was based on “A Night to Remember” which I first read in fourth grade. This one was widely known to be a take off on Dances With Wolves, Pocahantas, or any other of 20 or so books. Given how lazy he seems to be in coming up with stories, I’m guessing he didn’t go too deeply into the more obscure of the list. Most of the issues I had were issues of laziness, and I think they are from the laziness of not being hungry. Somebody who isn’t given five years, $300 million and complete control from the outset of filming would have fixed these problems. Let me ruin the movie for you.

Actually, I found the movie tremendously enjoyable, let me start by saying it. The world Cameron created is richly detailed, down to creating a full language and ecosystem. But you’d think if you could come up with such a world, you could come up with a better name for the rock the humans want than “Unobtanium”. This name is a joke from materials scientists and materials users that should never have made it into a movie. You’d think after 5 years of production, you could come up with a better name for a mineral. There were two ways around it. One, come up with a better name, or second, mention “unobtanium TM, I don’t know what it’s made of and I don’t care, I just know it makes money.” The repetition of the name in serious context just made it silly. Another example of this is Pandora. We couldn’t come up with a better name for it than this? Really? Star Wars can do it just fine.

The other issue with the unobtanium is that we don’t know what it does. This entire three hours of this epic tale and epic war was fought over something that so far as we know is a rock, by the looks of it, a piece of pyrite or hematite. At least in Dune (another story parts of Avatar’s plot could have been stolen from) we knew what the spice did. You could say it’s a MacGuffin, but in this case, we deserve more than a MacGuffin. MacGuffins only work when it’s a story about characters, and this is a story about a war. The characters are absolutely secondary to plot. They don’t really have their individuality, much as James Cameron would like you to think. There’s the grizzled military leader, the money-driven company man (last played by Paul Reiser in Aliens, another James Cameron movie), Sigourney Weaver’s native liaison is nothing more than a Jane Goodall without a past. Think about it, what do we know about her, what did she do before coming to Pandora? Where are the telltale tics and tremors of any of these characters? No, not a character piece, and so we have to care about what the pathetically named unobtanium does.

The next issue I have was a reference to a “Daisy Cutter” in reference to a bomb to be used on the natives. If you look up “Daisy Cutter”, it is not a generic term. It is used in reference to a particular weapon of the current U.S. Military, the largest conventional bomb in the world, which fills up the entire cargo bay of a C-130. It is nickname the daisy cutter for the blast pattern it creates. What the future military creates on Pandora is the mother of all cluster bombs, not a single gigantic and comparable conventional bomb. All comparisons aside, when she said, “Fricking daisy Cutter,” it pulled me out of the world of Pandora, and back into the very familiar war-torn world we live in, and that worked counter to all of the work they did in creating the world of Pandora. Eight years of development and execution thrown away in one word. Now, if they had used “cluster bomb”, it would have made plenty of sense, as this is a generic term for a bomb made of many little bombs. It would also have made things that much more horrible, as cluster bombs are now banned by the U.N.

And really, robots that carry guns and knives? What possible utility does that have? I can’t imagine we’d build anything so anthropomorphic as we’d have a device for the knife, a gun with much more design efficiency. Didn’t we see enough of this with the Matrix? Aren’t the robots and weapons of Robotech much more likely than these cheesy things?

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The Hidden: Urban Decay ch 4a

Fiction, Podcasts, The Hidden, novel No Comments »

Chapter four is being split between two episodes since there are four scenes. This is the first part of it. If you’d like to sign up for the podcast, click here: itunes

I’ll be getting closer to a regular schedule soon, our mending is going well, as are most of the other projects. I’d like you to check out a relatively new one, The End of the World Times, the Journal of a (hopefully) Alternate Future. You should enjoy it. We have 4 writers currently uploading material and two more coming on-line soon.

Also want to let you know about The Compulsive Writer’s Support Group. This is my podcast about writing, and I’m going to start covering writing The Hidden on it with the next episode. What this will amount to is a kind of director’s commentary that you would listen to if you had the DVD of the movie of this storyline, but I don’t play them both at once here because that would be confusing. I’ll discuss the decisions behind the storyline, some of the secrets, backstory, and some of the things that went on around writing this book. I have an odd habit of things that I write coming true in very odd ways, and that will be a running theme with the podcast analysis.

But for now, Chapter 4a

The sun dripped down the distant skyline, its reflection oozed down the buildings, and passed through the pollution to color everything the shade of rotten blood. The air hung still, infectiously humid, stagnant. This was the joy of Chicago summers, hot, humid, and sticky. The day was feeling longer and longer for Tobias, the result of too much time spent wandering in the open.

Times like these that the streets made the streets their most hostile; Tobias didn’t know who was watching, or what situation might arise to ensnare him. The police knew his face from numerous run-ins and the street had eyes and teeth of its own. It could spot a person in distress from blocks away, and swallow him whole in a second. A rival gang member on an incursion could take you out without the courtesy of letting you see who’d done the killing, a hit and run driver could be thirsty for a victim, a beggar might pull a knife. Any of these events were not just possible, but likely if you showed a hint of weakness at the wrong moment.

The worst thing running around in his head, though, was a single image: the shop keeper, growing pale, groaning, falling over, turning blue, his skin sinking in, turning transparent, skin cracking open, and then it flashed out, his mind couldn’t take it anymore, and he found he’d walked another block without noticing anything. Over and over for blocks it happened, and it didn’t get any less jarring through repetition.

But of all the things that could kill, stop or otherwise harm him, his biggest fear was facing up to his brother Wesley. The streets may have been dangerous, but his brother was his best protection. His fear was that word spread like an outbreak on the street. He needed to call Wesley, come in, face up to it, save as much face as possible.

He flipped open his cell phone. Nothing happened. He tried opening and closing it again, detaching the battery, blowing on the contacts, as if that ever did anything, and then reattached it. Nothing. He shook it. Still nothing. The battery was dead. This struck him as odd. His battery had never died so quickly, and it had been fully charged when he left the house. It didn’t matter, facts was facts, he needed to find a payphone.

When survival is key, it’s best to look at your assets and threats, evaluate each for its own merits, take inventory, make decisions, always keep moving. He had allies, shaky and tentative alliances, everyone that spent time as a plaything of the streets had to have some, and the more you had the less chance the streets would eat you. But those alliances all had prices, and he owed more favors than he’d given. He didn’t have much more room on his street credit card. He couldn’t count on everyone in his gang. They’d without a doubt protect him, but most were out for their own advancement, and they would use this to their advantage if they could find an angle.

Some of the allies had told him the cops came around asking with urgency, just a routine matter, the usual line. But they were detectives, not the beat cops. Detectives never came around on routine matters, you never saw them in the bad neighborhoods like the beat cops. The beat cops knew where Blooddog territory ended and Lunatic Species territory began, who was in power and who wasn’t. Beat cops were Tobias’s main problem. They knew Tobias was out there, and they all knew their beats.

He hadn’t returned home since this morning, and he hoped his mother was too drunk to care about anything when he got back. If he malingered long enough, she would have reached the bottom of her bottle, and dropped it by her side on the way to an alcoholic slumber, a cancerous liver, and a terribly painful end. She wouldn’t come out looking for him.

He decided in the end that it was best to keep it in the family, regardless of how much grief Wesley would give him. It was time that he stopped avoiding the issue, and faced it with some amount of dignity. He convinced himself that this was the way he would grow into an adult, a leader, to face up to his mistakes.

He thought these were his biggest problems. He coughed twice, he felt a constriction in his lungs like he had asthma. He kept telling his mother he should get checked for it. His chest felt constricted, his throat felt like it was closing in. His asthma was picking a bad time to come back, but he figured the stress wasn’t helping it any.

The demon perched on his shoulder. When riding something like this, it limited its effect as best it could. It was unnecessary energy expense. All around it, the demon sensed food, but it all moved too quickly to be easy prey.

Tobias found a payphone outside of a gas station, picked it up and deposited his quarters. One of his first lessons was to always use a payphone for business so there was no evidence in the telephone records of who called who. Payphones were getting scarcer these days, finding one that hadn’t been vandalized beyond usefulness was even harder. He picked up, deposited change, and dialed.

The phone picked up on the first ring to the sound of a hard and cautious voice.

“Yeah,” Wesley said.

“Wesley. I’m in trouble,” Tobias was suddenly pleading. He didn’t expect to be suddenly broken practically to tears. He thought he’d be able to maintain his composure. Some adult he turned out to be.

“Tobias? I heard the cops are out for you. What’ve you done this time?”

“I didn’t do a thing. I got caught up in somethin’. Don’ even know what. But, the cops is looking for me.” He turned around quickly, keeping an eye out for cars or cops.

“What’s the problem? Did you get into a fight?”

“No, It jus’ happened. I didn’t do nothing.”

“Uh-uh. Ain’t buying it. Where’s my gun?”

“I ditched it. Had to.”

“You ditched it? I just got you that gun. Shit, that was a good gun, too.”

“I need a lawyer, bro.” Tobias was ashamed to admit it, but he knew he needed it.

Wesley sighed. It was one more time through this routine. “Shit. I’ll call Ellis. Come home. He’ll bring you in,” he said in disappointment, adding the obvious, “And keep out of sight.”

The laws that govern coincidence insist that as soon as things like this are said, a Newtonian equal and opposite force must come into play. This force happened to be a police car, which drove by mostly minding its own business. Tobias was well past the point of playing it cool, the stress of being out and pursued all day had burned out his patience for playacting. He panicked, cowered, turned, hid his face. It was instinct, but the wrong one, he immediately realized that his rash decision just nailed him. The police decided it was worth a second pass to investigate. They slowed down suddenly, put on their lights, and blew the siren once.

“Oh, no. No. Shit,” he said, but there was nowhere to go.

“Tobias, what is wrong?” Wesley yelled through the receiver, hoping to get a straight answer out
of a messed up little kid.

Tobias decided not to try to get away, but to make his continued failure quick and painless.

“I gotta go, bro. I’ll call you in a couple hours.”

Tobias hung up the phone and raised his hands as the police got out of the squad car. They were angry at him for making them get out of their air conditioning in the heat, and it showed, their faces immediately scowled, angry that they were forced out of comfort.

“This better be worth it,” one said to the other, wiping the beaded sweat from his forehead with a handkerchief. The other nodded his head in agreement. He pulled his shirt and vest away from his body to get some air.

The officers were quickly on him, asking him for identification. This however, was mere formality. They knew who they had, they’d seen him around many times, and had picked him up at least once before each. They read him his Miranda rights, put on the handcuffs and helped him into the back seat of their car.

The demon sniffed at the police officers. They smelled healthy and fit. They did not have the scent of the struggle for survival. The energy he’d expend in weakening and corrupting them would be greater than the benefit of feeding from them. He waited for easier prey.

The ride to the central processing station in Chicago was slow and shameful. Tobias thought everybody in his neighborhood saw him being driven in the back seat of the patrol car. It was nothing they hadn’t seen before, but it still hit him like this every time, probably his mother’s influence. His cough grew stronger, phlegmy, more violent on the way, got worse every block. He thought it might only be due to the stress, the rotten city air, the heavy Chicago humidity. He couldn’t do anything about the snot, it dripped onto his jeans and the plastic seat of the squad car. He shivered, and considered asking the cops to turn down the air conditioning. He knew they wouldn’t listen, but the shivering made him look nervous, and the nervousness made him look guilty, even though this was the first time he wasn’t.

He played the game. They led him in the front door of the station, and he dutifully followed, dragging his feet on the broken sidewalks only as much as was proper. There were formalities to every situation. When his feet hit the tiles of the polices station, he scuffed along again, to show a proper amount of indignation. It was all a matter of meeting expectations.

The police station was cooled mostly with ceiling fans. The air conditioners that teetered in the windows couldn’t hope to keep up with the number of bodies and the amount of activity in the front rooms, so Tobias was always uncomfortably in a draft. The wooden chairs they forced him to sit in while they did the initial processing were seemingly designed to automatically cause a knot in his back, as if he were leaning on a stone that jabbed only where it would irritate him the most. This made him more bitter and aggravated while the desk sergeant, a plumpish Hispanic woman in the dark side of her forties, searched out the proper forms for admission and processing. Tobias had plenty of time to brood while a pile of triplicate forms accumulated on the desk before her.

Next came the check-in gauntlet. Nami was contacted, and they booked Tobias Stinson on one count of attempted robbery at Nami’s direction. Despite the futility of the charges, it would be near midnight when the booking was complete, and they would be sufficient to hold Tobias until he could be questioned in the morning.

Tobias was pushed along to the fingerprinting station, a tall table with cards and ink pads. The officer here filled in another blank on the paperwork, and drew a card to take Tobias’ prints. Tobias had been through it before, and so when his hand was firmly clutched, his fingers dipped in ink and rolled on the pads, he kept his expression straight and clean, emotionless despite the offensively suspicious gaze in the officer’s eye.

The demon sniffed at the officer, but again held off feeding. He could bide his time. Somewhere near there was proper prey, ripe prey. The scent of corruption was in the air, the scent was close.

The fingerprints done, Tobias was escorted to the next station.

The backboard measured Tobias at five nine. He knew the poses. The flash went off, and he turned without being prompted. When they checked the image, they saw a minor smudge over Tobias’ shoulder. They assumed it was due to a fingerprint on the lens, but his image was unaffected, so it was acceptable.

The demon had never been so exhausted as it had been since it came through. It had never needed to feed so much, its desperation for food had become so tangible he could almost eat it, but it’s species didn’t metabolize desperation. Usually it found its prey after desperation had taken hold, done its work, brought the creature to the beginnings of decay.

Tobias was then escorted through the lockup, his personal items confiscated, cataloged, and bagged: One pair shoes, Nike Jordans size 10; one pair jeans, black; one belt, leather, black; one athletic jersey, Chicago White Sox; one gold bracelet; two gold necklaces, one wallet containing fifty-six dollars; eighty-three cents loose change. This was placed in a large bag, at which point he was issued an orange jumper, and canvas shoes that couldn’t be made into a weapon.

The file officer uncapped a sharpie and said, “Name?”

Tobias replied sullenly, “Tobias Stinson.”

“Name?” The demon replicated the syllables. It was still learning the ways and languages of this new world.

“Age?”

“17.”

“Age?” the demon asked, not knowing what it was asking. “Age?” it asked again, louder. Still no response. There was no recognition at all.

“Age!” it shouted. Still nothing.

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Outlining vs. Freewriting, Structure in Narrative Writing Wrap-up

Compulsive Writer's Support Group, on writing No Comments »

Go directly to the other parts of the essay:

Part 1: Introduction

Part 2: Film

Part 3: Theater

Part 4: 4 Act Teleplay

Part 5: Aristotle

Part 6: Wrap up

So what can I give you about all of this? Everything I write has a different structure and a different process, a way of thinking that is unique unto itself. No one structure can be used for everything, but everything has some kind of structure.

I like to think of novels in terms of an indefinite number of acts. As I am in my freest writing mode, I tend to look at major events, and write myself towards the next act goal. Some day I’d like to tackle a five-act Elizabethan style play, but that’s a way’s off into the future, I think. For right now, I’ll stick to books.

For a beginning writer, I hope that this small amount of thought can give you a little more fortitude to get through your project. I’ll cover outlining styles at some point, but I have never really seen anybody’s outlines but my own. Writers aren’t very prone to revealing their very early work on a story since it pales in comparison to the final product. Maybe they seem to think this will undermine them in the mind of the reader.

My point in all this description of acts is to think about the major movements of the work, and make sure there are several, there is a logical flow through them, with reversals and rises and falls. If you have to divide a book up, you’ll want to plan these points to coincide with act movements, but there is a strategy to it.

As I plan out a narrative, acts are my major units, and I’ll look at the overall shape to plan out how the story will progress. I look at whether the action generally rises or falls, or if it is a bumpy progression. Any of those is sufficient as a structure to tell a story, I don’t limit myself to following any classical model unless it is by design, but straying from the models should be done consciously.

I have a lot of time at work to listen to podcast books, and one I am currently listening to is J.C. Huthins 7th Son trilogy. I listened to the first book and put it down because it is a long story, and too much of anything can be a bad thing. I think the story is good, well conceived, and most factors I consider when judging a book were very good, though there was something that lingered in my mind as unsatisfying about the first book. It took me a while to put my finger on it. Story was good, characters were rich and colorful, the villain was a solid villain, the story has hooks, but there was something lacking. Then I realized that the first book isn’t the first book at all. It’s the first act. There is a single distinct rise, a single distinct climax, no reversal, and no resolution.

7th Son in its three parts is a long book in its totality, and it makes up for it when you get into book two, but if I were J.C.’s editor (and he probably didn’t have an editor when he recorded it), I would have put the end of the first book at chapter nine or so in book two, leave the audience with a cliffhanger, and probably developed a bit more of a turning point early in book one to give it a full three acts. As it stands, book one feels like an overdeveloped short story.

This is not to denigrate the work as it stands. The stopping point of the first book is a choice, and being a podcaster myself, I know that it is a lot of work to get these things out, and so when J.C. got to his first climax, it was a probably good point to take a break and coordinate the marketing strategy for book two. It is more logical than the place I chose to take a break in that context, and it really is a killer book.

But I’ll pull in an example of why structure is important from another branch of entertainment. The new Rachael Yamagata album is a double-disk album that chose a different structure than the usual album. Now I knew Rachael when she was in Chicago, and spent many hours at her old band’s shows, so as a solo artist, I got on her bandwagon pretty early. I even have a demo that is so early it was burned on her home computer and has a black permanent marker cover.  Her first Ep and album have a great structure to them, they go from her slower darker moodier stuff to rockers, and it gives every song a very individual feel, and makes listening a series of emotional movements. When you put together an album, you arrange songs in an order to accomplish this. On her double disk, she put all of the slow moody stuff on one disk, and the rockers on the second disk. This means that one is consistently upbeat and the other a consistent downer. The net result is that the first disk feels like one really long song, and I couldn’t hum a melody from any one of them, even though individually, they are as strong as any work she has put out.

Same thing happened with Stabbing Westward’s Darkest Days album. This is another band I knew back in the day. The songs were arranged in four movements, and the slow dark part of the album is a long and dull blur.

What these lack is the highs and lows. As an experience, they are consistent, and it doesn’t matter how high and intense they are on average, we’ll still become familiar with the level, and familiarity really does breed contempt. This is also the reason that Bergman films are fairly unpalatable to American audiences. They are just long and dull no matter how artistic they may be.

So as I look at my act structure, change is my friend, consistency in narrative is the enemy. Remember this is a shape, it is a story arc, not a flat. Think about sailing around the world with Magellan, a story in and of itself. The wind is never consistent, but sailors in the doldrums do nothing and get bored, but with the inconsistency of wind and weather always keeps them busy.

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Outlining vs. Freewriting, Structure in Narrative Writing pt. 5

Compulsive Writer's Support Group, on writing No Comments »

Go directly to the other parts of the essay:

Part 1: Introduction

Part 2: Film

Part 3: Theater

Part 4: 4 Act Teleplay

Part 5: Aristotle

Part 6: Wrap up

Aristotle’s poetics is the earliest document I’m aware of that covers literary structure. Yes, this is Aristotle the philosopher and not an Aristotle imposter. There are a few forms of Greek drama to be aware of. We are most conscious of the tragedies, what evolved into theatre. There were also comical plays that were shorter that would show along with the tragedies to lighten the mood. It was only later that comedies became plays of their own, largely under the playwright Aristophanes. Aristotle also used philosophic dialogs which were much more like closet dramas, an exercise in academics that isn’t meant to be performed so much as be an instructional tool.

The tragedies were a high form of drama that were both a matter of competition between playwrights and their wealthy patrons as they were a near religious experience. I can go into plenty of detail on the evolution of drama under the Greeks, but as a brief foray, the term scene comes from the background setting called the skene, the term deus ex machina comes from a machine that would be used to lift an actor over the skene dressed as a god to fix everything (I know, if somebody asks if you are a god, you say “yes”). Thespis was the first actor to step out of the chorus and deliver a solo line, giving us the term thespian, thereby enabling us to fool conservative politicians whose daughters are actors.

Aristotle gave us a seminal work called Aesthetics, in which he attempts to categorize writing into genres, first in Poetics and Rhetoric, then dividing Poetics into epos (epic poetry), lyrical poetry, and tragedy. In some ways this is kind of similar to novels, short stories, and drama, but this is an oversimplification. It is interesting to see how he identifies so many elements of story in this work, any one of which could be an issue of this blog/podcast, including plot, character, reversals, spectacle, diction, and action. I think his thought on character are a very good basic understanding for a writer, absolutely still applicable today to any fictional writing.

In a first nod to structure, he describes every plot as having a beginning, middle and end. This may be a primitive version of the three act structure, or it may be the well, duh part of the work.

What I really want to cover here is his rules for tragedy. His thinking and analysis is really quite remarkable for a man looking at literature in such a primitive state of development.

According to Aristotle, “the structure of the best tragedy should be not simple but complex and one that represents incidents arousing fear and pity–for that is peculiar to this form of art.” The hero suffers a reversal of fortune that is the result of a tragic flaw. His definition of flaw isn’t quite what we think of as a tragic flaw, his word, “Hamartia”, translates more to “missing the mark”. There are some qualifications on this flaw that aren’t really relevant in modern times, so I won’t delve too far into them, but as an example, if the character isn’t noble, or the reversal of fortune happens because of social forces, this disqualifies the work as a tragedy. These rules certainly applied in the dramatic competitions of Aristotle’s times, but would disqualify such works as Death of a Salesman.

Aristotle defined the unities, rules for tragedies. These are the rules that delineate whether a tragedy qualifies as Aristotelian or not. They are:

1. The unity of action: a play should have one main action that it follows, with no or few subplots.
2. The unity of place: a play should cover a single physical space and should not attempt to compress geography, nor should the stage represent more than one place.
3. The unity of time: the action in a play should take place over no more than 24 hours.

You’ll notice right away that these cover some of our basic questions, what, where and when.

Let’s look at action more closely. First, he was keen enough to tell us to stick to the plot, that subplots were a distraction. He also was keen enough to recognize a sub-plot. In drama, where time, measured in human terms of how long an actor or audience member can go between relieving the bladder, is a consideration. Remember, the actors had large costumes and masks. So, stay focused. In a novel where you have unlimited pages, this is still important, but the story can be much larger.

When we think about place, what he describes is having one setting, and one setting only. News can come from off the stage by messengers, but the story must take place in one location. This forces us to go deeply into the character’s head for development and analysis, and not get distracted by action. Action supports character, never supplants it.

And finally time. You have a character with everything in the world going for him, and then it all crashes down within 24 hours, or thereabouts.  This concentrates the character development and catharsis (which is yet another term he coined in this work).

Of course, once these rules were defined, others immediately broke them, and literature continued to evolve and develop. The Aristotelian rules were never more in effect than in the 17th century, when a fresh copy of them was translated, and it given a certain neo-classicism element of the enlightenment, people started adhering to the unities like nobody had before, even in Aristotle’s time.

Still, an interesting set of structures to think about, and an interesting challenge to your abilities. Take from it what you will.

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