I learned a cool timeline transition trick from watching a particular episode of THE WEST WING. Each time they needed to switch timelines, they had a character walking through a door. Then, voila!, that same character was walking out a door in a scene in the other timeline. It was elegant and it worked well because they only did this in that one episode. (If they'd done this in every single episode, it would have gotten pretty tedious pretty fast.) In terms of a connection to writing fiction, I'm thinking of scenes where a character is interacting with an object--and then that object transports them to a memory. Or something similar....
I learned that the scene of lovers frantically tearing off their clothes has become cliche, boring. Even if I wrote a graphic sex scene, I'd concentrate on touch.
I went to film school right out of high school, so when I switched from screenwriting to writing short stories, I took "show, don't tell" to the extreme. In a workshop, someone finally told me my characters were like automatons.
I'm currently novelizing a screenplay of mine, so I'm all about this post. One thing that I realize is that I can make my dialogue in the book a little more true to life, less laden with subtext, necessary exposition, or character information. For example, there's one scene in the screenplay where I have to establish a past in Mexico between two characters during the war and reveal that one, Lenore, was a spy for the Allies. But in the novel, Roberto would know that of course, and I've already told the reader. So instead, I can just write: "Lenore, as usual, brought up Mexico, and Roberto made the mistake of noting that she always chose the best looking Nazi businessmen to sleep with. This guaranteed an argument that would last the entire weekend until he took it back, which he did because he was a man who at least learned from his many mistakes." A lot of character info I can just state, and spare the reader the actual lengthy argument.
Always learn something new when I read your posts, though I’m not sure I agree with #2. I find the minutiae of our lives quite enjoyable, especially when they’re discreetly given greater meaning. I’m thinking of something like the novel Convenient Store Woman. But maybe that’s a stretch from what you meant.
For a movie rec, The Killing Fields messed me up. Old movie, but taught me about character development and tension.
Details of our lives are wonderful and fascinating when they’re presented in scenes -in which something happens-. But scenes of JUST those details tends to be really boring. I’d say CSW is a great example of an exception, though, because the narrator is so fixated on those details, and they’re the point of the book (at least to her) rather than just background information.
Your section on "soundtrack" reminded me of a thing that's bugged me in the stories I read that are set in the far future, and that is name-dropping 20th/21st century musicians and songs, sometimes combined with invented artists presumably from the intervening centuries. I know WHY writers do this - it helps the reader form a mental connection with the story - but I find it weird, nonetheless.
I'm conflicted on the eyes thing. Over-emphasis, or emphasis without an actual reason, on how someone's eyes LOOK (color, size) is problematic, but what about one character's eyes drifting downwards to stare at the other character's cleavage, thereby causing offense? Should there be a distinction between eyes for the sake of eyes and eyes that convey important information? Because I love nothing better than a good piece of CONTROL-F writing advice but it seems like this one might require finer brushstrokes.
Oh for sure, I'm not saying don't ever mention eyes! But I think it's appropriate to mention them when the POV character would actively (realistically) be thinking about them -- versus, say, "Joe cast his dark brown eyes out the window," which makes no sense whether we're in Joe's head or someone else's. He's just looking out the window, we don't need a retinal scan. And really what I'm talking about is writing that uses eyes CONSTANTLY, as if they're the only tool available.
Exactly my thought. When I was in high school long ago, my friend Kathy and I would exchange stories that we were writing. I remember many unwanted laughs because of a sentence in an intensely felt tale of teen love, featuring a hunk named Ron who was impatient with our heroine because he was waiting for another girl to arrive: "His eyes kept wandering off toward the door...." Later, after a change of heart (yikes!) Ron's eyes "fastened" on our protagonist. And then, as the writer realized that plain writing is best: "He kissed me. I returned it."
It's SO GOOD. The writing is phenomenal. I did not love the pilot episode (largely because of a stupid reveal) but after that it got better and better.
What film teaches us wrong — Your column arrived at just the right time — eg, when I was trying to come up with a cool eye color for a character. I will refer often to a print out of the column for guidance as I write.
Shit, gawd-damn, you're (mostly?) always right, and always funny. I mean, I like staring into another human's eyes, but it gets creepy in about 2.8 seconds and then what do you look at?
This was super useful although now I’m thinking of every time I mentioned eyes in the pages I revised this weekend. Oops. Movie reccs: Black Bag with Cate Blanchett and Michael Fassbender if you want an intellectual, tightly written spy thriller. How to Make Millions Before Grandma Dies if you want something a little predictable that will still make you weep copiously
Great advice, thanks! I’m learning right now to “still” my shots: in tense and dangerous scene, not to hop around among physical sensations, action, feelings, and descriptions. For one thing, repetition creeps in. Something more economical will work better.
Movie recommendation: Train Dreams (premiering on NetFlix this weekend), Hamnet, and Sentimental Value. As for your essay, folks often tell me my second novel, Blindspot, was like watching a movie unfold. I always took this as a compliment. Now I'm not so sure. One thing movies can also do quickly is communicate a character's looks while we novelists struggle with lengthy descriptions or give in with a cliche like "people probably tell you you look a lot like Margot Robbie."
I learned a cool timeline transition trick from watching a particular episode of THE WEST WING. Each time they needed to switch timelines, they had a character walking through a door. Then, voila!, that same character was walking out a door in a scene in the other timeline. It was elegant and it worked well because they only did this in that one episode. (If they'd done this in every single episode, it would have gotten pretty tedious pretty fast.) In terms of a connection to writing fiction, I'm thinking of scenes where a character is interacting with an object--and then that object transports them to a memory. Or something similar....
I learned that the scene of lovers frantically tearing off their clothes has become cliche, boring. Even if I wrote a graphic sex scene, I'd concentrate on touch.
Have you ever met someone that’s worth ripping buttons off for? I mean …
I went to film school right out of high school, so when I switched from screenwriting to writing short stories, I took "show, don't tell" to the extreme. In a workshop, someone finally told me my characters were like automatons.
I'm currently novelizing a screenplay of mine, so I'm all about this post. One thing that I realize is that I can make my dialogue in the book a little more true to life, less laden with subtext, necessary exposition, or character information. For example, there's one scene in the screenplay where I have to establish a past in Mexico between two characters during the war and reveal that one, Lenore, was a spy for the Allies. But in the novel, Roberto would know that of course, and I've already told the reader. So instead, I can just write: "Lenore, as usual, brought up Mexico, and Roberto made the mistake of noting that she always chose the best looking Nazi businessmen to sleep with. This guaranteed an argument that would last the entire weekend until he took it back, which he did because he was a man who at least learned from his many mistakes." A lot of character info I can just state, and spare the reader the actual lengthy argument.
Great piece! Please please please do the promised post on memory soon. I need it yesterday.
Always learn something new when I read your posts, though I’m not sure I agree with #2. I find the minutiae of our lives quite enjoyable, especially when they’re discreetly given greater meaning. I’m thinking of something like the novel Convenient Store Woman. But maybe that’s a stretch from what you meant.
For a movie rec, The Killing Fields messed me up. Old movie, but taught me about character development and tension.
Can’t wait to read the piece on memory!!
Details of our lives are wonderful and fascinating when they’re presented in scenes -in which something happens-. But scenes of JUST those details tends to be really boring. I’d say CSW is a great example of an exception, though, because the narrator is so fixated on those details, and they’re the point of the book (at least to her) rather than just background information.
Yes, please teach on all teased topics! I’m leaning in. As for a movie: Sing Sing. It’s a masterpiece, imho.
Your section on "soundtrack" reminded me of a thing that's bugged me in the stories I read that are set in the far future, and that is name-dropping 20th/21st century musicians and songs, sometimes combined with invented artists presumably from the intervening centuries. I know WHY writers do this - it helps the reader form a mental connection with the story - but I find it weird, nonetheless.
I'm conflicted on the eyes thing. Over-emphasis, or emphasis without an actual reason, on how someone's eyes LOOK (color, size) is problematic, but what about one character's eyes drifting downwards to stare at the other character's cleavage, thereby causing offense? Should there be a distinction between eyes for the sake of eyes and eyes that convey important information? Because I love nothing better than a good piece of CONTROL-F writing advice but it seems like this one might require finer brushstrokes.
Oh for sure, I'm not saying don't ever mention eyes! But I think it's appropriate to mention them when the POV character would actively (realistically) be thinking about them -- versus, say, "Joe cast his dark brown eyes out the window," which makes no sense whether we're in Joe's head or someone else's. He's just looking out the window, we don't need a retinal scan. And really what I'm talking about is writing that uses eyes CONSTANTLY, as if they're the only tool available.
I hope his eyes landed on soft grass.
Exactly my thought. When I was in high school long ago, my friend Kathy and I would exchange stories that we were writing. I remember many unwanted laughs because of a sentence in an intensely felt tale of teen love, featuring a hunk named Ron who was impatient with our heroine because he was waiting for another girl to arrive: "His eyes kept wandering off toward the door...." Later, after a change of heart (yikes!) Ron's eyes "fastened" on our protagonist. And then, as the writer realized that plain writing is best: "He kissed me. I returned it."
Thank you Rebecca! Enlightening & funny, the best combo. Made my day AND inspired me (your voice always inspires me)❣️❣️
Confession: I’ve haven’t seen Madmen! 🫣 But will now🥰
It's SO GOOD. The writing is phenomenal. I did not love the pilot episode (largely because of a stupid reveal) but after that it got better and better.
What film teaches us wrong — Your column arrived at just the right time — eg, when I was trying to come up with a cool eye color for a character. I will refer often to a print out of the column for guidance as I write.
Thank you!
Shit, gawd-damn, you're (mostly?) always right, and always funny. I mean, I like staring into another human's eyes, but it gets creepy in about 2.8 seconds and then what do you look at?
This was super useful although now I’m thinking of every time I mentioned eyes in the pages I revised this weekend. Oops. Movie reccs: Black Bag with Cate Blanchett and Michael Fassbender if you want an intellectual, tightly written spy thriller. How to Make Millions Before Grandma Dies if you want something a little predictable that will still make you weep copiously
Great advice, thanks! I’m learning right now to “still” my shots: in tense and dangerous scene, not to hop around among physical sensations, action, feelings, and descriptions. For one thing, repetition creeps in. Something more economical will work better.
Movie idea: “Don’t Look Up!”
Love your columns.
Movie recommendation: Train Dreams (premiering on NetFlix this weekend), Hamnet, and Sentimental Value. As for your essay, folks often tell me my second novel, Blindspot, was like watching a movie unfold. I always took this as a compliment. Now I'm not so sure. One thing movies can also do quickly is communicate a character's looks while we novelists struggle with lengthy descriptions or give in with a cliche like "people probably tell you you look a lot like Margot Robbie."
Your column is very helpful, gives observations to mull over.