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On the eve of their 50th wedding anniversary dinner, Uncles Mark and Robert, help their family come to terms with alcoholism, an issue threatening to destroy a beloved nephew.
Uncles... 50th anniversary? Whose 50th anniversary? Are these 'uncles' a gay couple? If so, it's okay to say so. (The U.S. Supreme Court has spoken.) If not, please clarify.
Uncles… 50th anniversary? Whose 50th anniversary? Are these ‘uncles’ a gay couple? If so, it’s okay to say so. (The U.S. Supreme Court has spoken.) If not, please clarify.
See lessAfter gaining superpowers, a group of clumsy and incompetent young adults set out to become the world?s first supervillains, but must first gain control over their city from the corrupt, but powerful superheroes who protect it.
>>The corrupt heroes are not villains, they just aren?t good people That may not work in the super hero genre. The super hero genre, by definition is about extreme character types. Characters are drawn in stark black and white -- there are rarely shades of grey, at least not with the principal charaRead more
>>The corrupt heroes are not villains, they just aren?t good people
That may not work in the super hero genre. The super hero genre, by definition is about extreme character types. Characters are drawn in stark black and white — there are rarely shades of grey, at least not with the principal characters, certainly not the antagonist.
It takes a great antagonist to make a protagonist. Darth Vader made Luke Skywalker the hero he becomes and made 100’s of millions of dollars in ticket sales — and toys. (Dittoo Princess Leia, and Hans Solo and Yoda, et al.)
You’re writing a spec script for a series, right? What is there about the relationship between the good guys and the bad guys that is going to hook people’s interest, make them come back every week for the next episode. Nobody I know tuned into “Breaking Bad” episode after episode because Walter White was opposed by tepid, “corrupt but not evil” dudes. We all tuned in because Walter was up against utterly ruthless, and in the case of Gustavo Fring, intelligent and cunning antagonists.
If the antagonists in your story are moral mediocrities, where’s the dramatic conflict, the tension? Where’s the suspense to hook your audience’s interest, make them tune in next week.. and the week…
See lessThe true life misadventures of a couple who try to save their failing marriage and reignite their dull sex life and relationship by daringly moonlighting as an ?escort duo? and experiencing the fantasies of others.
>>>We NEVER had an objective?.... That's a problem when trying to dramatize your story! Yes, you can initially stumble into a new career, seemingly discover it by accident. But one of the conventions of modern drama is that there comes a point (around page 30) where you lock into an objective goal aRead more
>>>We NEVER had an objective?….
That’s a problem when trying to dramatize your story!
Yes, you can initially stumble into a new career, seemingly discover it by accident. But one of the conventions of modern drama is that there comes a point (around page 30) where you lock into an objective goal and a strategy to achieve that goal. This lock in raises the Dramatic Question that the rest of the story– Acts 2 & 3 — will be devoted to answering.
And a “yes” answer to that Dramatic Question must be in serious and credible doubt. The odds must not be in your favor. And what factors make a “yes” answer to the question in doubt? Enter, stage right, the antagonist and opposing forces.
Your logline promises a “dramatic… erotic journey”. Well, what creates drama in … drama? Consider the 2004 film “Kinsey”, based upon the career of the pioneering sex research Alfred Kinsey . (Have you seen it?) What Kinsey had going AGAINST him in real life, the film “based upon” his life had going FOR it: plenty of opposition, conflict, hostility, legal and cultural repression. Such was the era he was working in. And that was the source of the drama in the story.
What are the opposing people, the negative forces, the complications and obstacles that create serious and credible doubt that, in the scripted world dramatizing your career, you could achieve your objective goal? And what’s the character weakness, the flaw in the relationship, that threatens to undo all of your success, destroy your most important relationship by the end of Act 2 if not confronted and overcome? (I don’t need to know the answer to those questions. But in building a dramatic scenario for your life story, you do.)
>>We?d simply like to inspire a dialogue about the secrets? people keep from their significant others, same as we did for the first half of our relationship
Okay, but drama is more about dialectics than dialogue — about the clashing of opposing points of view, values, interests. If you want to inspire a dialogue, why not write a how-to book? Develop a syndicated talk show (TV or radio)? Why bother trying to “adapt” (aka: mythologize) your story into the Procrustean bed of a script?
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