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After being severely hurt by a grenade at Hitler youth camp, a prideful and nationalistic ten-year old boy discovers that his mother is hiding a fifteen year old Jewish girl in their house.
"Mainly because that angle is so cliche and predictable." Okay, but when done rightly it works. Alternatively, the boy could come to see the Jewish girl as the kind of girl who would make a wonderful sister -- the sister he never had. Or like one he lost. My point is that the transformational arc foRead more
“Mainly because that angle is so cliche and predictable.”
Okay, but when done rightly it works.
Alternatively, the boy could come to see the Jewish girl as the kind of girl who would make a wonderful sister — the sister he never had. Or like one he lost.
My point is that the transformational arc for the kid entails his breaking through ideological blinders to see the girl as a person rather than an object, a demonized other.
In short, relationship. (Which is what the “B” story is always about, usually romantic, but not necessarily.)
See lessThe Greek gods and goddesses from myth are very much real, callous, and they are all coming for an unsuspecting 16-year-old Alexandra Adler, whether she likes it or not.
But the timing: why is there a crisis now with the Greek gods that has to be dealt with? After all these thousands of years?
But the timing: why is there a crisis now with the Greek gods that has to be dealt with? After all these thousands of years?
See lessAfter convincing his reformed felon brother to hold up the bank where the map to a lost goldmine is stored, a disenchanted insurance salesman must finish the job himself when his brother is shot dead by the obstinate bank manager during the heist
Tony, I sympathize with your creative struggle. Your instincts are right that your protagonist has to do it for more than the money or the gold. But my impression so far is that of a concept casting about for a suitable character rather than a character who drives the concept. "Dog Day Afternoon" coRead more
Tony,
I sympathize with your creative struggle. Your instincts are right that your protagonist has to do it for more than the money or the gold. But my impression so far is that of a concept casting about for a suitable character rather than a character who drives the concept.
“Dog Day Afternoon” comes to mind. Which was based on a true event, a botched bank robbery by an anti-hero, a loser. His motivation was to get money to pay for his boyfriend’s sex change operation. (Can you make that stuff up and sell it in a log line? Truth is stranger that fiction.)
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