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Growing sentences

March 19, 2009 Words on the page

I linked to this in Off-Topic, but it’s worthy of some attention on the front page as well. Jason Kottke reposted a set of instructions by James Tanner for turning any normal sentence into a David Foster Wallace super-sentence.

Since screenwriting is an art of brevity, it’s a nice change of pace to see just how overstuffed a sentence one can write.

Following Tanner’s instruction, we start with a simple 10-word sentence:

John wanted to play ball, but he sat on the couch.

1. Use them in a compound sentence:

John said he wanted to play ball, but instead he sat on the couch and played videogames.

2. Add rhythm with a dependent clause:

When asked by his sister, John said he wanted to play ball, but instead he sat on the couch and played videogames.

3. Elaborate using a complete sentence as interrupting modifier:

When asked by his sister, John said he wanted to play ball — he told her where to find his mitt — but instead he sat on the couch and played videogames.

4. Append an absolute construction or two:

When asked by his sister, John said he wanted to play ball — he told her where to find his mitt — but instead he sat on the couch and played videogames, his left foot resting on the ottoman, toes flexing at the most perilous virtual encounters.

5. Paralell-o-rize your structure (turn one noun into two):

When asked by his sister, John said he wanted to play ball — he told her where to find his mitt and shoes — but instead he sat on the couch and played videogames, his left foot resting on the ottoman, calf and toes flexing at the most perilous virtual encounters.

6. Adjectival phrases: lots of them. (Note: apprx. 50% will include the word ‘little’):

When asked by his little sister, a ginger-haired cherub with little butterflies on her jean shorts, John said he wanted to play some ball — he told her where to find his well-oiled mitt and second-best athletic shoes — but instead he sat on the faded orange couch and played videogames, his left foot resting on the ottoman, calf and hairy toes flexing at the most thrilling and/or perilous virtual encounters.

7. Throw in an adverb or two (never more than one third the number of adjectives

When asked by his little sister, a ginger-haired cherub with little butterflies on her jean shorts, John said he wanted to play some ball — he told her where to find his well-oiled mitt and, specifically, his second-best athletic shoes — but instead he sat on the faded orange couch and played videogames, his left foot resting on the ottoman, calf and hairy toes flexing at the most thrillingly perilous and/or maddeningly difficult virtual encounters.

8. Elaboration — mostly unnecessary. Here you’ll turn nouns phrases into longer noun phrases; verbs phrases into longer verb phrases. This is largely a matter of synonyms and prepositions. Don’t be afraid to be vague! Ideally, these elaborations will contribute to voice — for example, ‘had a hand in’ is longer than ‘helped’, but still kinda voice-y — but that’s just gravy. The goal here is word count.

When asked by his little sister Bella, a ginger-haired suburban cherub with two make-believe horses and little yellow butterflies on her jean shorts, John definitely said he wanted to play some ball — he told her where to find his well-oiled mitt and, specifically, his second-best athletic shoes — yet seemed unaware that the white New Mexico sun was crossing the sky and sinking below the foothills as he sat on the faded orange velvet couch and played videogames, his left foot resting on a month-old magazine which was in turn resting on the ottoman, his calf and hairy toes flexing at the most thrillingly perilous and/or maddeningly difficult showdowns with level bosses and their virtual henchmen.

9. Give it that Wallace shine. Replace common words with their oddly specific, scientific-y counterparts. (Ex: ‘curved fingers’ into ‘falcate digits’). If you can turn a noun into a brand name, do it. (Ex: ‘shoes’ into ‘Hush Puppies,’ ‘camera’ into ‘Bolex’). Finally, go crazy with the possessives. Who wants a tripod when they could have a ‘tunnel’s locked lab’s tripod’? Ahem:

When asked by his little sister Bella, a ginger-haired suburban cherub with two make-believe Lipizzaners and little yellow lepidopterae on her Old Navy jean shorts, John definitely said he wanted to play some ball — he told her where to find his well-oiled Nokona mitt and, specifically, his second-best athletic shoes (the Nikes) — yet seemed unaware that Albuquerque’s ghost-white sun was charting its ecliptic path across the sky and sinking below the foothills as he sat on the faded orange velvet couch and played Fallout 3, his left heel resting on the face of Kristen Stewart, who graced the cover of a month-old Entertainment Weekly which was in turn resting on Pottery Barn’s cheapest ottoman, John’s calf and hairy toes flexing at the most thrillingly perilous and/or maddeningly difficult showdowns with the Super Mutants of Vault 87 in pursuit of the Geck, a device he wasn’t sure he even wanted.

Thus, 10 words become 151. And absurd, but that’s the fun.

Some sample sentences to try on your own.

  • Mary’s car would not start. Her sister was not surprised.
  • Tom liked cheese. Eating too cheese much hurt his stomach.

  • The lawn was brown. Tom didn’t know how to fix it.

If you decide to try it for yourself, post the final product, or leave a link in the comments if you’re showing your work.

Cams, rips and release dates

March 18, 2009 Film Industry, Follow Up, Video

Following up on last week’s post about international release dates and subtitles, I’ve been asking around to find more information about studios’ anti-piracy efforts. I didn’t get into any specific numbers — and I wouldn’t know how seriously to take the numbers anyway.

But based on these conversations, I came across a few broad bullet points worth sharing:

  • Studios have gotten more sophisticated about putting tracking marks in individual prints, often localized by country, to help them determine the source of a leak. It’s not just the ugly brown dots anymore.
  • For almost every movie, they can trace back bootlegs to one or two “cams” (in-theater camcorder recordings) and just a handful of subsequent DVD rips. They assign letter grades to these bootlegs based on quality. And quality matters: a cam which rates a “C” won’t be nearly as much a factor as a “B.”

  • For certain countries, studios will delay theatrical release because of a history of cams originating there. They’ll then release the DVD as soon as possible thereafter.

  • The subtitles issue becomes important because a cam or rip in the wrong language isn’t especially appealing.

  • In Italy, where custom greatly favors dubbing over subtitles, you don’t see much piracy until the local language DVD rip leaks.

Obviously, this is only talking about feature films. American television is at least as important to many international viewers, and much harder to lock down.

And for independent film, it’s a whole other clustermuck. You’re dealing with local distributors, so trying to coordinate any worldwide effort is going to be extremely difficult.

Last night, I was talking with another friend about 3D. It hadn’t occurred to me that a 3D film is probably more difficult to cam. Possible, certainly — it’s a fun mental exercise — but not as easy to get something usable.

How to handle a body-switching protagonist

March 18, 2009 QandA, Writing Process

questionmarkIn my script the appearance of the protagonist physically changes at the end of the first act. As I envision it, the same actor would not play the part from that point on. This is not a Face/Off situation where characters change places; the protagonist becomes a separate and new character (we’ll call him Tom) in the latter acts while retaining the previous mental identity (Jim) from the first act. I hope this makes sense with as little as I’m telling you.

The protagonist will then be referred to as Jim by those who knew him in the first act and meet him subsequently, and Tom by all those he meets in the 2nd act and beyond. My current solution is to refer to him as Jim in the first act and Tom in the latter two to match their physical appearance. Is it okay for me to rely on the context of my story to lead the reader through the transition (identity is a theme throughout) or am I risking confusing the reader?

— Jed
Fort Worth, TX

I understand what you’re trying to do, and so will your readers, as long as they’re engaged enough by your story to care. In fact, readers will follow you down almost any rabbit hole provided you can convince them something rewarding awaits.

When you’re pulling a big switch like this in a script, it’s okay to stop the action for a few lines and directly address the reader:

He ejects the DVD from the player and holds it up to see his reflection, an improvised mirror. He touches his face, confused.

Jim Maxwell is now TOM BARNHARD.

Mid-40’s, he has a similar build but a completely different face: rougher, darker. He is physically a different person.

(NOTE: From this point forward, we’ll be referring to this character as Tom. It is designed to be a different actor.)

Tom catches movement in the reflection. Another MAN. Charging right at him.

When dealing with potentially-confusing moments like these, it’s okay to give the reader slightly more concrete information than the viewing public might receive. The reader doesn’t have benefit of seeing that Derek Luke has suddenly become Denzel Washington.

Are writing groups a good idea?

March 17, 2009 Psych 101, QandA, Writing Process

questionmarkI was wondering if you have ever had any experience with writing groups. I know it’s good to network and build more of a community of contacts, but in your experience, can they improve your writing? Do you think they can be advantageous? Or do you just end up getting ever more sets of conflicting notes?

— Jack
Burbank

I’ve never been in an official writing group, but I did rely on an informal circle of writer friends for my first few years after film school, getting feedback, suggestions and a healthy amount of peer pressure. Reading other people’s writing — even bad writing — makes you think more about the words you put on the page, so it can be a worthwhile exercise even if the notes you get back on your script are less than ideal.

I’d recommend finding people who are interested in doing the same general kinds of movies. If most of you want to write comedies, the woman writing the drama about a girl’s troubled relationship with her alcoholic father is going to be a drag on the group. Likewise, if most of the writers in the group have emotion-laden scripts, your hilarious spec about a farting monkey won’t get much love.

Another suggestion: Accept and embrace that the group won’t hold together long. People will flake out, drop out or move on. In fact, it might be a good idea to put an expiration date on the group at the start: “We’ll be meeting every Monday for the next six weeks. That’s it.”

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