Tag: Writing (page 35 of 47)

Awards Weekend: The Razzies

Courtesy DreamWorks

The Razzies are the antithesis of the Oscars, in that they honor the very worst in film-making while Oscar honors the best. Or at least the most lucrative. Anyway, Sandra Bullock classed up the joint by showing up to accept her award. She might do the same on Sunday at the Oscars, for an entirely different movie, but I like any celebrity who’s capable of laughing at themselves. So kudos, Sandra. You’re still aces in my book.

Unsurprisingly, Transformers: Revenge of the Fallen was awarded “Worst Picture of 2009” despite its monumental box office returns, coming in just behind the blue-furry-powered Avatar. As kind as I was to the film in my review, a lot of that came from touches of nostalgia that help me return to the head space of a more innocent boy who hasn’t been exposed to things like collections agencies, unemployment and Uwe Boll. I acknowledge that it isn’t that great a movie, and some parts of it hedge on the terrible, but I still cannot completely chalk it up to bad writing.

In the article from Yahoo, something caught my eye that I felt bore mentioning:

“Transformers: Revenge of the Fallen” was picked as last year’s worst picture and won two other Razzies, worst director for Michael Bay and worst screenplay for Ehren Kruger, Roberto Orci and Alex Kurtzman.

Okay. Bob & Alex, I know. Well, I don’t know them personally, but apparently Bob’s been to this blog before. These guys worked with J.J. Abrams to bring us both Fringe and the new Star Trek film. Yet they were also involved in Revenge of the Fallen.

“How is this possible?” I often asked. “How are two guys who are distinguishing themselves as smart writers involved with something that, if I’m being honest, is a little dumb?” I think I have my answer.

Who is Ehren Kruger, and why did he ruin Transformers?

A little investigation may have yielded my answer. Apparently Mr. Kruger, before becoming involved with Transformers, adapted the Japanese horror Ringu for American audiences – that is to say, he dumbed it down. So he’s got a track record for making things worse than they had to be. But where did he start? What original works as he produced? Drilling down a little further I found my answer: Reindeer Games.

Courtesy Dimension Films

Suddenly, it all made sense. Now, I’ve only seen Reindeer Games once, during my university years, and I think I might have been hung over at the time. I don’t remember if I was more nauseous due to the previous night’s shenanigans or the awful, awful nature of this film. It’s one of those films that sits there and does absolutely nothing new. I wouldn’t watch it again unless someone asked me to. And gave me proper incentive.

Yeah, pretty shameless plug, I know. Click on those ads on the right while you’re at it, ad-clickers.

Anyway.

So the guy who shat out Reindeer Games and watered down Ringu for the fans of Jason & Freddy got involved with Orci & Kurtzman? That’s like having Gordon Ramsay and Morimoto-sama working together on a dish and inviting a hobo to come in and contribute whatever they want. Whatever delicious experimentation the two experts have undertaken is going to be completely overpowered by the rotgut, old anchovies and that shoe the hobo was chewing on before he got picked up. No wonder Revenge of the Fallen was such a mess. It all makes sense now!

Don’t read this as a diatribe against collaboration. Working with other people on a project often yields better results than going it alone. Peter Jackson could have worked alone to adapt The Lord of the Rings, but working with Phillipa Boyens and Fran Walsh made the films into masterpieces. Chuck Wendig wouldn’t have been able to blast his latest script draft in the face without the suggestions & input from people at Sundance. Well, maybe he could have, this is the Magic Talking Beardface we’re talking about.

All I’m saying is it takes one bad cook to spoil the meal. George Lucas insisted on so many things in the Star Wars prequels and had so much momentum behind him that nobody dared to question his decisions. I wonder if Kruger had Michael Bay firmly in his corner and pushed him to make changes to the screenplay after Bob & Alex were done with it. Other explanations make less sense. Bob & Alex, on their own, do good work. I just have to imagine that Kruger & Bay destroyed most if not all of the good they did for Revenge of the Fallen. Or maybe everybody was drunk. I think a couple of the cameramen certainly were.

Anyway, that’s what sprang to mind when I saw that third name on the list for the Razzie those guys won. This is just my opinion, I have no evidence to support it, rant rage etc. Nothing to see here, move along.

I’ll probably talk about the Oscars tomorrow. Not sure if I want to watch them, but I’ll be sure to talk about them. I have better things to do with my time. Like watch my lovely wife play the lovely Assassin’s Creed II. It certainly looks better than the first, which is a game I never finished.

More on that soon, too.

Works Life in Progress

I’m taking a cue from Ye Olde Magick Speaking Beardface and just putting down some words about life in general at this point. I only have one real creative work in progress at the moment, which is more than enough considering everything that’s going on.

“Who’re you calling a program, program?”*

Code

Right, first things first. The day job is keeping the roof over our heads (until we move to a new one in a couple months) and food in the pantry. I’m moving positions, shifting away from phone-answering bug-squishing troubleshooting to code-chomping cart-rolling Flash-AAHHHH-“savior of the universe”ing programming. It’s not a promotion, mind you, more of a lateral, semi-upwards shift in responsibilities and protocol. Still, it’s in improvement. I have a few things to square away in my current workload before the move is official, but it’s forward motion. By focusing on PHP, SQL and my already pretty extensive Flash skills, and leaving the ever-shifting environments of up-front client relations behind, I think I’ll not only become far more valuable to the company, but also start enjoying work a bit more overall.

The Project Marches On

Bard

I’m trying to crack open the manuscript for the Project and drop a few words in every day. Sometimes it’s more than a thousand, or even two or three. Others I’m lucky to get a couple dozen in there. But any motion is forward motion, and I’m trying to keep my spirits up. I know where I’m going with this plot, and I’m aware that some places might be a bit slower than others. If my setting had ninjas, I’d have them attack any time I was in doubt about what to have happen next. Ninjas are always cool.

“Did we just threaten someone with zombie rape?”

Art by Stanley Lau

Tonight’s another session of the awesome Iron Kingdoms game being run by my wife. Our team (myself, David Hill and his lovely wife Filamena) have sort of become a steampunk version of Burn Notice. Dave’s noble never kills unless he has to, Mena’s gun mage is on the lookout for the next opportunity, and my rifleman sees violence as a direct solution to most enemy encounters. …Which pretty much makes me the Fiona.

Property of BioWare

Courtesy BioWare

I’m playing through Mass Effect again. Call me boring or easy to please if you like, but I have achievements to get, a whole other gender to experience (since Shepard can be either male or female) and situations to set up for future games. Once I get where I want in the first game, I’ll be playing the second again. And I also have things I want to do with Dragon Age, as well. Again, this probably points to me being dull, but in retrospect I feel this is a better way to spend my time than playing Star Trek Online for the time being. That and BioWare isn’t charging me $15 a month just to play their games.

And then there’s this stuff.

Taxes

Taxes, bills, finding a new apartment that doesn’t suck, getting cats to a vet sometime in the near future… being a grown up sure is fun, isn’t it?

*If you know this reference you officially rock my socks.

Going To My Corner

Writer's Corner

When I get really serious about writing, when it’s “crunch time” for an assignment or I feel I really need to bang out some words on The Project, I head over to my corner. Like a carpenter’s workbench or a mechanic’s tool chest, my corner is a place I’ve set aside to work on writing and nothing else.

The PC runs Word, Notepad++ and little else, as the hardware is a bit on the older side and I don’t want to tax it. I even have a separate CD player for music. My work is saved on a USB drive so I don’t have to worry about any sort of hard drive mis-reads or other catastrophic failures. But one of the best things about the corner is its isolation.

I’m not just talking about its distance from the couch, the television and the gaming consoles, though that is a factor. The PC in the corner is not hooked up to the Internet. As much as it might be necessary to research something on occasion, when I want to put myself in the writing zone, it’s best to minimize my distractions.

Heck, it’s taken me a while to put this little blog post together, and I’ve been planning on hitting 10k on the Project since last Sunday…

Describing Description

Landscape - Odessa Crater, Courtesy David Byrne

I know a few people who don’t agree with Confused Matthew‘s opinions on movies, even if he has good points to make. But one thing that took me aback was how much I appreciated him pointing out that 2001: A Space Odyssey didn’t really do much in a narrative sense. Oh, it was masterfully shot and the attention to detail is peerless. This is Kubrick we’re talking about, after all. But the first ten minutes of the film have been described by Matthew as the following:

“…Landscape.”

He shows a shot from the film and says that no less than a dozen times. Kubrick is describing the Dawn of Man, but he goes to laborious lengths doing so. It’s a good way to illustrate how not to over-illustrate, especially when it comes to words. But can you get away with telling a story that has no description whatsoever?

Let’s find out.

Don’t Describe

Tolkien

J.R.R. Tolkien is a legendary author for a good reason. He practically defined the high fantasy genre as we know it. And he did so with rather large novels. Most of his books are spent describing the people, places and events of Middle-Earth, and a lot of that description is drier than a Jacob’s Creme cracker in the middle of Death Valley. He got away with it because he was pretty much the first in his field.

Your story needs to move. Your characters need to speak, act, shoot bullets from their guns and knock boots. Events need to change history, shape nations and alter landscapes. How are these things going to happen if you stop to describe something? That’s right, they won’t.

It’s like one of those big, nasty sharks that prowl the deep waters. If the story stops moving, it’ll suffocate. It won’t happen quickly, either. It’ll creep up on you. Stop to describe someone or something, even for a moment, and the next thing you know the story’s belly-up. Dead in the water.

Don’t Not Describe

Orson Scott Card

Let’s talk about another relatively well-known author: Orson Scott Card. He doesn’t describe shit. His writing moves right along from one point to the next without stopping to even flesh out his characters in words other than the occasional mention of an ethnicity.

Can you get away with this? Maybe, if you’re dealing with a mainstream or even slightly known genre. If you’re trying to pioneer a concept, get something new off of the ground, chances are you’re going to be inventing something. And your readers won’t know what this invention is unless you describe it.

If you must describe something, be sparing in your description. Get the basics down and move on. Like everything else you write, the less you linger on something the better. You don’t want conversations or chase scenes or lovemaking to bang on and on for page after page. The same goes for your descriptions. Remember that whole “story belly-up in the water” image I conjured a couple paragraphs ago? Keep that in mind.

Description or Lack Thereof is Irrelevant

Remember that a good story is about something. You probably have a theme or purpose in mind for it. If you don’t, you probably should. Once you do there needs to be one cardinal question asked, not just about descriptions but also about dialog, action, even jokes. How does it serve the story as a whole?

Sure, your house made out of bread might be awesome. But what does it matter in the grand scheme of your tale? Why should the reader care? If they shouldn’t, leave it out. But if you want to try something new, and a reader may not have a frame of reference, use a sparing description. Illustrate the basics with a few choice words and then get the hell on with the good stuff.

The more focused you are on the important things in your narrative, the more focused your reader will be. And everybody will be happier as a result.

Ten Rules For Writing Fiction: My Turn

Bard

Well, everybody’s doing it, it seems. No, not that, that’s dirty. I’m talking about this whole “Ten Rules For Writing Fiction” thing. This article got writers thinking about it, and some others – most notably the Magic Talking Beardhead – have taken it upon themselves to write up their own. Which leaves me feeling compelled to put up my own.

Bandwagon
See this bandwagon? I’m jumping on.

Well, why the hell not? I pretend to know what I’m doing half of the time, might as well go all the way. There’s no point in putting your hand up a girl’s shirt if you’re not going to try & unfasten her bra too. Wait, what was I talking about? Oh yeah, writing rules. Like all rules, they’re made to be broken, or even ignored. But, by and large, especially when it comes to The Project, here’s the few semi-strict guidelines I find myself following.

  1. The only way to write is to start, and once you start you need to finish.
  2. If something feels boring or dry for you to write, it’ll be boring or dry to read.
  3. Don’t be afraid to hurt your characters. It creates drama and helps them grow. They’ll thank you when they’re done cursing you out.
  4. Kill your characters only when absolutely necessary. Much more conflict is generated by mercy than by murder.
  5. Keep descriptions to a minimum. Painting with words is fine in poetry, not so much in prose. Set the scene and move on.
  6. Time is precious for both you and your reader. Don’t waste it.
  7. Your theme might grow from your characters or your characters from the theme, but either way, your story needs to be about something other than itself.
  8. A little subtlety goes a long way. Let conversations and narratives build towards greater things later in the tale.
  9. Have resources on which to fall back if you get stuck. Story & Character Bibles, friends, beloved novels, a bottle of whiskey, whatever.
  10. Don’t stop writing ’til the writing’s done. Or you pass out. Even then, when you come to, start writing again.

There you have it. Now you can have at it, if you so desire. That’s what the comments section is for, after all. Well, that, and helping me pretend people are interested in what I write.

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