To V.O. or Not to V.O.

4093351035_fb167e7411_o“…God help you if you use voice-over in your work, my friends. God help you. That’s flaccid, sloppy writing. Any idiot can write a voice-over narration to explain the thoughts of a character.”Adaptation

Recently, a friend contacted me in regard to a script he was writing. He wanted to know if  he should use voiceover as a tool of information dissemination.

V.O. is an interesting topic. Most writers, when you mention it, rail against it as the character of Robert McKee does in the above quote from Adaptation. They scream the phrase “Lazy writing!” like an angry fishwife.

… and yet, if they had studied with McKee, as opposed to embracing the rant of a fictionalization of the man, they would realize that this quote does not accurately reflect McKee’s opinion of this tool. McKee does not mind voiceover – if it is used well. He also has said that his persona in Adaptation is “a fucking saint” compared to the real man, but I digress. Many screenwriters are not aware of when voiceover usually becomes part of the script. With a few exceptions (the works of Alexander Payne come to mind), V.O. is added in during post.

I happen to like really well-used V.O. I think of it as simply one more object in the screenwriter’s toolkit. When used well, it is glorious. When not, it is an abysmal failure.

Bladerunner. Sadly, one of the most egregious uses of V.O. ever. The constant narrative is condescending to the audience, as it is used to inform us of what we are seeing on the screen, over and over again. It’s disrespectful; it treats the audience as if we are too dumb to “get” what is happening. TG for Ridley Scott’s director’s cut. That, my friends, is a work of art.

The Shawshank Redemption. Flip the coin, and you will experience one of the best uses of V.O. ever, and it’s not just because the voice is Morgan Freeman – although that certainly helps. I still can’t quite put my finger on it, but something about the use of V.O. in this film adds many subtle layers of nostalgia, melancholy… and hope. But, before you run off and start adding V.O. into your period piece, please remember that Shawshank’s V.O. was added in post, after a test screening did not come off as well as the studio execs had hoped. They took a gamble – and their bet paid off.

daves_total_insanity_sauce_hotSo… if you are wanting to use V.O, consider not using it; instead, write the script without it. If, in rewrites, your vision is not clear, then perhaps it is time to go back to your board, and take a long and hard look at your story beats. Put your V.O. to the side… and try, try again to write without it. If, at the end of the day, there is absolutely no other way to tell it, then use it. But treat it like insanity sauce. Use it sparingly. A little goes a long way.

Now, go write.

HRH, Princess Scribe

P.S. – many thanks to the people at Screenwriting Spark for the shout out today!

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Happy Birthday

Happy birthday, Ella Fitzgerald.

You were my muse. I abandoned you.

No more.

Sing it.

 

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If They Told You It Would be Easy, They Lied

“Writing is easy. All you do is stare at a blank piece of paper until drops of blood appear on your forehead.” – Gene Fowler

There’s more than a measure of truth Fowler’s words. There are days when I cannot wait to get to the keyboard, for the words are pouring out of me in such a rapid flow, I fear that I will lose some nugget of truth, some great Aha! moment. Then, there are days when I have to force myself into the office, drag my body into my chair,  fling each hand onto the keyboard and demand that I give complete and total attention to what feels like sheer drudgery.

I prefer the former; often, I am plagued by the latter. I know nothing other to do than to just work through it. Michael Arndt does, too. Here, he shares a little of his work process as he plunges into his newest assignment – STAR WARS VII:

Michael Arndt and the Secret of Screenwriting

Now, go write.

HRH, Princess Scribe

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Boston

I came home from a meetup to see all of the horrible news.

Immediately, my mind went to April 19, 1995. A day that began almost mundane… and within a minute, turned into a horror.

I remember flying into my hometown that afternoon. I remember driving my car on I-35 and seeing the rubble.

I remember tiny Baylee Almon, her body clutched in a firefighter’s arms. That brave man ended up killing himself a few years later. I remember talking to my friend, Randy, and hearing the pain in his voice as he told me that his fiancée and their unborn child were killed in the blast. I remember desperately phoning Richard, to find out if Kenneth was okay. I remember my mother, her face so pained – she was a therapist a few blocks away, and treated many of the first responders. I remember a friend who was a first responder, who told me in a strangled voice about pulling parts of tiny bodies out of the rubble of the nursery. I remember the shock. I remember the odor that permeated the Festival area. I remember the grief…

…but most of all, I remember the love. How people turned out to help those in need. The food brought to the church on 23rd and Walker. How strangers would simply ask “Are you okay?” The love of so many outweighed the hatred of so few.

“Despite everything, I believe people are really good at heart.” ~ Anne Frank

I believe you, Anne. I hope I always will.

Now, go write.

HRH, Princess Scribe

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What’s Your Essay?

UnknownI am taking a wee bit of a break, to take some needed rest and to prep for a busy shoot week.

Last week, through a friend, I was re-introduced to Joan Didion’s breathtaking collection of essays, Slouching Towards Bethlehem. I pulled my tattered copy out of a box, and devoured it, like a starving panhandler after being handed an order of fries from a kind soul.

The art of essay writing is all but lost in the blog-sphere. I suppose one might look at blogs as a series of essays, if they were not so packed with opinions and rhetoric. Yes, I am one of the guilty ones.

So I leave you with the question – what’s your essay? And,  I leave you with the challenge to write an essay this week. Subject matter open. Whatever you wish to write about.

And, dear readers, I leave you with this. A few words from the divine Ms. Didion. Words that we all do well to remember now and then:

“On Self Respect”

from Slouching Towards Bethlehem

by Joan Didion

Once, in a dry season, I wrote in large letters across two pages of a notebook that innocence ends when one is stripped of the delusion that one likes oneself. Although now, some years later, I marvel that a mind on the outs with itself should have nonetheless made painstaking record of its every tremor. I recall with embarrassing clarity the flavor of those particular ashes. It was a mater of misplaced self-respect.

I had not been elected to Phi Beta Kappa. This failure could scarcely have been more predictable or less ambiguous (I simply did not have the grades), but I was unnerved by it; I had somehow thought myself a kind of academic Raskolnikov, curiously exempt from the cause-effect relationships which hampered others. Although even the humorless nineteen-year-old that I was must have recognized that the situation lacked real tragic stature, the day that I did to make Phi Beta kappa nonetheless marked the end of something, and innocence may well be the word for it. I lost the conviction that lights would always turn green for me, the pleasant certainty that those rather passive virtues which had won me approval as a child automatically guaranteed me not only Phi Beta Kappa keys but happiness, honor, and the love of a good man; lost a certain touching faith in the totem power of good manners, clean hair, and proved competence on the Stanford-Binet scale. To such doubtful amulets had my self-respect been pinned, and I faced myself that day with the nonplussed apprehension of someone who has come across a vampire and has no crucifix at hand.

Although to be driven back upon oneself is an uneasy affair at best, rather like trying to cross a border with borrowed credentials, it seems to me now the one condition necessary to the beginnings of real self-respect. Most of our platitudes notwithstanding, self-deception remains the most difficult deception. The tricks that work on others count for nothing in that well-lit back alley where one keeps assignations with oneself; no winning smiles will do here, no prettily drawn lists of good intentions. One shuffles flashily but in vain through ones’ marked cards the kindness done for the wrong reason, the apparent triumph which involved no real effort, the seemingly heroic act into which one had been shamed. The dismal fact is that self-respect has nothing to do with the approval of others – who are, after all, deceived easily enough; has nothing to do with reputation, which, as Rhett Butler told Scarlett O’Hara, is something people with courage can do without.

To do without self-respect, on the other hand, is to be an unwilling audience of one to an interminable documentary that deals one’s failings, both real and imagined, with fresh footage spliced in for every screening. There’s the glass you broke in anger, there’s the hurt on X’s face; watch now, this next scene, the night Y came back from Houston, see how you muff this one. To live without self-respect is to lie awake some night, beyond the reach of warm milk, the Phenobarbital, and the sleeping hand on the coverlet, counting up the sins of commissions and omission, the trusts betrayed, the promises subtly broken, the gifts irrevocably wasted through sloth or cowardice, or carelessness. However long we postpone it, we eventually lie down alone in that notoriously uncomfortable bed, the one we make ourselves. Whether or not we sleep in it depends, of course, on whether or not we respect ourselves.

To protest that some fairly improbably people, some people who could not possibly respect themselves, seem to sleep easily enough is to miss the point entirely, as surely as those people miss it who think that self-respect has necessarily to do with not having safety pins in one’s underwear. There is a common superstition that “self-respect” is a kind of charm against snakes, something that keeps those who have it locked in some un-blighted Eden, out of strange beds, ambivalent conversations, and trouble in general. It does not at all. It has nothing to do with the face of things, but concerns instead a separate peace, a private reconciliation. Although the careless, suicidal Julian English in Appointment in Samara and the careless, incurably dishonest Jordan Baker in The Great Gatsby seem equally improbably candidates for self-respect, Jordan Baker had it, Julian English did not. With that genius for accommodation more often seen in women than men, Jordan took her own measure, made her own peace, avoided threats to that peace: “I hate careless people,” she told Nick Carraway. “It takes two to make an accident.”

Like Jordan Baker, people with self-respect have the courage of their mistakes. They know the price of things. If they choose to commit adultery, they do not then go running, in access of bad conscience, to receive absolution from the wronged parties; nor do they complain unduly of the unfairness, the undeserved embarrassment, of being named co-respondent. In brief, people with self-respect exhibit a certain toughness, a kind of mortal nerve; they display what was once called character, a quality which, although approved in the abstract, sometimes loses ground to other, more instantly negotiable virtues. The measure of its slipping prestige is that one tends to think of it only in connection with homely children and United States senators who have been defeated, preferably in the primary, for reelection. Nonetheless, character – the willingness to accept responsibility for one’s own life – is the source from which self-respect springs.

Self-respect is something that our grandparents, whether or not they had it, knew all about. They had instilled in them, young, a certain discipline, the sense that one lives by doing things one does not particularly want to do, by putting fears and doubts to one side, by weighing immediate comforts against the possibility of larger, even intangible, comforts. It seemed to the nineteenth century admirable, but not remarkable, that Chinese Gordon put on a clean white suit and held Khartoum against the Mahdi; it did not seem unjust that the way to free land in California involved death and difficulty and dirt. In a diary kept during the winter of 1846, an emigrating twelve-year-old named Narcissa Cornwall noted coolly: “Father was busy reading and did not notice that the house was being filled with strange Indians until Mother spoke out about it.” Even lacking any clue as to what Mother said, one can scarcely fail to be impressed by the entire incident: the father reading, the Indians filing in, the mother choosing the words that would not alarm, the child duly recording the event and noting further that those particular Indians were not, “fortunately for us,” hostile. Indians were simply part of the donnee.

In one guise or another, Indians always are. Again, it is a question of recognizing that anything worth having has its price. People who respect themselves are willing to accept the risk that the Indians will be hostile, that the venture will go bankrupt, that the liaison may not turn out to be one in which every day is a holiday because you’re married to me. They are willing to invest something of themselves; they may not play at all, but when they do play, they know the odds.

That kind of self-respect is a discipline, a habit of mind that can never be faked but can be developed, trained, coaxed forth. It was once suggested to me that, as an antidote to crying, I put my head in a paper bag. As it happens, there is a sound physiological reason, something to do with oxygen, for doing exactly that, but the psychological effect alone is incalculable: it is difficult in the extreme to continue fancying oneself Cathy in Wuthering Heights with one’s head in a Food Fair bag. There is a similar case for all the small disciplines, unimportant in themselves; imagine maintaining any kind of swoon, commiserative or carnal, in a cold shower.

But those small disciplines are valuable only insofar as they represent larger ones. To say that Waterloo was won on the playing fields of Eton is not to say that Napoleon might have been saved by a crash program in cricket; to give formal dinners in the rain forest would be pointless did not the candlelight flickering on the liana call forth deeper, stronger disciplines, values instilled long before. It is a kind of ritual, helping us to remember who and what we are. In order to remember it, one must have known it.

To have that sense of one’s intrinsic worth which constitutes self-respect is potentially to have everything: the ability to discriminate, to love and to remain indifferent. To lack it is to be locked within oneself, paradoxically incapable of either love or indifference. If we do not respect ourselves, we are the one hand forced to despise those who have so few resources as to consort with us, so little perception as to remain blind to our fatal weaknesses. On the other, we are peculiarly in thrall to everyone we see, curiously determined to live out – since our self-image is untenable – their false notion of us. We flatter ourselves by thinking this compulsion to please others an attractive trait: a gist for imaginative empathy, evidence of our willingness to give. Of course I will play Francesca to your Paolo, Helen Keller to anyone’s Annie Sullivan; no expectation is too misplaced, no role too ludicrous. At the mercy of those we cannot but hold in contempt, we play roles doomed to failure before they are begun, each defeat generating fresh despair at the urgency of divining and meting the next demand made upon us.

It is the phenomenon sometimes called “alienation from self.” In its advanced stages, we no longer answer the telephone, because someone might want something; that we could say no without drowning in self-reproach is an idea alien to this game. Every encounter demands too much, tears the nerves, drains the will, and the specter of something as small as an unanswered letter arouses such disproportionate guilt that answering it becomes out of the question. To assign unanswered letters their proper weight, to free us from the expectations of others, to give us back to ourselves – there lies the great, the singular power of self-respect. Without it, one eventually discovers the final turn of the screw: one runs away to find oneself, and finds no one at home.

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Now, go write.

HRH, Princess Scribe

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The Trouble With Creating Content

youtube-logo_jpegLast week, Adelaide Screenwriter posted an article about one of his favorite filmmakers. Like me, her name is Anne. Like me, she is a web series creator. And like me, she struggles to deliver her stories to a larger audience. Frustrated, she posted a blog asking people what she needed to do to go viral.

The notion of virality is a growing problem in the web-community. To me, it is an insidious thing, for an artist’s work is increasingly not judged by its own merit, but by the number of YouTube views it has. This measure of worth goes against the heart and soul of the independent filmmaker, who yearns to tell great stories. Would I like to go viral? Of course I would, but if that was my only goal, I’d simply be making videos of babies farting powder, or Dog-Cam videos of Old Yeller playing in a park.

SBDNICK HM001Last year, I spoke at a session on New Media. I wanted to talk about online distribution being the new frontier in filmmaking, and how those of us who were using this model were not unlike a particular group of immigrants who discovered a new technology that allowed pictures to move. They invested in little machines known as Nickelodeons, which eventually became the mega-cineplexes of today.

I heard my introduction. I was referred to as a “content creator.”

Not wanting to be rude, I kept my mouth shut and did my cheerleader best to extol the virtues of the online model. Inside, however, I was seething.

The trouble with referring to filmmakers as content creators is that the phrase devalues the work. A giggling toddler is content. A film about a fallen angel in love with a prostitute is a story. A vampire mob boss – story.

I’m not knocking content. I see it every day. I laugh at the hilarity one can find on the web. I get an alert every time Go-Pro posts a new video, and marvel at the wing-suited men and women soaring through the sky. I see a lot of gorgeous stuff.

What I don’t always see are good stories.

And that’s the difference between a content creator and a storyteller. Story. Character. Highs and lows. Joy, anguish, solitude, reflection… character arcs. Bad Guys Closing In. The whiff of death. The triumph and the failure. The transformation of the hero, and the hero’s journey. That’s storytelling.

553133_553980684613469_1887657467SHAMAN_nSo please, do not sell yourself short. You are not a content creator. You are a storyteller. You are a shaman; your tribe has gathered around you, entranced, as you weave your tales in front of the fire-pit. The world around you is cloaked in darkness. You are a weaver of dreams. To be a storyteller is to wear a badge of honor. Wear yours proud.

Now, go write.

HRH, Princess Scribe

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Nothing is Wasted

Late night.

Found this:

“No, I’m glad you asked. Really. Everyone always dances around it. ‘How are you feeling?’ they ask. It’s getting real. Saying it. It’s… different. Life is getting less tactile. Senses are changing. Everything is closing off; shutting in.
I’m blind in my left eye. I can still see in my right, but that’s going. Everything’s got this strange tunnel vision. Not blurry – condensed. I see less and less of the world each day. Soon, it will be black. Sometimes, people sound different to me. Far away. Tinny. You know when you were a kid and you’d make phones out of string and soup cans? They sound like that.”

I wrote this 13 years ago. 13.

Time to revisit those naive days. Nothing is wasted.

Now, go write.

HRH, Princess Scribe

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