This video reminds me of why rewrites are so important to me - to add the oomph to the bones and body of the script. Thanks Glenn!

@writingforscreens

Жыл бұрын

That is a great way to put it - and to look at it!

@Donna07

Жыл бұрын

@@writingforscreens thanks you:)

I just had a revelation! It comes at 2:45. It's a new way (for me, at least) to approach order and structure. Long ago (before the earth's crust cooled), I assumed that order was simply the assumed chronological order of when scenes happened on the linear story timeline. I figured every scene was a domino standing on end, and you just butt them up against each other and knock the first one (inciting incident) into the next one, and the story would magically fall into place. But even if you get all the transitional elements of that ironed out, it took me a bit to realize that was not the most effective way to tell a story. You speak in another video about the strategy of when to withhold and reveal information, which explains this very clearly. And choreographing that isn't just a simple thing to do, by any means. But this approach, thinking about it in regards to revelation, seems to make that make more conscious sense to me, so I will accept this as yet another tool for the toolbox (thank you.) I see another layer of revelation beyond this which is not really tied to revelation near the end, which I guess is what you are referring to as a revelation being sometimes focusing the story on a time, place, group, or experience (such as the art scene in 1937). If we take a courtship love story as an example, I think part of the path is scores of continual little revelations about the lovers to each other, over the course of the courtship, bc a strong part of that genre is them getting to know each other better over time. Part of the fun of that for the reader is that they get to vicariously get to know the characters better over time, as well, in concert with the characters.

@writingforscreens

Жыл бұрын

So glad this has provoked so much new thinking!

You are a great teacher and mentor. I have always been creative, but I applied in engineering. I have several patents. I never thought of becoming a writer except in fantasy. But it seems in my life all roads lead to me becoming a story teller. You are my Obi 1 Keno-be in this hero’s journey.

@writingforscreens

3 ай бұрын

Wow, thank you! I am really grateful you took the time to reach out, this means a lot. I am very glad to hear you're exploring your creativity this way - don't stop! Have fun, small steps, put down your visor and let yourself feel it! That's wonderful.

Maybe you need a revelation about yourself first. Getting down to your DNA leads you to the DNA of the story. The writer's truth transformed into the protagonist's. Your videos always inspire deep thoughts. Thanks, Glen "Socrates" Gers.

@writingforscreens

Жыл бұрын

That is VERY true, I think. (The insight about knowing ourselves to write about others.) Though I worry about my fate, if I'm Socrates...

Lovely video as usual. In my opinion the best explanation of revelation remains Aristotle's Poetics. He names "reversal" and "recognition" scenes as the most important moments of a story and that the most powerful uses come when the writer can somehow combine both aspects together in an organic way.

@writingforscreens

Жыл бұрын

Aristotle got a lot things right, indeed!

Excellent.

@writingforscreens

Жыл бұрын

Thanks!

"Forget it, Jake. It's Chinatown."😥

@writingforscreens

Жыл бұрын

Yes! Because really, what the hell (other than the racism) is that saying? So many ways to interpret it, but you know for sure you needed to hear it :) Plus, we know for sure that entire ending was not what Towne intended or wrote...so I wonder if he even wrote that line? And does it matter if someone else did? Or if he did it under duress?

I'm going to watch this video 10 times!

@writingforscreens

Жыл бұрын

Sounds like a plan. As long as you WRITE in between viewings :)

@user-wz9lx6tz9r

Жыл бұрын

​@@writingforscreensDefinitely 😊

Lots to think about here…I have struggled with the question of how much I endorse the message of my story, or perhaps more accurately whether the message the audience gets will be what I intended.

@writingforscreens

Жыл бұрын

Thinking about it is the best way to figure out YOUR version. Remember, you don't HAVE to have a "message" and your message doesn't HAVE to be stated explicitly, or even unambiguous. Those are nice Hollywood conventions but NOT required. Some would say the best art doesn't state a message explicitly. For me, often, it does help to think about what I want to say. It helps me organize and choose. BUT often I want to say more than one thing, and that's okay too. Just asking the question is a good step!

Another great video to rewatch and ponder! Perhaps revelation is **the** most important thing for the audience to feel their time was well spent, since without it, character progression doesn't have a resolution? How about A NEW HOPE; is the revelation stated when Obi-Wan's voice says, 'Let go', and embodied when Luke composes himself to take the shot? Or would you say it's something else? Or how about Waymond's, 'This is how I fight' in EEAAO, or Evelyn's, 'Then I will cherish these few specks of time'? Often the most pivotal revelation is stated to the protagonist by an ally for maximum impact, or is this a separate step from the protagonist's revelation? Or the first step in triggering the protagonist's revelation? Is there a good way to pinpoint the revelation, or it's just down to interpretation and studying the characters? And how about this quote attributed to Tarkovsky (I don't know the larger context of what he was saying when he said this) "Never try and convey your idea to the audience - it is a thankless and senseless task. Show them life, and they'll find within themselves the means to assess and appreciate it." I take this to mean; don't worry so much about hammering home your point at the expense of telling a good story. Just make it dramatic and authentic and they will figure it out. I'm not advocating the writer write without a message for the audience, though. I kind of see this as 'don't underestimate the audience' or 'show don't tell'. Any thoughts on this quote?

@writingforscreens

Жыл бұрын

Thanks! Regarding those examples: it's a matter of opinion and interpretation, of course. I think the revelation of the Force is ongoing, starting when Obi-Wan explains it to Luke early on - and then there are steps of Luke grasping it, each helps us the audience understand it in dramatic ways. Culminating when he puts the visor down and acts on instinct. There is no standard or rule. Sometimes it's a line, but sometimes it's a series of scenes. As for Tarovsky: that's his method, his way. He's right to do things his way, and advise accordingly. It's one way. I would definitely say to know his way, and all the other ways, and then figure out YOUR way. Frank Capra liked to have a speech where someone says it. Tarkovsky doesn't. Useful to know both.

Can clearly see it. Dont really need the old book any longer.

@writingforscreens

Жыл бұрын

Great. Everything you learn: you use, and you discard...and you make your own. Ideally. Don't throw anything away altogether, and don't hold on to anything too tightly. Just make it work the way you like, in your own way.

Jaws: "You're Gonna Need a Bigger Boat." The Good Place: "This is the bad place." Star Wars: "Jar-Jar... ... (well you get the concept.) Revelations are the hidden gemstone and the cherry on top. And then there is the more intellectual revelation. Often more obfuscated.

@writingforscreens

Жыл бұрын

All the different ways are good...in their way :)