|

Jolie, Salt, & trading suspsense for surprise

Last week I went and saw Salt. Wow. The movie started with a bang and was off to the races with lots of great action. Unlike many action films where the characters perform stunts which are simply too hokey for me to buy into, I found myself believing in all but two of Salt’s. So I was wowed most of the time instead of thinking about whether they were using wires or what or that it was all so wrong and geeze don’t these guys have consultants? They weren’t as stunning as the opening of Casino Royale, but what is? 

But it wasn’t just action. The premise and acting were all great as well (yes, I recant, I slammed Jolie a while back as an actress cast only for her face value; and while you know that’s one of the reasons why she was here, she still was convincing in her role). Furthermore, the story had a lot of great reversals and reveals. But this was also its ultimate downfall.

When I got to the ending, I did not feel a climax release. No catharsis. No afterglow. It just ended and left me feeling empty. It’s an awful feeling. Totally unsatisfactory. Such a maddening cut off. 

But why? It was all so good up to that point.

*** SPOILERS ***

As I was talking it over with Nellie I believe I indentified the answer: in their effort to be surprising, the director and writers removed everything that would have built suspense. So instead of getting a Sixth Sense ending where the surprise adds to the climax and gives it a wonderful texture, we got a slap of surpise and then nothing.

For me to feel relief, triumph, and the desire to stand up and cheer–all those great climax emotions–I have to be worried about a character. Stressed, thinking they’re going to fail. They need to fight courageously against insurmountable odds and actually come to a point where it appears all is lost. Where I groan inside. All this creates massive pent up worry and anxiety for them. And at that point, the character snatches victory from the jaws of defeat.

Boom! The climax floods me and it’s delight, relief, cheer, joy.

It’s just like a football game where we bite our nails until the very end. Where our non-ranked team is playing the #3 team in the nation. Maybe we jump ahead in the second quarter, but in the third we fall behind. We make some great plays but can’t catch up. And when we do put points on the board, the other team immediately responds. There are three seconds left. We’ve stalled at the twenty yard line. We have one more play. From the moment it starts it appears to be broken, our QB is going down, and then . . . he passes to a running back who has made some space. Who is standing open in the end zone! Yeeeeeaaaaaaahhhhhh!

In order to feel a release a climax, something has to build up. The thing that builds is worry, fret, desperate hope. This is what we mean when we talk about suspense. We know the team’s goal, see their predicament, see the overwhelming odds. See them about to lose it all. The dread of defeat and what will be lost rises.

But in Salt the director and writers went for the effect of surprise instead of suspense and triumph. The moment Salt starts in on the Russian president I thought she was the bad guy. Yes, there was the bit about the spider that had me wondering. Yes, I knew she felt anguish about her husband being killed (that smart little reveal in her expression). I knew all of that. But the movie kept me busy thinking she was the bad guy up until almost the very end. Everything in the film lead me to believe this. Not because I didn’t get it. I got it precisely. It’s exactly what the director wanted. It was the setup for the big surprise/reversal at the end.

But when they went for surprise by not letting the audience know what Salt was really up to, the immediately removed the possibility of suspense. So I didn’t feel any suspense at her infiltrating the old group of spies. No relief at her killing them–that was just her revenge. No suspsense when she went to the White House. Nothing when she chased the president down the elevator shaft. The whole time I was thinking, crap, they really did indoctrinate her. She’s bad.

More importantly, there was no rooting, no worry building to release proportions.

Not until the very end do we realize what she’s been trying to do. Oh, the role reversal with her and Ted Winter (btw, like Liev Schreiber who plays the part) was all a big surprise, as it was designed to be. But the surprise faded and there was . . . nothing to replace it. That’s how surprise works. It’s a relatively short effect. 

Yes, she kills Winter. Yes, he was a threat at the end with his scissors, but I didn’t care that much. I hadn’t been whipped into a fever pitch. Not like I was in Gladiator with the emperor and the lead in the coliseum. There was no pressurized worry ready to burst. There wasn’t any because we hadn’t had any time for it to build and because by that time nothing for Salt was really at stake. The one meaningful thing she stood to loose–her relationship with her husband–was taken away from us in an earlier scene when he was shot dead. So what was at stake? A big old nuclear war. Well, who cares about that? Nobody. It’s too generalized. We cared about Salt and her husband.

The result was that the director and writers traded climax for surprise. Alas.

So here’s my conclusion. Surprise is a relatively easy effect to create. You simply have something unexpected but logical occur. Relief, triumph, climax needs something much different. And surprise can be a part of it. But in our effort to build surprise we must not remove the conditions necessary for please-dear-mother suspense. Suspense requires we root for and worry about a character for a significant period, our unease growing until it’s drawn taut, straining. All the time something significant has to be at stake. Something we can sympathize with. Something personal to the person we care about. Only then can we feel the climactic release. Only then will we stand up and cheer in holy-crap-no-way relief and delight.

Share

Similar Posts

  • |

    No Apology

    The Book

    Political TV ads can be fun. And annoying.

    Debates can be fun. And maddening.

    You can indeed learn things about the candidates from watching the ads and debates. But fifteen and thirty second snippets of information really don’t give you the full picture. And sometimes they actually hide the facts, producing nothing more than informational smog.

    Recently, I decided I wanted to really know what Mitt Romney thought.  What he was about.  What he hopes to accomplish if he wins the presidency. If Mitt was someone in my neighborhood, I’d go visit the man, and we’d have a chat.

    I’d ask him about his ideas and past. I’d ask him to give me examples. Because of the nature of the issues at stake and the number of them, I imagine our chat would probably last a few hours.  It might stretch over a number of evenings.

    Of course, I’d want time to consider our chat and determine where I did and didn’t agree with him. I’d want to hear what others thought. And I’d want to look into his history, his successes and failures.

    But the first step would be to go to the man himself and hear him out.

    I hate it when people put words in my mouth. I’m sure Romney, or anyone else running, hates that same thing. If I were running, I’d would hope folks would take the time to hear me out. They may ultimately disagree with me on many or a few things. But I’d hope, as they are gathering information, that they would take the time to actually go to the source and listen to what I myself had to say.

    Unfortunately, I can’t walk around the corner and knock on Mitt’s door. But he did write a book that was published in 2010, and it’s probably the next best thing to talking to Romney at his kitchen table. The book is called No Apology: The Case for American Greatness.

    I’ll admit I thought it was going to be a dry guide book explaining his position on every hot political issue. It’s not a guide book.  In fact, he leaves a number of topics out. Nor was it dry.

    I also suspected it might be a scathing attack piece on the Obama administration. It’s not that either.  Not even close. He does criticize some things where he and Obama differ, but he also commends him on a few things. Either way, Obama is a very small part of the book.

    So what IS this book?

    Romney states its purpose in the introduction: it’s “about what I believe should be our primary national objective: to keep America strong and to preserve its place as the world’s leading nation” and “the course I believe we must take to strengthen the nation in order to remain prosperous, secure, and free” (2). It’s about his ideas on how to make sure America does not falter as so many nations have, but remains wealthy, happy, and productive.

    I finished the book yesterday. I found it interesting, personable, sometimes surprising, and insightful.

    I found Mitt Romney to be a man self-deprecating humor.  He’s also a thinking man, one who likes to look at data to see what it shows. It’s clear he’s a man who does NOT think he knows everything or has a monopoly on every good idea, but he’s also a man who demands evidence.  I also saw a man who is kind.  He doesn’t talk much about his 14 years of service as a lay minister in his church in this book, but you can see how those years changed him as he discusses helping the unemployed, out-of-wedlock births, and single-parent families.  Finally, I saw a man who loves, LOVES, America and is convinced she can remain the hope of the earth, but only if we do things that foster our strength.

    This book outlines what he thinks those things are.

    The book is written in a conversational and easy style with many examples from his personal experience, studies, and history. Romney’s record of accomplishments demonstrates his skills and hard work ethic. This book explains to what end he would apply that skill and work.

    If you’re planning on voting this November for the president of the United States, I think you’ll find this book very useful.  You may end up agreeing with many things he says. You may end up disagreeing with him on many points. But before you can do either, you need to understand what Romney’s position actually is.  And the first step in doing so is to fully hear the man out, in his own words, from his own lips.

    As a result, whether you end up deciding he’s your candidate or not, you WILL come away with important insights into the issues discussed.

    What’s Next

    I want you to know that I do not worship George, Ben, Tom, Adam or any of the other guys who formed our constitution and started this nation.

    They put their lives and fortunes on the line for what they believed in. And I am immensely grateful for what they did.  I enjoy tremendous freedoms because of their courage, determination, and sacrifice. Those guys, by-and-large, rock!

    But I do NOT believe that their words are scripture nor that their ideas are sacrosanct—merely to be accepted and not to be considered and questioned and disagreed with.

    Even so, these guys were gutsy and brilliant. They attempted something everyone thought would fail.  Something that HAD failed every time it had been attempted in their recorded history. But they pulled it off and changed the world.

    These guys believed in the common man. They believed that the educated common man was the best person to hold the reins of government. Thomas Jefferson thought up a rhyme to make the idea easy to remember.  He said, “If a nation expects to be ignorant and free in a state of civilization, it expects what never was and never will be.”

    I can’t argue with that.

    Of course, we’re not going to become experts on every policy issue. But we certainly can become informed on the broad principles and issues. And we can certainly become informed about the candidates.

    Because I found No Apology so useful, over the next few days I’m going to summarize Romney’s main points, chapter by chapter, here. I’ll also point out interesting ideas and facts he shares as well as share any questions, quibbles, or disagreements I have.

    I hope you find it useful. More importantly, I hope you read the book and join in the conversation.

    Share
  • The First Thing You Must Learn to Write Killer Stories

    This is the first “mystery.” It is the grand unifying theory that unlocks everything that follows.

    The key to this mystery can be discovered in the answer to this question: which of the two pictures below most accurately defines lipstick?

    Picture A

    Lipstick in tube

    Picture B

    Lipstick on glamour gal

    Learn more in the writer’s section (okay, so the page is there, but where in the fricken ricken frack can you find it? I’m still learning this dang WordPress thing, so just go here)

    Share
  • What you need as a storyteller

    Brand-StorytellerOne of the most important things I ever learned about telling stories was in Orson Card’s weeklong boot camp where we “workshopped” stories by doing zero workshopping. Zero critiques. In fact, critiques were verboten.

    Instead, Card asked us to simply provide a report of what he called the three grunts a reader makes when things aren’t working–where it was boring, unclear, or didn’t ring true.

    We were to provide a report of our reader reaction, including parts that really entertained or interested us. NOTHING more.

    He compared it to going to the doctor. We were to report our “symptoms.” The writer’s job was to diagnose if it was an issue and prescribe a remedy, if any.

    Doing that with 19 stories over three days was amazing. It totally opened up what story was about. And taught me what beta reading was all about. One of the most insightful writing experiences I’ve ever had.

    Nowadays when I read, I try my best to simply report. And that’s it. If, afterwards, the writer wants to brainstorm ideas together, that’s fine. But I don’t ever want to diagnose and prescribe because there have been too many books that didn’t work for me that delighted tons of readers. My critique or advice would have been exactly the wrong thing.

    All I can do is report my reaction. And then think about what would have fixed it for me.

    Kristine Rusch recently wrote a great article about this and other things called “Writing by Committee” in which she suggests a list of things authors need to be successful. Give it a read. I think she makes a lot of good points.

    And a few I disagree with. She is quite forceful about writers not acting as first readers. I think that’s bunk. And she says as much in the comments. If a writer can give a reader response instead of a critique, that’s as helpful as a non-writer giving a reader response. I also disagree that you have to toss something and start over if it doesn’t work. If it’s fundamentally broken, sure. But many times a small adjustment gets you back on track.  Finally, yes, a story has to be surprising. At the same time, you had better deliver the type of experience you promise your reader. And that’s all defined by genre. You can’t promise your readers a thriller and deliver a romance. That only leads to irritated readers. I believe you have to consider your audience. But these are all quibbles. The article is great.

    BTW, please note I used “storyteller” in the title. I did that on purpose. More and more, I find I’m not interested in writing. “Writing” doesn’t seem to convey what I’m after. However, I am interested in telling cracking stories.

    Share
  • Binge read

    “When you are really and seriously stuck and you hate everything you’ve written, BINGE READ.”

    That’s from super author Maya Lassiter. If you recall, she did a great guest post here on her creative process. I love this technique for getting unstuck. When you binge read (or watch), not only do you see other options that you might take and adapt for your purposes, but those other options also spark whole new ideas.

    I just used this with the battle I’m writing for Curse. I wasn’t to the hate stage; I actually liked what I had. But I didn’t quite know how to get it to where I wanted it to be. So I decided to read some books by one of the masters of historical battle.

    I binge read and listened.

    And enjoyed the heck out of both the reading and the ideas I gleaned for my sequence.

    Binge read.

    It’s an awesome creative technique.

    Share
  • Awakening by Christy Dorrity

    Art is a huge part of what draws me to science fiction and fantasy. I still have the Hildebrant LOTR calendars I got back in the early eighties.

    On the web you can browse awesome work on DeviantArt.com and CGHub.com. But something that’s been around for much longer is Spectrum: The Best in Contemporary Fantastic Art. It’s an art annual released each year that highlights the best art produced that year in Fantasy, Science Fiction, Horror, and the Surreal.

    This year will mark the 21st year of publication.  Spectrum has become the broadest distributed art annual in the world. Having art included in Spectrum is top honors for artists around the globe.

    So why am I telling you this?

    Well, Devon Dorrity, the guy who helped me pull together my covers,  not only had his sculpture “Queen of the Seas” included in a past annual, but he’s just won a spot in this year’s annual with the cover he created for his wife’s book, Awakening. It’s a big honor.

    Here’s the description of how he put it together.

    For the book cover for Awakening by Christy Dorrity, Devon Dorrity selected the cover model, Shelbilee Lee, from hundreds of local models.  Jason Morrison, a photographer friend, was hired to do the photoshoot.  Devon purchased the wig, fingernails, and props from Amazon. Then Dennis Dorrity, Devon’s brother, did an illustration of the photo selected from the photoshoot.  Devon then composited the illustration and the photo together blending the two to emphasize the best of both pieces.  After applying various effects and custom color, the piece was finished.

    After the book’s publication, Devon submitted the cover to Spectrum with Dennis Dorrity listed as the Artist.  Dennis did the illustration that plays such a heavy role in the finished piece.  Devon was listed as the Art Director/Designer.  Spectrum announced in the end of March that the Awakening book cover was selected for inclusion in The annual.  Spectrum 21 will be released in November 2014.

    Awakening: Book One of The Geis is itself a clean young adult fantasy filled with Celtic mythology, magic, romance, and mystery. And it’s been getting great reviews.

    “Dorrity invites her readers to a céilí that will quicken the pulse of anyone with Ireland in their blood! AWAKENING will draw you deep into the mysteries of the Celtic worldview—and leave you wanting more of McKayla and her fascinating Aunt Avril!”
    – KERSTEN HAMILTON, author of Tyger Tyger and the Goblin Wars books

    “I thoroughly enjoyed AWAKENING, a captivating and unique debut novel that creatively integrates Irish dance.”
    – CHRIS NAISH, Riverdance member and Creative Director of Fusion Fighters Irish dancers.

    5 Stars! “AWAKENING is an exciting mashup of fantasy, action-adventure, and mystery, with a touch of romance thrown in for good measure.”
    – KATE MCCURRY, top 100 Amazon reviewer

    How many authors do you know who have unlocked the achievement of having someone from Riverdance plug your book? Awakening right now is free. If you like YA fantasy with a bit of romance, this is the perfect time to give this new author a go.

    Share
  • |

    News

    Interview with The Man Monday night

    Dungeon Crawlers Radio interviews The Man Monday, March 8th at 10:30 PM MTN. You can listen live or to the archive they’ll post to their site. All brought to you by UtahFM. Malak and Revan are great guys. I had a blast with them.

    Cool facts on breaking in, advances, etc. for writers

    New page on writing facts & figures in the On Writing section.

    Novel update

    CURSE OF A DARK GOD is moving along. You should see the progress bar move along quite a bit this week.

    Initial Schedule for American Fork Arts Council Conference for Writers

    This is a cheap day-long writers conference and looks like it’s going to be another great one.  I’ve highlighted what I’ll be doing in red. I’ll be making adjustments to the HOW TO WRITE A STORY THAT ROCKS presentation for things learned at LTUE.

    Here’s their website. That night I’ll probably be attending the Whitney Awards Gala which is also being held down in Happy Valley, Utah.

    DATE: Saturday April 24 2010

    8-9 a.m. Registration
    9-9:10 Welcome (Plenary)

    KEYNOTES
    9:10-9:40 Keynote #1 Ginger Churchill, “What I Wish I had Known as a Beginning Writer”
    9:40-10:10 Keynote #2 Ally Condie, “My Journey to National Publication”
    10:10-10:40 John D. Brown, “Aiming for National Publication”

    INTRODUCTIONS of editors and authors
    10:40-11:05 EDITORS: Derk Koldewyn, Granite NAME
    AUTHORS: Caleb Warnock, Linda Jefferies, Shannon Guymon

    11:05-11:20 15-minute break

    11:20-noon BREAKOUT ONE
    Upstairs room “Crafting the Novel” with Shannon Guymon, John D. Brown
    Downstairs One “Finding and Working With an Agent” with Ginger Churchill, Ally Condie, Caleb Warnock
    Downstairs Two “Taking Your Questions about Publishing” with Deseret Book and Granite Publishing

    noon-1 LUNCH “Mix and Mingle with Authors and Editors”

    1-1:40 BREAKOUT TWO
    Conference One Derk Koldewyn of Deseret Book “What Deseret Book is looking for now”
    Conference Two Ginger Churchill “How to Write and Publish Picture Books”
    Upstairs room John Brown, “How to Write a Story That Rocks Part 1: First Principles & Story Concept”
    Office room Caleb Warnock “10 Things Every Writer Should Know about Copyright”
    Downstairs One Granite Publishing “What Granite is looking for now”
    Downstairs Two Ally Condie “Writing Young Adult Fiction”

    1:40-1:50 Ten-minute break

    1:50-2:30 BREAKOUT THREE
    Upstairs Room John Brown, “How to Write a Story That Rocks Part 2: Character”
    Conference Two Ginger Churchill “Genres of Children’s Books, from Board Books to YA Novels”
    Conference One Derk Koldewyn of Deseret Book “National Publication with Shadow Mountain”
    Office room Caleb Warnock “How to Write the Query Letter”
    Downstairs One Granite Publishing “Publishing Options with Granite”
    Downstairs Two Shannon Guymon “How to Write Romance”

    2:30-2:40 Ten-minute break

    2:40-3:20 BREAKOUT FOUR
    Upstairs Room John Brown, “How to Write a Story That Rocks Part 3: Plot”
    Conference Two Ginger Churchill “How to be a Writer and a Mother Too”
    Conference One Linda Jefferies “Writing Poetry”
    Office room Caleb Warnock “Write a Synopsis? I’d Rather Gouge My Eyes Out!”
    Downstairs One Ally Condie “Succeeding as an LDS author”
    Downstairs Two Shannon Guymon “Writing Nonfiction”

    3:20-3:30 Ten-minute break

    3:30-4:10 BREAKOUT FIVE
    Upstairs Room John Brown, “Writing Scenes: The Basic Units of a Novel”
    Conference Two Ginger Churchill “Querying Agents and Publishers”
    Conference One Linda Jefferies “Publishing Poetry”
    Office room Caleb Warnock “Okay, You Were Rejected – Why, and What to Do Now”
    Downstairs One “How to form a critique group that works”
    Downstairs Two Shannon Guymon “Succeeding as an LDS Author”

    4:10-4:20 PRIZE GIVEAWAYS, GOODBYE

    REVISED (MAY CHANGE)

    Share