Category Archives: TV

5 Easy Ways to Improve Your Rewriting Process

Ask any writer what the hardest part about writing is and most them will you: rewriting. For many storytellers, rewriting is not only highly challenging, but not a whole lot of fun, either.

What makes rewriting so hard?

Take your pick:

  • Writing and rewriting/editing are two different skills
  • Rewriting is more technical and analytical, less creative
  • It feels confining compared to the freeness of pure creation
  • Self-editing is difficult because of your inherent bias
  • When your head is so far down in the weeds, it’s difficult to keep your eye on the big picture

Rewriting may be a challenge, but it doesn’t have to put a brick wall in front of your story’s future development. With that in mind, let’s look at five easy ways to make the rewriting process a little easier.

1. Make a Laundry List of Rewrites

How do you tackle rewriting a manuscript that needs so much work, it’s simply overwhelming? Make a list! A laundry list is a to-do list that itemizes each thing that needs addressed in your rewrite, separated into groupings of big, medium, small, and minor. You go through the list one item at a time, devoting all your focus to solving that one problem, starting with the biggest and most important issues, and then dialing in on smaller line items from there. Addressing big rewrites ends up solving many smaller items along the way. By the time you’ve finished your list, your next draft is suddenly much, much better. Not only does making a laundry list help you get organized, it allows you to focus on only one issue at a time without getting distracted or overwhelmed by everything else that needs to be done.

For more on this technique, read the full article here.

2. Save Every Draft Separately

You never know when you are going to need a snippet from an old draft until you suddenly need it—and can’t find it! Rather than saving over your current files, save every new significant draft as a separate file (or folder). Not only does this allow you to go back to old drafts to recover useful tidbits, but if anything happens to your current draft (e.g. computer crash) or you end up rewriting yourself into a corner, you always have a backup. Version tracking and management can be crucial, especially when working on variable story lines (like video games) or when dealing with complex deliverables (such as multilateral marketing collateral).

3. Keep Your Outline Current

As you proceed through multiple drafts of your manuscript, it’s a good idea to keep an updated outline of your story at all times. That way, as you get wrapped up in the smaller details of your story, you still have an easy reminder of the big picture—that is, the outline helps you see the forest while you are working among the trees. You can make notes about other points in the story via the outline without completely derailing your current writing task as well. The outline also prevents confusion as the story undergoes multiple drafts wherein story elements may change. Your outline essentially overrides any discrepancies between the different drafts, which becomes especially important if you decide to set the project aside for a few months and come back to it later on (see 5. Let It Rest below.)

4. Get Outside Input

Even though the process of soliciting feedback on a creative work can be painful, it’s also one of your most useful tools in rewriting. You get so involved in the world of your story that it becomes difficult to gain outside perspective—that is, how a prospective audience will interpret the story you’ve invested your heart and soul into.

A few tips for soliciting feedback:

  • You don’t have to (and shouldn’t) accept every criticism. Many will be way off base. Look for trends or repeat comments among various parties. These will be the areas to focus on.
  • Only a fraction of the people who offer to read the work will actually read it. Of those, only some will provide feedback. That’s totally normal.
  • It’s okay to preface handing out your work by saying the story is in early stages and you are just looking for general feedback. Let them know it’s not a final draft. Most people will understand, and many will be excited to offer their input.
  • Don’t get too discouraged if the majority of people who read your story aren’t super into it—that’s okay. It’s normal. You may get better results if you ask for feedback to a specific target audience similar to that of your story (“anyone out there like horror?”).
  • Try to seek out readers who are more likely to offer constructive feedback rather than accolades. While compliments feel good and can be quite inspiring, they won’t as helpful as honest feedback.

5. Let It Rest

You’re stuck. You’re frustrated. It doesn’t seem like anything is working. So you shelve the story to give it some space and “let it rest.” You aren’t giving up. You’re simply setting it aside for a while with the intent to come back to it at a later time. Does this sound like you? Or something you would like to do? Guess what? “Let it rest” is a tried-and-true rewriting method for countless writers over the centuries. Not only is it an acceptable rewriting process, it’s a highly recommended one that can help you get “unstuck.”

Here are few reasons why coming back to a story after it’s been off your mind for days, weeks, months or even years, works so well:

  • A fresh look gives you a new perspective on the story, especially the big picture.
  • You get to experience the story more like your audience will.
  • You have a more mature, experienced skill set.
  • It’s easier to spot problems you missed before.
  • Coming back to an old story can inspire you to finish it.

After all, there’s nothing so reinvigorating to your storytelling senses than picking up an incomplete manuscript that’s begging to be finished.

We’ve explored five easy ways to improve your rewriting process. These methods are by no means an exhaustive list, but they are easy and everyone can use them.

What techniques do you use to make your rewriting process easier? We’d love to hear them.

Still Feeling Stuck?

If you still need help with finishing your story—no matter the medium—don’t hesitate to reach out to our experts here at StorySci.com. We offer story consultation and rewriting services, among many others.

10 Tips for Writing That TV Pilot

So you want to write your own television show. Great!

Before you commit to writing the pilot episode for your brand-new TV show, why don’t you take a look at these 10 helpful tips for writing that TV pilot that will make your writing life a little bit easier.

1. Prepare to Invest

Many people jump right into writing episode one—the pilot for a brand-new show—thinking, “Hey, this will be WAY easier than writing that new novel of mine, or taking all that time to write a feature-length screenplay.”

Reality check: It isn’t.

In fact, developing a good TV pilot can be the hardest and most involved of all three, even though the end result may only look like 40-60 pages from the outside. This is because when you write a pilot, you aren’t just writing the script for episode one; you are creating a whole new concept with complex characters, multiple story threads, with as many setups and ideas for future episodes as possible. When someone reads your pilot script, they will only be reading the tip of the iceberg, not the vast amount of backend work that went into producing those measly few pages.

2. The Concept Must KILL

Before you really dig into your show, take enough time to make the concept air-tight. What do we mean by “concept”? The concept is a fleshed-out version of the core idea for your TV show—the idea that makes your show different from every other show out there.

If your concept is clear, it should be obvious what makes your show different from others and also make someone want to watch the show itself. For example, “ER for women” was a successful concept that became Grey’s Anatomy, based on the success of an already existing show but with a new angle. Lost created appeal through the concept alone: A group of strangers become lost after crash landing on a mysterious island inhabited by strange forces, but while surviving on the island, each character finds individual purpose after having been “lost” in their personal lives back home.

That said, make the concept grab the audience’s attention. For example, don’t just write an alien invasion show. It’s been done many times and hasn’t been successful. But if you want to write an alien invasion show where humankind is the invader—now that’s an interesting twist people can get behind.

3. Legs: The Show Must Go On

For American television, “legs” are very, very important. What do we mean by legs? “Legs” refers to the potential episodes the show can produce in the long-term based on the concept. A more open-ended concept typically offers more “legs.” A closed concept with one specific, attainable goal offers less of a future (if any).

With that in mind, part of what your pilot must do is setup the long-term future of the show—the “legs.” My Name Is Earl did this by using a wide-open concept with no foreseeable limitations (his list of wrongs to “right” can be as long as the sun, for all we know). A show about thieves planning a heist is problematic in that the goal is far too easy to reach. Once they’ve reached their goal, where does the show go from there? Breaking Bad solved this by always creating a bigger goal for the protagonist to achieve once (or even before) the old has been solved.

4. Know Your Audience

This should go without saying, but it comes up far too often to leave out. If the show doesn’t have a clear or specific audience in mind, then it will not be successful. Shows like Grey’s Anatomy, Pretty Little Liars and Stranger Things nail their audience targeting. Now imagine if Pretty Little Liars was written to target 30-something males…it would have bombed. The mid-2000s remake of Battlestar Galactica tried to rope in a wider female audience by focusing on romance in later seasons, and the result turned the show into a soap opera in space—disappointing original and the new audiences alike. The moral of the story? Yup, you guessed it: Know your audience.

5. Characters Are Everything, Protagonist More So

While characters are the heart and soul of any story, in television, they are the most important element. The cast needs to do more than survive the pilot. They will be responsible for carrying the show long-term. Above and beyond that, the central protagonist needs to be the most interesting of all, fleshed out with enough potential new material to keep audiences coming back episode after episode, season after season. If your characters don’t have enough setups in the pilot, they won’t be interesting enough to carry a second episode. Remember, anything that applies to the characters counts doubly so for the protagonist.

6. Include Act Breaks

In the modern age of commercial-free Internet streaming, writers sometimes think their pilot scripts should also be act-free (act breaks are where the commercials play). Incorrect. Always include act breaks.

There are a couple reasons for this:

  1. Act breaks represent major structural highs and lows in the plot, so leaving them out flattens these points and harms the overall flow of the story.
  2. It makes the writer look like they don’t know what they are doing, even if they do.
  3. It creates ambiguity about the script’s end goal—is it a short film? Is part of the script missing? Is it actually half of a feature screenplay?

When you aren’t there to explain it to the people reading the script, any extra uncertainties can stop your pilot’s progress dead in the water.

7. Don’t Forget the B-Story

Sometimes writers leave out or drop the B-Story in their pilot because due to lack of room. Big mistake. Don’t ever do this. Your pilot needs to have a B-Story—industry pros will be looking for it and they will notice if it’s missing. Believe it or not, so will your audience. A script with just an A-Story tends to feel hollow and like it’s missing “heart.” Remember, the B-Story is a chance to humanize your characters, keep main cast members involved in the show even when they aren’t directly involved in the A-Plot, and give the audience a breather from the main storyline. The B-Story is also a chance to loosen up and have some extra fun with the show.

8. Blueprint the Show

Your pilot script not only needs to set up the world of the show, character problems and imply future storylines, it must “blueprint” the entire show by illustrating how a normal episode will run its course. This can be tricky because you are essentially trying to pack two different episodes into one. But it’s necessary to communicate the look, feel, and overall sense of what it means to be “the show.” In recent years, well-funded projects have tackled this difficult task by creating two-part pilots (two episodes viewed back-to-back), the first part taking its time to set up the show and the second part showing what a regular episode will look like. While an ideal solution, in a spec script that’s a dicey option since it requires double the effort, double the budget to make, and thus doubles the risk of failure from an investment standpoint. So, for spec script, try splitting up the pilot into first half for setup and second half for blueprinting. Alternatively, integrate them together so we don’t notice. It’s much harder and comes with its own risks, but can payoff in the form of a solid pilot script that stands on its own.

9. Create a Show Bible

You don’t absolutely need a show bible to write a successful pilot, but it helps—a lot. Think of it as a multi-use tool where you can include all your notes and ideas about future episodes, character and story arcs, character bios, hidden and upcoming tidbits, etc. Putting all of this into a formalized document that can be shared along with the pilot shows industry execs that you are serious about your pilot, you’ve spent time developing the show beyond episode one, and that you’re thinking long-term. Having a show bible in your back pocket also allows you to cram less into your pilot (it’s written down elsewhere) and enrich your characters on screen because you’ve spent time exploring them in the bible. Don’t be fooled, creating a show bible can be an overwhelming task. Start by breaking it down into smaller bite-sized pieces, like short season/episode synopses, character roles, flaws, dreams, secrets, etc.

10. Bible First, Script Last (Outline in Between)

Writers and writing teachers often view their “writing” or tangible end product in terms of written pages. Maybe that’s the wrong approach. Try developing a show bible first and getting that really solid, create an outline of the pilot, break it down into a beat sheet, and then write the actual pilot script last. That way you’ve had more time to figure out all the little details and plotlines beforehand, so you end up with stronger pages and fewer rewrites. Once words are down on the script page, it becomes hard to “kill your darlings” and make the necessary changes. But with a show bible, outline, and beat sheet in hand, your first true “draft” resulting in pages will look far closer to a finely-polished script than you may get by going through old fashioned draft iterations.

Now that you’ve had a chance to check off the last 10 boxes, are you still ready to accept the challenge of writing that TV pilot? Hey, it’s the golden age of television right now, so maybe you should.

Working on a TV pilot? Let us know. We’d love to hear about your progress!

Need help developing or rewriting your TV pilot? Contact us today for a consultation.

Subtext, Part 2: What Does Subtext Do?

In Part 1 of our article series on subtext we began a thorough introduction to the subject. Here in Part 2 we are going to dive into greater depth on how subtext functions in storytelling. As for the specific types of subtext (and there are many), we will get to that in a future article.

So…

What does subtext actually do?

The short answer: Subtext enhances storytelling by tapping into the subconscious to make the story more memorable and more impactful. It applies to every genre and every medium.

The really short answer: Subtext helps tell a better story.

But how, exactly?

Storysci.com's illustration of how subtext creates depth in storytelling.
Subtext adds depth and dimension to your story.

Subtext Sets Tone, Atmosphere & Mood

At its most basic level, subtext communicates the overall feel of the story. This can be a subtle undertone, a collection of background mood elements, or the setting of the story itself.

For example’s sake, let’s take the following sentence, devoid of subtext:

Hawker walked through the street that night.

Now let’s add a bit of subtext in the form of mood:

Hawker pushed through the murky night, parting the dense fog like a shadow in a snow drift.

Quite a difference, isn’t there?

Take it a step further by throwing in a larger atmosphere element that recurs throughout the story. Maybe everyone Hawker passes on the streets walks briskly, arms tucked, closed off from communication, not stopping when they bump into him.

Without having to directly tell the audience anything, the added subtext communicates Hawker’s isolation and introspective defensiveness, putting him into a world where every individual must fend for oneself.

For a few real-world examples, check out:

TV: Twin Peaks
LIT: The Red Badge of Courage
FILM: Body Heat

Subtext Illustrates Story, Reduces Exposition

You’ve probably heard the mantra, “Show, don’t tell.” The idea here is to aim for illustrating story through the playing-out of conflict, desires, obstacles and goal-seeking rather than telling the audience what happens through direct exposition. Here’s where subtext comes in handy. Subtext is all about showing because it doesn’t allow you to explain things outright (“on-the-nose,” or literally as they are).

Subtext illustrates story by communicating between the lines. It’s as simple as that. Much of the time, this kind of subtext naturally arises during the storytelling process through the choices our characters make. The selflessness or selfishness of the decision in that situation expresses something about their character, and so long as the narrative doesn’t come right out and say “this is what that choice means for this character,” then the subtext happens all on its own.

This is where the superhero genre really excels: The protagonist is repeatedly put into situations where (s)he must choose between a selfish, gratifying act or a selfless, self-harming act. Subtext comes into play when the hero makes that key decision. We (the audience) know that if the hero makes a selfish choice that (s)he will be personally rewarded, but because of ignoble cowardice and/or weakness. Likewise, we implicitly know that the hero’s selfless act will come with great struggle and personal pain, and will win our admiration for doing the right thing. All of that from a choice—and we don’t even have to spell it out for the audience. They’ll get it. Audiences are smart.

Want to see this in action? Try:

TV: The Office
FILM: Sam Raimi’s Spider-Man 2
LIT: Of Mice and Men

Subtext Creates Emotional Impact

As we’ve mentioned previously, subtext communicates below the textual level, nesting itself in the pregnant quiet space beneath the surface message to create immediacy, greater meaning and emotion than would otherwise be possible. If you’ve ever seen a sitcom, then yes, you’ve seen this aspect of subtext in action.

Imagine a TV show conversation between Rock and Stone. Rock has been in love with Stone for 10 years. We’ve been following Rock and Stone’s comical near-love connection mishaps for 5 seasons now. They’ve never actually gotten together but both characters have repeatedly demonstrated their secret love and willingness to sacrifice all for each other since episode one. During the season 5 finale, Rock accidentally reveals those feelings for Stone in public while accepting an award. Embarrassed, Rock flees to hide beneath a tree. Having heard the flub, Stone finds Rock and confesses the same feelings. That fuzzy, tingly, heart-swelling moment that accompanies their first kiss? That’s right. From subtext.

But how?

The text of the moment isn’t all that interesting by itself: Stone finds Rock beneath the tree, confesses feelings and they kiss. How many times have we heard a story like that? What lends this particular situation the gravity and emotional impact is the fact that in that scene between Rock and Stone, we carry the subconscious build-up of all past 5 seasons of unrequited love. The power of everything that led to this huge payoff is the subtext. As the audience, we don’t have to be reminded of the past 5 seasons because we’ve already experienced it, so by not calling attention to that directly, we’ve avoided blocky exposition to let the subtext ride out the moment.

Additional great examples:

TV: Friends
LIT: Age of Innocence
FILM: Lord of the Rings trilogy

Subtext Adds Depth by Conveying a Greater Message

Here’s where subtext gets storytellers really excited. When your story is attempting to convey a theme, moral, or greater commentary, subtext is the most effective means to do so. Beginning storytellers tend to go straight to soapboxing—beating the idea over the audience’s head through direct exposition. This preachy/didactic approach rarely sticks with the audience for long, and can even turn them off from future connection with the story if it rubs them the wrong away. The more proper—and challenging—way to communicate higher messaging is through skillful implementation of subtext.

Returning to the idea of showing, not telling, the subtext of greater messaging emerges not in one particular moment or scene, but over the course of the longer story as the various arguments associated with that message are played out through the plot. In a high-level sense, we can call this subtextual messaging theme, but it also extends to motif, religious/political messaging, morals, commentary or criticism, warnings, thought experiments and what-if scenarios as well. The means by which subtext illustrates this greater messaging is by showing how that main idea (and its subsidiary ideas) play out through goal-seeking, obstacles and conflict, rather than coming out and telling the audience exactly what it’s doing. After all, would you rather have someone explain a painting to you or see it for yourself?

Satirical TV shows like Family Guy or South Park make use of subtext to lampoon political and religious ideas on a regular basis by putting characters into the situation they wish to comment on, and then using humor to express the desired opinion or viewpoint of the show as the situation plays out during the episode. George Orwell’s famous novels Animal Farm and 1984 both take a more serious approach, using literal situations to illustrate the dangers of communism—without ever directly saying “communism is bad.” In this way, the plot (“text”) tells a compelling story while the subplot simultaneously acts as an invisible force, forming the proverbial iceberg beneath the water and granting the plot its impact and staying-power.

Wan more real-world examples? Check out:

TV: Family Guy
LIT: 1984
FILM: Harold & Maude

Whew! That is a lot to digest—and there’s more to come! Stay tuned for Part 3: How to Use Subtext, where we will move away from theory and dig into the more practical applications of subtext in storytelling.

In the meantime, share your thoughts and favorite subtext-laden stories with us. We’d love to hear from you!

Still lost? Receive additional guidance from StorySci by contacting us or filling out the form below:

MST3K: The Return, a Minimalist Review

While fans of the original Mystery Science Theater 3000 (MST3K) are either loving or hating The Return  (read: Netflix “reboot”), its reception elsewhere is much more lukewarm. Starring Jonah Ray,  Hampton Yount as the voice of Crow T. Robot,  and Baron Vaughn as the voice of Servo (also known for his role on Netflix’s Grace and Frankie),  The Return goes back to the old Joel Hodgson formula, complete with the much-loved invention exchange.mst3k_thereturn

Slipping into the roles of this trailblazing trio is Jonah Ray,  whose serviceable performance as an average but not-so-average guy lacks the humble charm of his predecessors, and yet manages to come across as rather likable after an episode or two. Patton Oswalt repeatedly demonstrates his performance to be the most well-acted role in the whole show and a welcome inheritor of TV’s Frank role as the evil bumbling sidekick.

But it’s the robots that stand out most. Like Jonah, as characters they are pretty bland with undifferentiated behaviors, jokes, and even voices (it’s easy to confuse the three voices in the darkened theater). Their personalities are essentially interchangeable, making them feel underdeveloped and gimmicky, like caricatures of the originals. Even Gypsy (previously voiced by Jim Mallon), whose role as the somewhat mentally slower robot sibling, is not exempt. Altering her voice from “funny” to “young and sexy” strips her character of one her most defining feature.

The show launches with a rocky start. Its series opener aims below cheesy for the disappointing sub-adequate mark. Jokes range from fair to good, rarely great. By the second episode the team finds their riffing groove and the comedy becomes relatively smooth sailing from there on out.

That said, Jonah and the bots carry a heavy torch in following up the comical adeptness of MST3K’s original cast. While it may be hard to live up to the legendary Joel, Mike, Trace Beaulieu, Kevin Murphy, Bill Corbett, and Frank Conniff (let alone the powerhouse trio of Mike-Kevin-Bill, now of RiffTrax fame), even they did not start out as comedy all-stars. But with a little time and practice, maybe they will one day surpass the originals.

For many, the magic is in the freshness of seeing new MST3K episodes for the very first time. Or perhaps it is watching as one of the greatest cinematic experiences in living memory passes onto a new generation while also stoking the dormant coals of that beautiful old nostalgia.

What’s the conclusion for this Minimalist Review of Mystery Science Theater 3000: The Return?

Meh.

Rating: 3 / 5

 

Questions, comments or additions about this Minimalist Review? Contact us.

The Secret Life of the American Teenager, a Minimalist Review

Brenda Hampton’s The Secret Life of the American Teenager is a TV show, in that it has characters with their own personalities, desires, coming into conflict with each other within a plot of sorts. However, it is hardly more than that.

TheSecretLifeoftheAmericanTeenagerWhile the overall storyline plays out like an immature daytime soap, characters and conversations give the impression that the show is being written by a sheltered 14 year old virgin guessing at how adults and teenagers must act in the “real” world, with limited understanding about relationships and the facts of life. The end result is a weird demonization of sex that confuses hormones, love and lust in ways that are inaccurate, misleading and downright harmful. If teenagers are using this show as a guide to navigating their teen years, they will be in for a considerable shock.

Episode plots are absurdly repetitive, so skipping 1 or 5 episodes results in landing on the exact same issues you left on. Most of the show’s screen time is spent pounding outdated morals and values over the heads of their teenage characters.

Despite being set in Los Angeles–one of the most multi-cultural cities in the US–the cast is almost entirely white, with one representative couple for each other ethnicity. But even those groups are played as “white” for all intents and purposes.

Character arcs rarely surprise as they take on predictable lines. The principals tend to fall back into the same issues repeatedly. The main female lead proves herself the most heinous of the bunch, acting selfish, petty, demanding and spoiled to the point where she ends up as a sort of villain to her supporting cast. If you want to a watch a show where nearly every character ranges from unlikable to downright loathsome, you’ve come to the right place.

While the characters themselves are rather well-formed, their dialogue seems to be written by someone who has never heard of subtext…or a thesaurus. The collective ensemble ends up wielding a combined vocabulary equivalent to that of a single 10 year old.

To sum up…

The Secret Life is one of the worst television shows to survive more than one season on the air, let alone a mind-boggling five. It is a show that exists for reasons beyond reason. If any script from this show came across my desk for analysis, it would have been an easy PASS/PASS.

Rating: 1.5/5

Want to elevate your TV script from PASS to RECOMMEND? Contact us today and make it happen!

STORY TITLES, PART 2: Helpful Tips to Nail That Story Title

Welcome to a part two of our series on story titles. In Part 1 we discussed what a title is, where it comes from, and what it should do. In part we move on to some helpful tips on how to select the right title for your story.

The reason finding the right title is such a big deal is because it tells us so much about the story: genre, concept, tone, theme, target audience, focus, and viewpoint.

Hey, wait a minute. Isn’t that practically everything?

Yup. That’s why your title needs to absolutely nail it. Even a slight change to any one of these components alters your story, and thus the title.

So we’ve created this quick checklist to follow when brainstorming titles for your creative work:

The “Do” List

  1. Explain it in a nutshell. Does the title explain the overall idea, concept or premise of the story in a nutshell? Look for inspiration in your theme.
  2. Identify the focus. Does it accurately convey the main focus of the story? If it’s about everything that happens in a certain place or time period, then that may be your title. If it follows an individual’s perspective, then make the title personal to that character or narrator.
  3. Know your audience. Does it reflect the right genre, target audience and age group? Always assume the audience already knows the genre and will expect that genre to be reflected in the story material. Also don’t forget to target the title toward the right age group. There’s a reason a slew of successful books have titles like THE TIME TRAVELER’S WIFE, THE ZOOKEEPER’S WIFE, etc. have become so popular — they know their target audience.
  4. Be clever. A clever title is a great way to catch someone’s interest. TV is the best at this: GREY’S ANATOMY and IMPASTOR are two great examples.
  5. Be succinct. In today’s mainstream market, the shorter the title, the better. There’s a reason you see a lot of one- and two-word titles in movies these days: BATTLESHIP, TMNT, GRAVITY, KILL BILL, WAR HORSE, MAD MAX: FURY ROAD (cheating a bit, but hey, it works), etc.
  6. Be specific. Never opt for something generic when you can make the title absolutely specific to the story contained within. What’s better: FANTASY ADVENTURE or FELLOWSHIP OF THE RINGS?
  7. Make it pop. Sure, I sound like a stereotypical Hollywood producer when I say this, but there’s a reason it’s a stereotype–because that’s one way to sell your story right from the cover. Remember: You aren’t selling your story so much as the idea of your story. Get our attention right away by grabbing us by the lapels rather than politely waving from across the street.

The “Do Not” List

  1. Don’t look at the plot. This is a common mistake, and an understandable one, but the reason it doesn’t usually work is because while the plot may be what the story is about on the surface, the theme is what the story is really about, so titles based on the plot tend to feel superficial and not exactly on target.
  2. Don’t make it unrelated. Although this seems obvious at first, this is another common mistake when storytellers title their creative works. Your title needs to tie into your story in some way, shape, or form.
  3. Don’t mislead the audience. Another common mistake for storytellers of all levels, it’s important to not mislead your audience in regard to tone, genre, or subject matter. This is one of the easiest ways to violate your audience’s expectations in a way that will make them hate the story, no matter how good or bad it is. An audience who buys movie tickets to see what sounds like a horror movie will be more than a little angry when it turns out to be a romantic comedy.
  4. Don’t be generic. This can’t be overstated. Every time a script or novel with a generic title like “Four People” or “Super Warrior” comes across my desk I instantly groan because my first instinct is to assume the storytelling itself is at about the same level as the titling, which is all too often the case. Compare: A MAN to I, CLAUDIUS.
  5. Don’t play it safe. Go bold. Get creative. Experiment with everything and anything. Do research if you have to, but never ever go for bland when you go for bold and interesting.
  6. Don’t limit yourself. Believe it or not, you don’t have to settle on just one title. Create a whole bag of them, or keep a few in your back pocket you can sling around depending on who you are pitching the story to. Eventually you will find a title that sticks.

Still having trouble?

You’re not alone.

Try this:

Think Like a Producer / Editor

Writers tend to be pretty bad at coming up with a title (sorry folks, but it’s true). Producers and book editors, on other hand, tend to be pretty great at it. Why? Because they think about how they can SELL the story, and they only need to know the concept, format and target audience to figure it out. So if you’re still feeling title-y challenged, try thinking like a producer or editor. Think about how they would pitch or sell the idea to someone who doesn’t know anything about writing, filmmaking, or storytelling. Forget the story (sacrilege, I know), stick to just the concept and target audience, and keep the title as short as possible, preferably only one or two words.

In theory, knowing the rest of the details about the story gives you the upper hand, since you are able to craft a better and more accurate title. Unfortunately, because of writers’ tendency toward bad titles and producers’/editors’ considerable skill at it, many stories end up with a catchy title that doesn’t quite nail the story down as accurately as it could. Admittedly, some of these titles do the job of selling the story amazingly well. The only gripe is that they somewhat miss the mark.

Sometimes it’s fairly obvious when a producer or editor steps in to sell a story with a snappier title:

  • BREAKING BAD: Is the concept really about someone raises hell (to “break bad”) against authority? Or is it about a good man who does bad things for the right reasons and soon finds himself stuck being a bad guy?
  • INVASION OF THE BODYSNATCHERS: Yes, this happens and the invaders do “snatch” bodies, but the original title, THE PUPPETMASTERS, suggests a more accurate portrayal of the intelligence and cunning behind the invaders’ tactics rather than the B-movie feel the title gives it.
  • JAWS: Both the movie and the book it’s based on share this title, and its working titles include THE STILLNESS IN THE WATER, LEVIATHAN RISING, THE JAWS OF DEATH, etc. (I DID say writers were bad at coming up with titles, right?), and is an externalized version of Henrik Ibsen’s classic, AN ENEMY OF THE PEOPLE.
  • LONE SURVIVOR: Granted, the book (and film adaptation) really is about being a “lone survivor” of a military expedition gone wrong, but could easily have been titled any number of other things.
  • METROPOLIS: It’s UTOPIA by another name, suggesting we get to see a many different walks of life within this little microcosm. Buuuuut we don’t. Still, it sells the idea spectacularly.

What do all of these have in common? Despite not being storytelling bullseyes, all were and are hip, catchy, and above all, immensely popular. (And these area only a few examples of many thousands.)

When it comes to titling your own story, get into the sales mindset and try to brainstorm the juiciest, catchiest, flashiest title you can come up with. Don’t worry, you don’t have to keep it, but it will get you thinking in the right direction. And who knows, maybe you’ll strike title gold!

UNTIL NEXT TIME…

We’ve covered a lot of ground in this article. Hopefully you’ve been able to gather enough grains of knowledge about titles to make you stories all the more appealing.

That’s it for now, and never stop writing!

(And yes, there’s going to be a Part 3: Story Titles in Practice.)

 

In the meantime, if you need help with your own story titles, don’t hesitate to reach out!

STORY TITLES, PART 1: Where Does the Title Come From?

In my profession I constantly run into writers who have a problem with story titles. Most writers and storytellers don’t know how to come with a solid title. They ask:

  • Where does a title come from?
  • What makes a good title?
  • How come some titles work while others do not?

For most, it’s a mystifying subject with little enlightenment from the experts.

Guess what?

It’s not a mystery. At least, it won’t be by the time you’ve finished reading this article.

So…

WHAT IS A TITLE?

A title is a koan, something to be meditated on, a rumination on theme, the essence of the story or project, a.k.a. your story in a nutshell. A title is the shortest possible pitch for your creative work. Think of it this way: your full manuscript is the complete version, shortened into a synopsis, then a pitch, a logline, and (at the most succinct level) the title. Therefore your title should sum up the idea of the story in a nutshell, implying genre, tone, central idea, theme, and focus.

Sounds simple, right?

Yeah, no. Nailing down what a title encompasses is the easy part. Finding the right title remains a daunting task, especially if it’s going to be perfectly fitted to your unique story.

So…

WHERE DOES THE TITLE COME FROM?

In general, the best titles come directly from the concept, premise, central idea, or theme. Often these ideas are the same, or at the very least, cross over considerably. This makes sense, since these elements of the story convey the most information about it. Your story’s genre and target audience are also important factors to keep in mind since they directly affect who will decide to experience the story, regardless of medium. Lastly, who the story is about and from whose viewpoint is also helpful to make the title immediate and personal.

In short, these four things determine where your title comes from:

  1. GENRE: implies not only the type of story, but the tone as well.
  2. CONCEPT: includes the premise, central idea and theme.
  3. AUDIENCE: determines who the story is targeted at and what age group is most appropriate.
  4. FOCUS: indicates who the story is about and who is telling it.

In that order. Why? The order of precedence indicates their importance in marketing your story. While the ideal title indicates all four points, not every title can do that…and that’s okay.

But enough about theory…

STORY TITLES IN PRACTICE

Now that we know about titles in theory, let’s poke around some real world examples to find out how they function in practice. There are copious examples here, I know, but they are highly informative and illustrate how much the title matters.

Titles Based on Genre or Tone

Horror, Action, Westerns and Comedies tend to base their titles around the genre and tone. Note how each of these titles make both obvious from the get-go:

HORROR:

  • DRACULA
  • THE EXORCIST
  • FINAL DESTINATION
  • NIGHT OF THE LIVING DEAD
  • POLTERGEIST
  • SAW
  • SHAUN OF THE DEAD
  • TEXAS CHAINSAW MASSACRE

ACTION:

  • BLADE
  • DIE HARD
  • ESCAPE FROM NEW YORK
  • GLADIATOR
  • LETHAL WEAPON
  • SPEED
  • SUPERCOP
  • TERMINATOR

WESTERN:

  • BLAZING SADDLES
  • THE GUNFIGHTER
  • HIGH NOON
  • ONCE UPON A TIME IN THE WEST
  • THE OUTLAW JOSEY WALES
  • THE TREASURE OF SIERRA MADRE
  • TRUE GRIT
  • WILD WILD WEST

COMEDY:

  • THE 40-YEAR-OLD VIRGIN
  • ACE VENTURA: PET DETECTIVE
  • BAD SANTA
  • DUCK SOUP
  • DUMB & DUMBER
  • GALAXY QUEST
  • MONSTER-IN-LAW
  • REVENGE OF THE NERDS
  • SCARY MOVIE
  • SHAUN OF THE DEAD
  • SPACEBALLS
  • SUPER TROOPERS
  • TEAM AMERICA: WORLD POLICE

Note how the horror titles tell us not only that it’s a horror story, but what type of horror (supernatural, slasher, etc.) so we know what kind of tone to expect. Action movies tend to use terse, information-packed action verbs in their titles. Compare the difference between THE MAGNIFICENT SEVEN, a western, to THE SEVEN SAMURAI, a samurai action film (an Eastern “Western,” so to speak). Also note how many comedy titles are absurd, reveal the funny concept, or is a play on a well-known phrase or title from the genre it’s spoofing. We know right away if it’s going to be a spoof or a ridiculously silly story.

We can change the implied tone of the story by altering the length and tone of the title as well. A romance like ETERNAL SUNSHINE OF THE SPOTLESS MIND becomes a very different film with a title like MINDWIPE, JOEL & CLEMENTINE or THE ART OF FORGETTING, a sci-fi thriller, romcom, and introspective artistic drama, respectively.

Titles Based on Concept, Premise or Central Idea

These titles give us the concept, premise or central idea right up front, letting us know exactly what we’re in for:

  • CATCH 22
  • DJANGGO UNCHAINED
  • FAMILY GUY
  • FOUNDATION
  • A GAME OF THRONES
  • HALO
  • HOUSE ON HAUNTED HILL
  • INCEPTION
  • INTERVIEW WITH THE VAMPIRE
  • THE NOTEBOOK
  • PRIDE & PREJUDICE
  • ROSEMARY’S BABY
  • THE SHINING
  • SNAKES ON A PLANE
  • TEAM AMERICA: WORLD POLICE

Many of these are simply the concept itself (in very short form, naturally). Sometimes they reveal the story’s inciting incident:

  • 2001: A SPACE ODYSSEY
  • BLACK HAWK DOWN
  • A JOURNEY TO THE CENTER OF EARTH
  • LOST IN SPACE
  • SNAKES ON A PLANE

Sometimes they hint at the ending (spoiler warning!):

  • THE BRASS VERDICT
  • CHILDHOOD’S END
  • KILL BILL, VOL.2
  • THERE WILL BE BLOOD

So now when someone asks you: “What’s ROSEMARY’S BABY about?” You can reply with a smart-aleck quip like: “Care to take a guess?”

Titles Based on Theme

Titles based on theme work best when the story is theme-heavy. Note how the theme is intimately tied into the concept, premise, or central idea in each of these:

  • ANIMAL FARM
  • DANGEROUS WOMEN
  • THE FOUNTAINHEAD
  • LOVE ACTUALLY
  • LOST IN TRANSLATION
  • OFFICE SPACE
  • THE ROAD
  • SAVING FISH FROM DROWNING
  • WATER FOR ELEPHANTS
  • WICKED

More rarely, the title may sum things up with a thematic sentiment:

  • ETERNAL SUNSHINE OF THE SPOTLESS MIND
  • FLOWERS FOR ALGERNON
  • LATHE OF HEAVEN
  • MY WAR GONE BY I MISS IT SO
  • ONE FLEW OVER THE CUCKOO’S NEST
  • THE RED BADGE OF COURAGE
  • SAVING FISH FROM DROWNING
  • THE SILENCE OF THE LAMBS
  • WATER FOR ELEPHANTS

Note how long these titles are. That’s because they target a more cerebral, sophisticated audience.

Which brings to mind…

Titles Based on Target Audience

These titles tell us what type of person and age group is ideal for each kind of story:

  • MY CAT FROM HELL
  • THE ZOOKEEPER’S WIFE
  • HUNGER GAMES
  • HARRY POTTER AND THE… (take your pick)
  • RAMBO: FIRST BLOOD
  • WINGS OF DESIRE
  • MIDNIGHT IN PARIS
  • THE SECRET IN THEIR EYES
  • DIE HARD
  • DIRTY HARRY
  • FULL METAL JACKET
  • THE GODFATHER
  • THE ABSOLUTELY TRUE DIARY OF A PART-TIME INDIAN
  • THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
  • CANNIBAL HOLOCAUST

Change the title and you change the target audience or age group. THE ZOOKEEPER’S WIFE targets women ages 25+, otherwise it may have just been called ZOOKEEPERS or A ZOO IN WARSAW. HUNGER GAMES aims at a younger target audience. Change the audience to a males aged 14-24 and you end up with something like BATTLE ROYALE, or THE GAMES for a slightly older age group, non-gender biased. Target girls aged 14-24 with THE GIRL FROM DISTRICT 12. Want to make it more gory? Try BLOODBATH. Sci-fi thriller? DISTRICT 12 or THE DISTRICT.

Can you guess the target audience and age group for PART-TIME INDIAN, WINGS OF DESIRE or CANNIBAL HOLOCAUST?

Titles Based on Focus or Viewpoint

These titles indicate who lies at the central focus of the story and from whose viewpoint we will experience that story. This is usually achieved by highlighting the protagonist, central character, a group of characters or even a fundamental location:

Titles centered around an individual (protagonist or central character):

  • AKIRA
  • ALCATRAZ VS THE EVIL LIBRARIANS
  • ANNA KARENINA
  • BARTON FINK
  • BEING JOHN MALKOVICH
  • BEOWULF
  • THE CURIOUS CASE OF BENJAMIN BUTTON
  • FORREST GUMP
  • HARRY POTTER
  • I, CLAUDIUS
  • JANE EYRE
  • MOBY DICK
  • MY NAME IS EARL
  • STEPPENWOLF
  • SULA
  • UGLY BETTY

This idea can be expanded to a family or group entity, usually multi-generational:

  • ALL MY SONS
  • BELLEFLEUR
  • DUCK DYNASTY
  • FOUNDATION
  • FRIENDS
  • SEVEN SAMURAI
  • THE THORN BIRDS
  • X-MEN

Titles based on a central location:

  • 20,000 LEAGUES UNDER THE SEA
  • 90210
  • BROKEBACK MOUNTAIN
  • CHEERS
  • JURASSIC PARK
  • MELROSE PLACE
  • RED MARS
  • A TALE OF TWO CITIES
  • WUTHERING HEIGHTS

We can change the focus from one of these areas to another rather easily. A group story like FELLOWSHIP OF THE RINGS becomes an individual, point-of-view story with the title GANDALF, indicating he’s either protagonist, narrator, or the epicenter around which the story revolves. Title based on a location, such as CHEERS or INTO THE WOODS, implies that the action centers around that site and everything which occurs in it, with main plotlines more evenly distributed than if it was a single character’s story. Compare CHEERS to, say, FRASIER. Frasier is a character in both, but the central figure in only one. Can you guess which? Compare a shows an ensemble TV show like FULL HOUSE to REBA or ROSEANNE. Both are multi-camera sitcoms with an extended family living in the same house, yet the focus is clearly biased toward one specific character in REBA and ROSEANNE.

To be continued…

We’ve gone over a lot in this article, but believe it or not, it doesn’t end there. There is so much ground to cover concerning  story titles that we’re dedicating a follow-up article to explaining the rest. Stay tuned for Part 2: Helpful Tips to Nail That Story Title.

Until then…

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