Tag Archives: comedy

5 Ways to Overcome Writer’s Block and Start Writing Your Next Project: Tips & Tricks

Are you struggling with how to start your project? Itching to get writing but don’t know where to start? Maybe you feel stuck or walled off by writer’s block.

Have no fear. It happens to everyone.

Fortunately, there are several effective strategies you can use to overcome writer’s block and start writing your next project.

Say goodbye, writer’s block! We’re about to get your creative juices flowing again!

1. Change your writing environment.

We have to start here because it’s often an overlooked key to unlocking the stuck mind. When we do a certain thing or go to a certain place over and over again, our brains mold pathways that make thinking patterns fall into those same old ruts right away. The goal here is to change things up and break those crusty old behaviors.

Here are some of the ways to do that:

  • Change your writing schedule. Write in the evening? Try writing first thing in the morning.
  • Try writing in a different place. If you write in your office, try writing at a coffee shop instead.
  • Take a break and walk around. Get the endorphins pumping! This really helps.
  • Go for a drive to nowhere. 20 minutes in the car by yourself with no distractions (or maybe some music or an audiobook) does wonders to “reset” your brain.

2. Warm up with a writing exercise.

Writing exercises are great because you never know where they will go or what you will get out of them. More than a few of my own works have come directly from writing exercises I did to warm up my fingertips.

It doesn’t have to be a formal exercise either. The point isn’t to follow a set of arbitrary rules, but to get your brain thinking in the “writerly” way while expanding into newer, fresher territory.

Here are some ways to do that:

  • Describe something. Pick something you see and describe it. Spend at least a page doing so. Try describing the thing or person without naming it directly.
  • Practice freewriting. This technique involves writing without stopping or censoring yourself for a set period of time, say 10 minutes. Just write whatever is in your brain and see where it goes.
  • Write from a prompt. There are thousands of writing prompts available on the web, such as those provided by Writer’s Digest. Another great way to jumpstart your creativity.
  • Try a writing exercise. Or two. Or several. Reedsy offers a helpful list of writing exercises for novelists in particular, but anyone can get value from them.

Also Read: 5 Simple Tricks to Improve Your Descriptions

3. Start with a dramatic hook.

Now we’re getting into pro-level writing techniques designed to unstopper your writer’s block. In this method, you will open a new project with the most dramatic image, setting, or scene you can imagine. It doesn’t have to be connected to anything yet. The point here is just to make it arresting, intriguing, and make the reader want to turn the page—even if the reader is just you.

Here are some ways to do that:

Open on an arresting image.

This is a great technique because it sparks instant intrigue and excitement.

Consider making the image seem out of place at first to arouse curiosity and wonder. Is the Statue of Liberty’s head lying in a garbage heap? The Mona Lisa on fire? A foreigner surrounded by masses of seemingly identical locals? There are no rules, only imagery.

Describe something visual.

By opening on the description of something visual, you can draw the reader in by setting the scene and starting small before expanding their view of the scene. Begin by describing the image in detail, along with the action, and then exploring outward from there to pieces of the world, other characters, and events that may have occurred off-screen.

As with the arresting image, you may find it helpful to take inspiration from art, such as one of the innumerable collages on Pinterest, artist pages on Facebook, Deviantart, or classic works of art found in museums around the world.

Begin anywhere but the beginning.

Really. Many writers find themselves unable to dive into a new novel or screenplay because they can’t figure out how to start the book. Here’s a secret: start it later.

For now, pick a part of the book you know you want to write and start writing there. Is it the description of a character? A place? An exchange of dialogue? An action?

Don’t let yourself be held back.

Open with conflict.

Another favorite choice of writers, especially in the movies. If you’re writing a screenplay, jump into the action in media res without lapsing into direct exposition. If you’re writing prose, start on an action and dive right into the scene conflict. Many great stories start with action.

Conflict is the bread and butter that keeps readers glued to the story. So why not open the story with some type of conflict? Physical, social, purely internal—again, don’t limit yourself.

Start with dialogue.

This is a riskier tactic but opening up on the right line of dialogue (or even a voice over in film) is a way to make the audience stick around to see what happens next. Dialogue that’s outrageous or obviously out of context works well here. So does tying the dialogue directly to the middle of a conflict: “What do you mean you’ve lost it?” or “Like I said before, you wanted a problem, now you got a problem.” Et cetera.

If you can make it work, it’s a great way to go. In general, however, opening with action or description is a stronger choice, so use this technique carefully.

4. Start with research.

Many writing projects require research. Personally, I find my best ideas come to me directly out of the research I do—while I’m doing it. Making notes and scribbling ideas down as I go, in no time at all, I end up with a stack of material that helps me get started. I like to think of these as tent pegs I’ve put in the ground, and when I get to the writing phase, my task is to connect with pegs with canvas until a cohesive structure is built.

Here are some ways you start with research:

  • Stick your nose in some books. Good old-fashioned research technique. I keep a separate notebook I can write ideas down in, page numbers, and other notes so as to avoid defacing books (yes, I am that kind of person).
  • People watch. Go to a public place and write descriptions, behaviors, backgrounds, or whatever you like about the people and groups you observe.
  • Make a visual board. Using websites like Pinterest or a more conventional corkboard on the wall can help you bring together characters, images, settings, and ideas to make the world feel more real. Start by selecting one image. That way, you’re less likely to get overwhelmed.
  • Watch or read interviews. This approach is overlooked far too often. By looking at interviews from subject matter experts and survivors of very specific experiences, you can garner details for your story that you might not be able to get anywhere else.

5. Start by concepting with a friend.

I love this approach. Personally, I find it very helpful. Two brains are better than one. The simple act of verbalizing and articulating your ideas in front of someone else and getting their feedback helps you sort out what works and what needs work. Let the ideas flow freely. Don’t worry about ideas being “too big” or “too crazy.” You never know what will stick to the wall.

Think of this strategy as a creative brainstorm with someone who will act as your sounding board. Your hype person. Your confidant. Your friend you owe a coffee after putting up with your insane story ideas.

Another advantage to this strategy is that being put on the spot to articulate an idea verbally helps you “hear” it out loud more like a stranger would. It also forces your brain to suddenly connect dots and make observations you might not have consciously known before.

If you have a friend who’s willing to take the extra step with you, set up a few ground rules for the concepting session:

  • Use as many “what ifs” as possible.
  • Agree that no “what if” is a bad idea.
  • Try to explore each “what if” as far as possible.
  • Always respond with “yes and” —meaning you must agree to the “what if” and add another element, detail, twist, or “what if” on top of it.
  • Don’t shy away from the big “what ifs”—what if the genre was X instead of Y; what if the main character was the opposite gender; what if the story started at the end; etc.

Final Thoughts

Overcoming writer’s block can be a challenge, but by using these five tips and tricks, you can break through your creative roadblocks and start writing your next project. Whether it’s changing your writing environment, warming up with a writing exercise, starting with a dramatic hook, starting with research first, or you simply need to brainstorm with a friend first, these strategies can help you approach your writing with renewed energy and focus.

Use as many (or as few) of these techniques as many times as you need to pop the cork on writer’s block. By this time next year, I’m confident you will be well into your creating your best work yet.

And, of course, never stop writing!

Good Boys: The New ‘Superbad’

A pro story analyst reviews the 2019 film Good Boys.

Good Boys is the latest comedy from director Gene Stupnitsky and writer Lee Eisenberg, both known for their work as producers on The Office. Presenting a new take on the teen coming-of-age story, Good Boys is positioned to become the new Superbad for a younger generation.

So, how does Good Boys stack up in terms of storytelling?

Where Good Boys does well:

Concept Execution

Good Boys absolutely nails the challenges, priorities, desires and perceived obstacles of the age group, as well as the ignorance of youth. It’s a coming-of-age story, but in a different way than a teen-to-adult coming-of-age premise. Just like a teenager learning some of the hard lessons of growing into adulthood, Good Boys dials the age back one step to show grade school-aged “kids” learning the hard lessons of growing into tweens and pre-teens. Along the way, they learn the realities of childhood, individuality and growing up.

Emotional Content and Theme

When it comes to digging out the potential heartfelt emotional content inherent in the concept and surfacing those ideas to the audience, Good Boys hits a home run. Few coming-of-age comedies that rely so heavily on gross-out antics dare to go so deep.

Tapping into Topical Sentiments

Good Boys ties in many darker modern social trends in a way that delivers funny social commentary. The film’s portrayal of bullying, child predators, “CPR” dolls (read: Real Girl Dolls), respect for women, fluid sexuality and male emotional bonds is always double-pronged, illustrating simultaneous viewpoints of childlike innocence and adult reality through the lens of humor.

Where could Good Boys have done better?

Good Boys is by no means a perfect movie. One of the areas it struggled with is…

Transitions Between Beats

While not necessarily the fault of the actors, it’s more likely that writing and editing are to blame here. Jumping off from the resolution of one beat and abruptly onto the next in the middle of a scene may require more creative grace than Good Boys can muster at times.

Quick pacing and vibrant dialogue help gloss over the fact, to be sure, but cannot cover up those blocky transitions.

Conviction in the Acting

Pinning the success of a feature-length major motion picture on the performance of young actors requires exceptional chops from its stars. Jacob Tremblay, Brady Noon and Keith Williams perform with a surprising emotional range and conviction – and they absolutely deserve recognition for it. But sometimes the conviction isn’t completely there, making for more than a few hollow line deliveries. Again, expecting young actors to carry such a colossal undertaking is asking a lot, even for an especially talented actor like Tremblay.

The stars shine, but they aren’t able to make every moment count.

Conflicting Subject Matter vs. Target Audience

One of the major challenges of a movie like this is that, despite its seemingly broad appeal, it’s focus on issues of a young age group conflicts with its R-rating and obvious adult targeting. Although not a deal-breaker for the film, other lower-quality films have hit a brick wall in terms of box office success for the same reason. The Golden Compass comes to mind.

Rating aside, the film stands on its own.


While Good Boys isn’t likely to win an Oscar and it’s gross-out humor may be off-putting to some, this film is a prime candidate for under-appreciation – and potentially future ‘cult’ status. Although it may not be exactly this reviewer’s cup of tea, Good Boys offers a unique take on the classic teen coming-of-age story that’s bound to make its mark in comedy film history.

Rating: 4 / 5

Featured image photo by Noom Peerapong on Unsplash.

8 Movies That Prove Perspective is Everything

If film has taught us anything, it’s that different people perceive things differently. That’s how we get conflict. And we wouldn’t have conflict if we all experienced and interpreted events in exactly the same way.

Whereas history presents itself as being an objective treatment of the human story, story in the narrative sense relies more on the subjective experiences of our narrators, protagonists, and characters. The way they view motivations and events isn’t necessarily the way other characters in those same stories would view them.

The storytelling term that addresses this subjectivity is called an ‘unreliable narrator.’ How an unreliable narrator frames story events for the audience isn’t necessarily the way they actually happened.

On that note, we’re going to explore eight movies that show how perspective and point of view shape our interpretation of story.

(WARNING! These films aren’t for everyone. But if you’re in the mood to flex those hungry cinephile muscles, then you should absolutely watch every movie on this list. Hint: The best ones are at the end.)

1. Dale and Tucker vs Evil

IMDB | 2010 | R | 1h 29min | Action, Comedy, Horror

Let’s start simple and easy. Dale and Tucker vs Evil is a fun, light-hearted romp that takes a concept like The Texas Chainsaw Massacre and turns it on its head to show things from the perspective of the “bad guys.” What we learn, however, is that these chainsaw-wielding hillbillies are anything but “bad.” It’s merely the viewpoint of the victims that frame Dale and Tucker as psychotic murderers. Worth noting is how the movie goes the extra mile to make use love and sympathize with the unlucky protagonists, played by the talented Alan Tudyk and Tyler Labine.

Continue reading 8 Movies That Prove Perspective is Everything

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.

STORY TITLES, PART 3: Titles In Practice

After two articles discussing the theory behind what makes story titles great, let’s break down some real-life story titles and see what works and what doesn’t.

First, a quick refresher:

When you look at a story title (including the examples), ask yourself these four questions:

  1. Does the title convey the genre and tone?
  2. Does the title indicate a concept, central idea and/or theme?
  3. Does the title suggest a certain type of audience?
  4. Does the title imply the focus of the storytelling?

Sadly, not every title will hit all four of these points. However, if you can tweak your own until each answer becomes a resounding YES, then you may just have one stellar title under your belt.

With that in mind, let’s take a look at…

TITLES THAT KILL

Once in awhile you run across a story title that sticks to the wall so well, it’s almost impossible to peel it off! These titles hit all four points, teasing the audience with what the story has to offer and then paying off the tease in spades. Some of these even connect the concept and theme with a great double entendre.

Let’s start with a simple one:

MONSTER IN LAW

Although not the greatest movie ever made, the title is fantastic. The title is a play on words, as is common for comedy movies (think LEGALLY BLONDE), giving us the genre and tone right up front. What is the concept? A mother-in-law who is a proverbial monster. Duh! Audience? Directed toward adults who can relate to having in-laws. The focus is clearly on the relationship with the mother-in-law. And to top off the whole sundae with a nice fat cherry is the double entendre to give the title that extra bit of punch.

Another simple one, also a movie:

LOVE ACTUALLY

GENRE/TONE: Romance (could it be anything else?)
CONCEPT, ETC: Literally “love, actually” in its many forms and manifestations.
AUDIENCE: Females and romantics. If it was targeting males, the title might look like LOVE GUN or TO LOVE A WOMAN, etc.
FOCUS: A group of characters experiencing “love, actually.”

What about TV? Got you covered:

GREY’S ANATOMY

Another play on words, this time referencing the famous anatomy textbook GRAY’S ANATOMY.

GENRE/TONE: A serious medical show.
CONCEPT, ETC: A medical show about a med student named Dr. Grey.
AUDIENCE: Medical show fans with a female bias (e.g, ER for women).
FOCUS: Dr. Grey as the protagonist.

Another, albeit older, TV show:

FRIENDS

An older reference, but the title couldn’t be better.

GENRE/TONE: Light, relatable.
CONCEPT, ETC: The lives of a group of friends.
AUDIENCE: Age groups with tight circles of friends (think teenagers to young adult).
FOCUS: The group of friends.

How about something more poetic, in this case a book:

FLOWERS FOR ALGERNON

GENRE/TONE: Intellectual drama.
CONCEPT, ETC: Although we don’t know what “Flowers for Algernon” means before diving into the book, we come to understand the great significance this simple idea conveys. The protagonist watches a mouse named Algernon lose its brain functions and, knowing he will face the same end, the protagonist mourns for both the mouse and his own loss before his awareness wanes. His final wishes is to have flowers placed on Algernon’s grave.
AUDIENCE: A more sophisticated audience capable of appreciating the nuances of the material.
FOCUS: The protagonist, for whom Algernon is a long-term foreshadowing device.

And if you feel like cheating…

BATMAN, SPIDERMAN, SUPERMAN, etc.

Superhero stories are kind of a cheat because they practically name themselves. A superhero story is almost always named after the superhero or superhero group:

GENRE/TONE: Superhero (usually action/adventure)
CONCEPT, ETC.: A Superhero with these powers.
AUDIENCE: Audiences who like superheroes.
FOCUS: On that superhero.

Easy, right?

TITLES THAT DON’T (FAMOUS MISSES)

Before we proceed into more controversial territory, it’s vital to understand two points:

  1. A successful story doesn’t necessarily mean a good title.
  2. A successful title doesn’t necessarily mean a good story.

Even some of the most ubiquitously popular books and films from the past were given less than spectacular titles. In fact, some of them are pretty bad, especially for two of biggest and most successful story franchises of all time: LORD OF THE RINGS and STAR WARS.

Before you scream from the rooftops that I’m a lunatic, take a deep breath and read on. (For the record, these are my personal two favorite stories throughout all space and time, so I’m not as biased as you might think!)

STAR WARS (film, 1977)

This is a great example because not only is the title generic and cheesy, it doesn’t tell us much about the story other than there is combat in space. Is that the concept? Not really. Yes, the target audience is fairly generalized with an obvious bias toward sci-fi fans, but who is the focus of the story? We don’t know. Thankfully, the film was later (and rightfully) re-titled as A NEW HOPE. Still not a killer title, but better than the original.

Compare to…

HUNGER GAMES (book & film, 2008)

Suggesting intensity and action, the concept is also in the title, aimed at a slightly younger, mostly generalized audience with a focus is on what happens during each annual Hunger Games.

LORD OF THE RINGS (books & films, 1954+)

This is an interesting example because it illustrates so much. J.R.R Tolkien himself wanted to publish the trilogy in one big volume, but with accurate (if not plain) titles for each section: THE FIRST JOURNEY, THE RING SETS OUT, THE JOURNEY OF THE NINE COMPANIONS or THE RING GOES SOUTH, and THE WAR OF THE RING. But the editor intervened, splitting the book into three parts to form the trilogy we know today, and giving us these oddly vague titles: THE FELLOWSHIP OF THE RING, THE TWO TOWERS, and THE RETURN OF THE KING.

“Fellowship” accurately describes the group of individuals centered around smuggling the One Ring into Mordor, so that hits on concept and focus, possibly audience but not necessarily genre. Then we get to the Two Towers, which is a bit odd since the story is not actually about those two locations, nor are the two specific towers ever made clear since there are actually four towers mentioned in the book: Barad-dur, and Cirith Ungol, Isengard, and Minas Tirith. Then “Return” misses the mark by painting the wrong focus, indicating the book is about Aragorn and his rise to the kingship. Christian overtones aside, compare RETURN OF THE KING to any number of much better titles: THE WAR OF THE RING, THE LAST BATTLE, FRODO BAGGINS AND THE JOURNEY TO MT. DOOM. Each gives the final installment of the story a different flavor with a far more accurate indication of story focus, tone, and genre.

The series title, LORD OF THE RINGS, suggests the main antagonist, Sauron, is the storytelling focus for the entire saga. This is not the case. Something like THE ONE RING would be far more accurate, since the story does indeed follow the characters, factions, and plots surrounding this central device.

Compare to…

HARRY POTTER (books & films, 1997)

Perhaps better than any other famous franchise, the titles of the HARRY POTTER installments tell us right up front we are in for adventure and mystery, what the concept is, where the storytelling focus is, and that there is a general target audience with a bias toward younger ages. While they may not be the most creative titles ever invented, they do the job spectacularly well.

IN CONCLUSION…

This wraps our 3-part series on titles for now. In Part 1, we talked about what a story title is, how it works, and where it comes from. Then, in Part 2 we went over some helpful tips to nail your story title. Now that we’ve reviewed some famous titles that hit the mark and some that don’t, it’s time to say goodbye to story titles for awhile and move onto another subject.

Still need help? Look no further! Get in touch and let’s work it out together.

Stay tuned for our next article…coming soon!

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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10 Short Films for Cinephiles

I am a long time lover of short films. Poignant, succinct, and bite-sized, short films allow the viewer to escape into a world of emotion and fantasy for a few minutes at a time. Occasionally I find a rare gem that transcends language and culture to deliver a powerful experience, so today I want to share an eclectic selection with you. There are so many excellent short films out there that I cannot hope to share them all, so here are 10 short films every cinephile needs to see before they die:

1. The Reward (2013)

Adventure, Animation, Fantasy 
An epic bromance made as a graduation film. Read more about The Reward on io9.com or IMDB.

2. The Red Balloon (1956)

Family, Fantasy
La ballon rouge is about a Parisian boy who finds a sentient balloon that follows him. Read more about The Red Balloon on Wikipedia or IMDB.

3. La Jetée (1962)

Drama, Sci-Fi
In the aftermath of World War III a few survivors attempt to time travel back to a time before the earth was decimated. “The Jetty” is a French experimental film unfortunately I could not find a version with English subtitles. Read more about La Jetée on Wikipedia or IMDB.

4. Splitscreen: A Love Story (2011)

Romance Shot using a camera phone, this creative short wordlessly literally brings two people together. Read more about Splitscreen: A Love Story on Slate.com.

5. The Wrong Trousers (1993)

Animation, Comedy Link: A claymation short about a man and his intelligent dog who face off against a malicious bank-robbing penguin. The follower trailer hardly does the full short justice. Read more about The Wrong Trousers on Wikipedia or IMDB.

6. The Black Hole (2008)

Sci-fi A sleep-deprived office worker accidentally discovers a black hole – and then greed gets the better of him. Although the only free version of The Black Hole is a trailer, you can download the full version at Warpfilmstore.com.

7. The Chubbchubbs! (2002)

Animation, Comedy, Sci-fiAn Oscar-winning comedy short rife with sci-fi spoofs about a janitor whose dream of becoming a singer comes true. Read more about The Chubbchubbs! on Wikipedia or IMDB. here.

8. Paperman (2012)

Comedy, Romance Link: [ need to find ] An Oscar-winning short in which Disney proves that they still have some magic up their sleeves and they don’t need Pixar to make it happen. Paperman originally played in theaters at the opening of Wreck-It Ralph (2012). Read more about Paperman on Wikipedia or IMDB.

9. Election Night (1999)

Comedy An idealistic voter discovers that abstract ideas don’t always match up to reality. Read more about Election Night on Wikipedia or IMDB.

 

10. Bad Motherf*****r (2013)

Action/Adventure Although a music video, Bad Motherf*****r is a short film in its own right as well. Watch a James Bond-like hero escape from capture in a blood pumping POV sequence. Like it’s less spectacular prequel, Bad Motherf*****r was filmed using a Go Pro camera. Warning: graphic violence and language. Read more about Bad Mother*****r on Awsm.com or IMDB.

It’s Sketch Time!

After a long hiatus of being just a writer I’m going back to filmmaking and I’m starting off by making some sketches.  If you or any of your friends local to Los Angeles are interested in helping out, I’m looking for CREW and ACTORS interested in doing short comedy pieces.  I have several lined up and can use a variety of shapes, sizes, etc.

Ichi the Killer, a film by Takashi Miike

By James Gilmore

From the director of 13 Assassins comes Ichi the Killer, a gruesome but creative narrative that challenges the senses with its pushing of sex and violence to the extreme in an orgy of gore (a “gore-gy” if you will). (Ichi is banned in several countries for its “high impact violence and graphic depictions of cruelty”[Wikipedia].)

Although listed as an action/comedy/crime film imdb.comIchi may feel more like torture porn than anything else to regular movie-going audiences. Its surreal, creative departure from typical gore flicks is intriguing, enhanced by a unique soundtrack, thoughtful acting, and a deceptively simple plot which takes on new depth at the midpoint.

Ichi’s tortured main character is furnished with the uncanny ability to paint any room with a smorgasbord of blood and guts. A sexual dysfunctionary, this weak-minded assassin is the victim of manipulative bullies who push him to avenge a non-existent incident from his past. And while the film plays out as a visual dissertation on sadomasochism, the story is actually about bullying and bullies who, as adults, are fighting for survival among the fiercest criminals of the Shinjuku underworld. The protagonist manages to purge the screen of its many villains in a disappointingly anti-climactic conclusion.

Although it may be the most light-hearted torture porn ever made, Ichi the Killer is not for the faint of heart. Anyone expecting innocent laughs, seat-riveting action or a good old fashioned crime story should avert their eyes and ears and move on to something else. File Ichi in the “most gruesome films of world cinema” category, right next to Salo.

Rating: 3 / 5