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

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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!

advice, books, how-to, movies, TV

Why Does Success or Failure Matter? A Quick and Easy Guide to Creating Stakes in Storytelling

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Let’s start at the beginning—

What Are Stakes?

Stakes are what a character stands to lose if they fail, or if they don’t do something. But more than that, stakes are the why.

What about motivation, you ask? Motivation is also a why, isn’t it? Yes! But stakes create that motivation.

If a character doesn’t have a reason to do something, then they aren’t motivated. When that character acts without being motivated to do so, we don’t understand why the character is doing what they do. It ends up feeling forced or contrived.

However, knowing what’s at stake if they don’t act gives that character a reason to move forward—because the alternative (not taking action) is worse.

In story terms, stakes are why something matters—decisions, complications, obstacles, plot points, etc.

Why Are Stakes Important?

Without stakes, you can’t have those big pivotal moments where the hero makes a choice between Option A and Option B. Stakes crystallize why a reluctant hero must rise to the challenge to take on a difficult task because what they stand to lose if they don’t take action is worse. Stakes are why the hero can’t just walk away from the people relying on him/her/them and take the easy way out.

What If My Story Doesn’t Have Stakes?

If you don’t know already, I’m a story consultant. All too often, I see screenplays, novels or tabletop game materials that are missing stakes.

This lack of stakes will tank your story’s impact in a number of ways:

  • The audience won’t understand your characters’ motivations.
  • The audience won’t invest in your characters or your story.
  • The audience will feel like the plot has not point.
  • The audience will come away feeling like the story was a waste of time.

Stakes make the decisions and actions of the characters matter. Stakes are why we invest in the protagonist and their success. As we, the audience, bond with those characters, their success or failure becomes ours.

Yikes.

Nobody wants that.

How Do I Put Stakes in My Story?

Once you know how stakes fit into the narrative formula, it’s actually quite simple. The easy place to start is in terms of “life and death” because the outcome of success (life) or failure (death) is so concrete. That’s your starting point.

Next, let’s abstract that idea to character growth (“life”) or character death (“death”). Characters must continue to grow and develop or they become stagnant, which is “character death” from a narrative perspective.

A character that ceases to grow is for all intents and purposes “dead.” If your protagonist has become stagnant, something must happen to make them grow again. Nobody wants to follow a protagonist that stays narratively dead. Instead, they want to experience a character moving forward in growth, meaning success or “life” in the narrative.

Many movies start out with the protagonist “stuck” in a status quo that does not allow them to grow, motivating a need for change but unable to move forward without the inciting incident that will change everything.

A protagonist who finds themselves in a dead-end job and marriage has died, proverbially or narratively. But then some spark suddenly introduces itself and they now have the opportunity to grow again—to choose “life.” Or, the protagonist can remain where they are by choosing “death.” (Think American Beauty.)

Some people find it helpful to think of the “life” part of stakes as the character’s “way of life.” That is, the way of life that is best for the character, usually involving growth or moving forward in some way.

Faced with the two choices, the protagonist is motivated to choose growth (“life”) on the new path. But there will be obstacles along the way that block the protagonist’s path, threatening to send the character back into stagnancy (“death”). If the character overcomes the obstacle, they succeed and move on, continuing to grow. Failure means a setback (if the stakes are lower). Later in the story, when the stakes are high enough, failure means a return to death.

So a rough formula might look something like this:

Stakes > Motivates Action/Decision > Character Proactively Acts/Decides > Faces Obstacle > Fails or Succeeds

If Succeed > Raise Stakes

If Fail > “Character Death”

Tips for Putting Stakes in Your Story

Here are a few quick tips to help you put stakes in your story:

  1. The stakes must be clear, always.
  2. The stakes must be big enough to motivate action or decision.
  3. Don’t go too long without reminding the audience what’s at stake.
  4. The strongest stakes confront characters with “death”—metaphorical, proverbial, or literal.
  5. Start small, go big. Use that contrast to create a sense of rising conflict.
  6. You can always go bigger.
  7. Can you lower the stakes? Only if other, bigger stakes present themselves.
  8. Once an obstacle is overcome, raise the stakes (repeat as needed).
  9. Use other characters to illustrate the consequence of failure (i.e., the stakes).
  10. Use antagonists to actively work against the protagonist, enforcing the stakes.
  11. Your antagonists have stakes, too. What motivates them to succeed over the protagonist?
  12. Use escalation and counter-escalation to continually raise the stakes.

Making It Matter: Examples of How Stakes Work

Let’s say we have a male character that runs a business. He is motivated to complete a big project for his biggest client. He’s operating a business, after all. But that motivation alone is not very strong. Knowing why he wants to complete the project strengthens that motivation significantly. We add that “why” with stakes.

Here’s how we might do that:

  • The project is on a tight deadline.
  • It requires his entire workforce.
  • If he fails to deliver the project at high quality and on time, he may lose that client forever.
  • If he loses his biggest client, his struggling business will fold, and everyone will lose their jobs.
  • The business owner will lose the business he built from the ground up for more than 40 years.

If the audience knows those five whys—what the stakes are for failure—the owner’s motivation suddenly becomes a helluva lot more powerful. Because we know the whys, as the audience, we invest in that character’s success and want him to succeed. He knows the stakes, too, driving him forward. The more the character wants to succeed, the more the audience will want it for him.

Raising the Stakes

Throughout your story, there should be a general rise in the stakes. At each obstacle or plot point, you can “raise the stakes.” When you raise the stakes, you are adding more to what your character will lose if they fail. It not only fuels motivation so they don’t give up when faced when bigger and harder obstacles, but keeps the story interesting and the audience invested. By the time you reach the big climax in act three, the stakes should be at the highest possible point.

The simplest way to raise the stakes is to throw in a new complication. After all, you can’t sit on the same stakes forever or the audience will get bored. Adding a complication, bump, or obstacle in the protagonist’s goal-seeking puts pressure on the character, making it harder to achieve that goal. Again, the stakes make all of that matter.

How much can you raise the stakes? All the way! But keep it appropriate to the world of your story.

For example, you can go: Loss of face > loss of status > loss of livelihood > loss of life > loss of family’s life > loss of country > loss of world > loss of universe > loss of time and existence.

However, going all the way to the “loss of time and existence” may be too  big to be appropriate for your story. A smaller, character-oriented story will run on a smaller scale than a big action sci-fi story. But, as with the narrative character “life” and “death” concept, the “loss of time an existence” can be expressed in metaphorical terms in relation to the character. For example, our business owner may feel this way about the loss of his business.

Speaking of which….

Example of Raising the Stakes

Let’s return to the example of the business owner:

Time to throw in something new—a complication to the business owner’s goal. He discovers one of his employees is stealing from him, jeopardizing the project. If it continues, the project won’t be completed on time and the business owner risks losing money, the client, his business, and more.

To overcome the obstacle, the business owner proactively confronts the employee, who responds by threatening to frame the owner for fraud—raising the stakes.

How does this raise the stakes? Now the stakes are bigger than before: The business owner stands to lose his biggest client, business, livelihood, the livelihood of his employees, and he’s in danger of losing his reputation and going to prison.

We can do this in other ways, too:

The business could burn down, or the client pulls their order without paying at the last minute, or the employees stage a walkout because of the long hours they’ve been working. Maybe all of these complications happen, adding pressure to the business owner and illustrating for the audience how close to failure the protagonist is.

In the third act, the stakes may inflate to their biggest size yet.

Maybe the business is a small biotech research laboratory. An insider from his client reveals that if the lab can’t deliver this order on time, they won’t be able to contain a dangerous pandemic. The stakes jump from loss of livelihood and reputation to global life and death.

Whew!

Without stakes, none of it would matter.

There’s an added bonus in working out the stakes for your story. Did you notice how, in doing that, we inadvertently (but deliberately) outlined an entire story and all its major turning points? And what a dramatic story it is!

If you are struggling with structuring our outlining the major beats or plot points of your story, consider looking to the stakes and seeing if that helps you get over that hump to reach the finish line.

Minimalist Reviews, movies

Good Boys: The New ‘Superbad’

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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.

books, how-to, movies

Adapting Your Screenplay to Novel: Turning Your Script into a Book

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So you’ve recently completed this amazing big budget blockbuster screenplay . Now you want to make something happen with it. The problem is: No one is biting.

Why?

Because big budget spec scripts don’t sell. (You can read more about that in my previous article.)

Maybe your best next step is to consider adapting your screenplay into a novel. Although this is the reverse of how the process usually works (books adapted into movies are more common), that doesn’t mean this road is any less viable. In fact, adapting your completed screenplay into a book should be a go-to course of action if your screenplay is still gathering dust after a year or two.

Recently, I decided to take a big budget fantasy script that was a pet project of mine and transform it into something marketable. That meant tossing aside the idea that this script would be sold on spec (it wouldn’t) and taking a more realistic approach: Turning my screenplay into a novel.

Having embarked on this new experience, I can now offer some helpful advice on what to expect when you adapt your spec script into a book.

If you haven’t dusted off that old screenplay lately, maybe it’s time to turn it into a book!

Why Adapting Your Screenplay Into a Novel is a GREAT IDEA

1. It’s far easier to get a book published than to get a screenplay made. And lastly, a successful novel will help build the IP required to support that big budget sci-fi/fantasy/superhero spec script you wrote.

2. You already know the characters, story and world. Much of the hard work is already done. Writing the novel will also help deepen your understanding of each of these elements, in turn making the script even better (assuming you update it).

3. Simply put: It’s fun! So much more fun than I can put into words. The rush of writing those big visuals as they splash and evolve across the screen is simply indescribable. Why not enjoy what you love doing most?

CHALLENGES TO EXPECT

1. You Can’t Just Paste a Screenplay and Expect a Novel to Happen.

I cannot understate this point. Movies and book simply aren’t the same. This may seem obvious at first, but the differences are deeper and truer than even most professional realize. They handle storytelling in different ways. For you, this means you can’t just copy and paste your script into prose format. You will have to invest time in writing the book for the medium.

J.R.R. Tolkien once stated that his genre-defining epic The Lord of the Rings could not be filmed for this very reason. The effort to successfully adapt the series to screen required monumental effort by Peter Jackson and his many, many teams of moviemakers.

Cut-and-paste didn’t work going from book-to-screen, so it won’t work in reverse, either.

2. Not Everything Translates from Screen to Page.

Certain storytelling constructs will require additional effort to make them work. For example:

  • Novels reveal the internal monologue / film does not
  • Action thrives on screen / requires more work in prose
  • Screenplays are leaner, less forgiving / books have more freedom to explore
  • Novels are longer, so can have wider variance in structure / script structure is fairly rigid

3. You Will Have Gaps — Big Ones.

Whereas a screenplay has the magical effect of stimulating the imagination with minimal words on the page, and a movie has the luxury of using dedicated specialists to realize design for costumes, sets and atmosphere, a novel must do most of this for itself. For example, characters will require more description to capture the reader’s imagination.

Likewise, objects, sensations, visuals, impressions and feelings will take a little more exploration to make the same impact. Things you wouldn’t normally have to mention in a screenplay (because their presence is implied by the location, for example) often demand a mention to help set the scene as well.

Writers like J.K. Rowling and J.R.R. Tolkien demonstrate a remarkable gift for writing minimal description to communicate their ideas. Storytellers like Herman Melville prefer to wax poetic for pages (even chapters) at a time about the virtues of a painting. Most of us lie somewhere in between.

Either way, be prepared to put some extra time into fleshing out the character gaps, locations, and the thoughts and sensory interpretations of the character, possibly even the narrator (if applicable). It helps to think of your screenplay as an annotated outline for your book.

4. Writing the Book Version Will Make You Want to Rewrite Your Spec Script.

Simply throwing a rough draft of your book onto the page will give you the opportunity to dive deeper into your characters and story world than you would have previously. I found it helpful to push myself through the end of a completed rough draft of the novel before taking a step back to reassess how my new discoveries might impact the next draft of the original spec script.

In case you’re wondering: Yes, I did simultaneously rewrite the script and the book. And yes, it was hair-pullingly difficult. In the end, both story forms benefited greatly from the process and I have no regrets.

(NOTE: Don’t feel obligated to rewrite your script—not at first, anyway. You can still use it as-is for a writing sample. Rewriting your script may not be worth the effort.)

5. Screenwriting is More Fun, but Novel Writing is More Fulfilling.

This isn’t so much a challenge as a forewarning. Nothing beats the rush of writing a screenplay, especially when you are wrapped up in the intensity and immediacy of the moment. Compared such an amazing experience, writing a novel can feel a little bit like a letdown. Not that it’s bad—because it isn’t—but in many ways, it takes longer in a book to cover the same ground as in your screenplay. That can be frustrating.

Still, in the end, writing a novel gives you so much more freedom to express yourself and explore the characters, voices and world than you get in the restrictive screenplay format. Because of this, creating a novel can be more fulfilling in the end. Even screenwriting great William Goldman recommended writing something other than screenplays on the side.

I still love my spec screenplay (it was a vanity project, after all), but I’m even more proud of the book that came out of it. Additionally, the novel version also has a dramatically higher likelihood of being read by other people than my spec script.

And let’s face it, there’s nothing like sharing your story with the world.

What was your experience? We would love to know.

books, how-to, movies

So You Wrote a Big Budget Sci-fi/Fantasy Script. Now what?

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Recently, I put the finishing touches on the second draft of a big budget fantasy feature screenplay. I wrote it both for fun and as a portfolio piece, knowing full well that a script like this would never get made. Even though it probably wasn’t the best use of my time, I still put more time, passion and meticulous care into this manuscript than I care to admit right now. (Hint: It was a lot.)

Curious for input from other Hollywood industry pros, I sent the script out for feedback. If you’ve ever written an original big budget spec script, then you probably have gone through what I experienced next. While the feedback was positive, these pros all told me the same thing: No one will ever want to buy this, no matter how good it is.

So, you’ve written a big budget sci-fi, fantasy, superhero or action script on spec and no one in Hollywood wants to bite. You’re probably asking yourself: What do I do now?

Now that you have a big budget spec script on your hands, what do you do with it?

The short answer: Don’t toss it. Your script still has value.

The longer answer is, well, a bit longer. Let me explain.

Having a completed, polished screenplay under your belt will always be a feather in your cap whether you sell it or not. What you do with it next, however, is the big question.

First, let’s be clear and up front about expectations:

  • A big budget script is very hard to sell in Hollywood.
  • A big budget sci-fi/fantasy/superhero script not based on an existing IP (intellectual property, such as Lord of the Rings or Marvel) is even harder to sell.
  • A big budget script based on an IP you do not own or have rights to will not sell in Hollywood (because it’s IP/trademark infringement).
  • Your big budget script probably isn’t going to be made into a movie.

In short, your big budget genre movie is next to impossible to sell (let alone get made) in Hollywood. That may sound harsh, but understanding the reality you are up against is crucial to knowing where you shouldn’t be focusing your efforts. Instead, we’re going to take practical steps to make the most of that awesome script of yours.

Now that we’ve got that out of the way, let’s look at your path forward. You essentially have two choices:

  1. Use your script as a writing sample.
  2. Adapt your script into a novel.

1. As a Writing Sample

If you are like me, writing sci-fi/fantasy is your jam, meaning when you write in that milieu, you are at your best (replace with superhero, action, etc.). Pick out a few choice selections from your script and use these to promote your ability, professionalism and creativity when auditioning for new writing projects.

You probably won’t jump to working on big budget projects directly from a spec script, especially if you are still new to the business, but it can be the linchpin that opens a doorway that eventually leads to that prized assignment.

Besides, while you are using your incredibly cool script as a staple portfolio piece, you can simultaneously be pursuing option #2:

2. Adapting Your Screenplay into a Novel

Converting your spec screenplay into a novel is perhaps your best route to getting that story onto the big screen (yes, you read that correctly). In fact, you can even do this and #1 simultaneously.

If your book is successful, then the powers that be will be much more keen to turn your book into a movie. Now you’re back where you started—except this time you have the backing of an existing IP.

However, I should err on the side of caution in saying that there are no guarantees here. All of this hinges on the fact that you can:

  1. Complete a novel,
  2. Get it published, and
  3. Reach a wide enough audience with a strong enough impact that your novel is considered successful enough for adaptation to the screen.

It doesn’t have to be a novel, either. Video games and comic books are viable options as well. In fact, your superhero script may be more suited to one of these genres than a novel.

Regardless of the route you take, embarking on this journey is certainly a far better strategy than sitting on a perfectly good, superbly awesome story that the world would otherwise never get to experience.

Better to share than to hoard in secret. (Yes, you can quote that).

So now that you’ve written a big budget sci-fi, fantasy, superhero or action script on spec and nobody in Hollywood wants to bite, maybe all your story needs is a new medium to make it big.

Time to get writing.

Minimalist Reviews, movies

Capote, a film by Bennett Miller

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Austere, brilliantly-acted, and full of contrast

The late, great Philip Seymour Hoffman once again demonstrates his acting mastery in this biopic about Truman Capote during the writing of his non-fiction book, In Cold Blood—the book that defined Capote’s career. In fact, Hoffman brings the character so much to life that one can’t help but feel that he is more “Capote” than Capote himself.

But existential debate aside, Hoffman fills the role naturally and without artificial affect as he portrays a character unlike any other in his repertoire. It paid off: Hoffman won an Oscar for his performance.movie poster for philip seymour hoffman's masterfully acted movie Capote

The idea of “In Cold Blood” permeates Capote as it progresses in a reserved but naturalistic and non-distractedly spare manner with patient, steady pacing. A heavily restrained earth-tone color palette paints a stark picture supported by a similarly spare soundtrack that is at times cool and unmelodious, at other times contrasting with a tender piano score to complement the idea of human emotion and sympathy.

But the austere tone of the film is also counter-balanced with an interesting theme of humanizing the inhuman—a task the source material handles exceedingly well. The book itself (In Cold Blood) explores the human aspects of even the most cold-blooded acts of cruelty.

The plot focuses on the relationship between the ambitious but friendly and persuasive Capote and the accused murderer Perry Smith. As the story develops, the film draws clever and subtle parallels between their emerging friendship on the surface and the contrasting desires nested within: Capote’s search for book material and Perry’s heartless desires for self-gratification.

Perry’s full sociopathy finally surfaces toward the end once the veils are cast aside to reveal the harsh but ultimately human truth that lies beneath. The sequence portraying Perry’s confession illustrates this best, climatically depicting the heartbreaking humanity inherent in his brutality.

What could they have done better?

While the film demonstrates excellence in many regards, the story does have a few areas that could have been improved.

1. Where’s the Other Killer?

The book In Cold Blood depicts Perry Smith and Dick Hickock as a pair of cold-blooded killers—Dick coming across as particularly unfeeling and brutal compared to the warmth exhibited by Perry. While Dick is included in the film, his character lacks meaningful presence. Sure, the heart of Capote centers around the Truman’s relationship with Perry, but that doesn’t excuse his absence, particularly because Dick’s character provides an incredible opportunity to draw further contrast between the humanness of Perry and Dick’s inhumanness.

2. Act Three Pacing

The slow and steady pacing works for the film…except in the final act. Capote builds up the potential to push toward a riveting climax, but instead falls into the typical biopic pitfall of slowing down to end on a low note. Capote’s third act slows down an already andante step even more, practically to the point of boredom.

Still, all-in-all, a film worth seeing, particularly if you are fan of either Truman Capote or Philip Seymour Hoffman.

Rating: 4 / 5

books, how-to, movies, TV

5 Easy Ways to Improve Your Rewriting Process

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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 be 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.

Minimalist Reviews, movies

The Place Beyond the Pines, a film by Derek Cianfrance

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The Place Beyond the Pines is a Hollywood rarity. Theme is the driving force here, not plot, saturating every layer of the film. Cycles and cyclical imagery abound. At its core, Beyond the Pines is about how boys become their fathers, even if they consciously set out on different paths.

Essentially three short films in one (connected through a thematic father/son through-line), the movie proves itself through uncanny execution of what could easily have been a forgettable snapshot in time. The extraordinary directorial vision makes use of perspective and point of view to create a three-dimensional world, elevating a simple genre story into a filmic experience.beyond the pines 50

Visually gritty and visceral, the film is aglow with light and textures of color. Breathtaking cinematography makes use of the rich, the dramatic, and the crisp to capture the feel of vintage film stock. A slow, relaxed introduction to the story paints each scene as a thoughtful, ponderous photograph. But this pacing is double-edged, making the film feel a bit too slow and ponderous at times.

One thing is certain: The storytellers truly know character. Populating the cast with coarse, realistic individuals that feel genuine and real, each and every character comes across flawed and human. Excellent acting rounds out the characters with additional depth. The multiple protagonists can be jarring—as each new handoff brings instant change in tone—but ultimately serving to contrast or parallel the protagonists’ families.

What could they have done better?

1. Too Many Films

More than anything, this should have been two films. The first, an atmospheric short. The second, an interesting failed experiment. Although connected thematically and as a way to span generations of fathers and sons, a short opening sequence could solve that issue without making the film feel overlong. Granted, this would impact the Cianfrance’s audacious vision. But we are addressing story, not vision.

2. Act Two Pacing / Direction

Being thematically-driven, the act two development section feels as though it lacks forward direction at times. Creating a more clearly motivated end-point for characters in this section would have helped keep the pace from lagging. Cutting a few scenes to be shorter with less navel-gazing is another tried-and-true solution to a lull in pacing.

3. Extend Act One Meticulousness

The first act feels meticulously groomed, refined, and executed, making the other acts pale by comparison. During the script development phase, the writing team could have extended the tone and attention to story from act one to the rest of the film. Once in the editing room, however, the solution lies—believe it or not—in editing.

While Beyond the Pines may not be perfect, it is anything but another lobotomized Hollywood clone, but rather, a thoughtful observation of human behavior. If you’re a cinephile who loves mood and character and you’re in search of an experience that’s more complex and dense than your everyday summer flick, be sure to check it out.

Rating: 4 / 5

 

Want feedback or development help with your script or film? Contact us! We’re just a click away:

books, how-to, movies, tools, TV

Subtext, Part 2: What Does Subtext Do?

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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:

movies, top 10

10 Artistic Films to Watch Before You Die

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A quick heads up: We’re going to hit the international smorgasbord of taste in this article.

Are you a cinephile who loves artistic film? The road less traveled? Films that dare to defy convention? Then you’ve come to the right place.

I’m not going to lie, each of these films holds a special place in my heart and have stayed with me in the decades since I first experienced them. Now I want to pass those memorable experiences onto others.

No, not every one of these movies hits a Perfect 10 on the quality scale, and no, I’m not asking you to absolutely love every one of these films. However, I will ask you to keep an open mind and ignore the IMDB ratings. This discussion is about expanding your horizons beyond the narrow cookie-cutter Hollywood norms.

Let’s start with something soft and light:

1. Heartbeats

heartbeats

Originally: Les amours imaginaires
Director: Xavier Dolan
Writer: Xavier Dolan
Year: 2010
Runtime: 1h 41m
Genre: Drama, Romance
Country: France
Watch: YouTube, DVD

Perhaps the most mainstream film of this bunch, Heartbeats carries itself with subtlety, tenderness, and an almost uncomfortably close intimacy. This beautiful film takes a carefully crafted approach to navigating the uncertainties of love, friendship, gender and sexual fluidity by exploring the complex relationships within an ambiguous love triangle. A small cast in character-centric film, the content itself is somewhat progressive, but breathtaking in its heartfelt simplicity.

Still with me? Good. Let’s challenge your senses a little more.

2. Princess Mononoke

mononoke

Originally: Mononoke-hime
Director: Hayao Miyazaki
Writers: Hayao Miyazaki, Neil Gaiman (Adapted By)
Year: 1997
Runtime: 2h 14m
Genre: Animation, Action/Adventure, Fantasy
Country: Japan
Watch: DVD, Blu-ray

This anime feature film expresses a deep, theme-laden story through a dichotomous portrayal of beauty and brutality. The plot literalizes the metaphor of industrialization polluting the purity of nature, playing out the struggle on-screen with visual moments that will make your heart drop in your chest. But don’t let me spoil the plot. Experience it yourself. After all, there’s a reason this Studio Ghibli masterpiece has remained popular over the years.

3. The Tenant

tenant

Originally: La locataire
Director: Roman Polanski
Writers: Gérard Brach, Roman Polanski, Roland Topor (novel)
Year: 1976
Runtime: 2h 6m
Genre: Drama, Thriller, Horror
Country: France
Watch: Amazon Video, YouTube, DVD

You’ve heard of Rosemary’s Baby, but maybe you haven’t heard of Roman Polanski’s other other, arguably better, psychological horror film, The Tenant? Probably not. But here’s why you should watch it: The storytelling pays incredible attention to detail and the fluid, gradual madness that befalls the protagonist. You won’t even realize how deep into the story you are until the circular plot throws you for a loop with a powerful finale—or is it the beginning?

4. Run Lola Run

lola

Originally: Lola rennt
Director: Tom Tykwer
Writer: Tom Tykwer
Year: 1998
Runtime: 1h 20m
Genre: Crime, Drama, Thriller
Country: Germany
Watch: Amazon Video, YouTube, DVD, Blu-ray

A well-known international film popular among American cinephiles, Run Lola Run straddles the line between feature and short film while exploring the surreality of multiple endings. In the story, the protagonist finds herself in a jam, forcing her to make quick decisions, each leading to a cascading series of unforeseen consequences. Lola doesn’t hold your hand along the way, either, creating plenty of material for thought-provoking analysis.

Still there? Great. Let’s move into more obscure territory…

5. Kanal

kanal

AKA: The Sewer
Director: Andrzej Wajda
Writer: Jerzy Stefan Stawinski
Year: 1957
Runtime: 1h 31m
Genre: Drama, War
Country: Poland
Watch: DVD

A film by one of the Polish masters, Andrzej Wajda, the predecessor to other Polish greats like Krzysztof Kieslowski and controversial directing great Roman Polanski, Kanal offers a layered retelling of Dante’s Inferno. Set in the sewers of Warsaw in WWII, the surface plot acts as a proxy to express Poland’s struggle to regain its lost identity after the USSR takeover. Bravery, insanity, and tragedy all have their place in this incredible piece of Polish Cold War-era film history.

6. Baraka

baraka

AKA: Baraka – A World Beyond Words
Director: Ron Fricke
Writers: Ron Fricke, Mark Magidson, Genevieve Nicholas, Constantine Nicholas, Bob Green
Year: 1992
Runtime: 1h 36m
Genre: Documentary
Country: United States
Watch: Amazon Video, YouTube, DVD, Blu-ray

No, this awe-inspiring documentary has nothing to do with former U.S. President Barack Obama. Rather, it’s a visual record of a day in the history of the world from sunrise to sunset, without any dialogue or narration. In many ways, Baraka is a more of a motion portrait of humankind than a true documentary, but let’s leave that distinction to the film critics. If you love documentaries, or even just love still photography, this often forgotten film should move to the top of your list.

7. The Double Life of Veronique

veronique

Originally: La double vie de Véronique
Director: Krzysztof Kieslowski
Writers: Krzysztof Kieslowski, Krzysztof Piesiewicz
Year: 1991
Runtime: 1h 38m
Genre: Drama, Fantasy, Music
Country: France/Poland
Watch: Amazon Video, DVD, Blu-ray

Kieslowski explores the idea of an individual meeting their doppelganger in a surreal, dramatically emotional film layered with spirituality and ambiguous meaning. This is the film to watch and analyze if you want to get your fingers dirty with film criticism. And if you like Double Life, be sure to check out Kieslowski’s Three Colors: Blue.

Great work! You’ve made it this far. Time to bring out the big guns:

8. Man of Marble

marble

Originally: Czlowiek z marmuru
Director: Andrzej Wajda
Writer: Aleksander Scibor-Rylski
Year: 1977
Runtime: 2h 40m
Genre: Drama
Country: Poland
Watch: DVD, Blu-Ray

A personal favorite of mine, this Polish film (Andrzej Wajda again) requires some historical background knowledge to fully grasp. Essentially, a young film student tracks down an old communist-era hero of the working class, uncovering a long trail of untruths in the process. While watching Man of Marble, keep a keen eye open for how Wajda and Scibo-Rylski dodge the communist censors while simultaneously criticizing that very same institution of censorship with every second of motion picture. And sure, the dramatic leg poses and disco music can certainly be a sensory challenge, but hey, it was over 30 years ago. Those superficial issues aside, the film’s storytelling technique is deceptively deep and intricate, and every act and every line of dialogue comes loaded with subtext and double meaning. For depth in storytelling, it doesn’t get much closer to technical perfection than Wajda’s Man of Marble.

9. A Hole in My Heart

holeinheart

Originally: Ett hål i mitt hjärta
Director: Lukas Moodysson
Writer: Lukas Moodysson
Year: 2004
Runtime: 1h 38m
Genre: Drama
Country: Sweden
Watch: Amazon Video, DVD

Now we’ve arrived to the most obscure, avant-garde point of the article. This film experienced an extremely limited release (1 screen for 2 weeks only), paltry box office returns ($3,306 gross), and no mainstream reception whatsoever (just look at the IMDB rating and Metascore). A Hole in My Heart takes on the unrestrained lust of the pornography industry and peels away the layers to reveal the rot and disgust that lies beneath through visual metaphor and reality TV conventions such as the confession box. Sure, Moodysson’s film can be aesthetically challenging, if not outright bizarre, but simultaneously thoughtful, satirical, and—of all things—incredibly intimate and heartfelt.

Finally, let’s end on a (slightly) more positive note:

10. The Umbrellas of Cherbourg

cherbourg

Originally: Les parapluies de Cherbourg
Director: Jacques Demy
Writer: Jacques Demy
Year: 1964
Runtime: 1h 31m
Genre: Drama, Musical, Romance
Country: France
Watch: Amazon Video, DVD, Blu-ray

This award-winning musical hangs somewhere between the realms of obscurity and cherished history, sweeping Cannes in 1964 but losing out at the 1966 Academy Awards to more mainstream films like The Sound of Music and Doctor Zhivago (yes, THAT Doctor Zhivago). Strange in its vivid colorfulness but drab, unflinchingly realistic portrayal of a romance that doesn’t work out, Umbrellas is nothing short of a filmic experience every cinephile should have. And while you’re at it, maybe you can settle the debate over whether it’s a true musical or really a modern asymmetrical opera.

 

Did you like this list? If so, give me a shout out on Twitter or Facebook and I will write another!

Or pick my brain yourself at Storysci.com.