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Book and Movie Genres: How Well Do They Line Up?

June 23, 2018 by J.B. Manas Leave a Comment

I’ve eagerlybooks_to_film watched and enjoyed many of the blockbuster films this year, including Infinity War, Solo, Jurassic World: Fallen Kingdom, and others. Still haven’t seen Deadpool 2 yet, but it’s on my list! I’ve also been watching Westworld and enjoying its complexity while I suffer the long wait till Game of Thrones returns in 2019 (and even longer wait for Winds of Winter).

It occurred to me as I examine book genre trends in the sci-fi and fantasy areas, that the popular trends in books vs. movies/tv tend to differ in subtle ways.

In film and TV, genre-blending stories are as popular as ever: e.g., superhero thrillers that span earth, space, and sea; blockbuster monster films (Skull Island, Jurassic World, etc.); technothrillers like Westworld, horror/sci-fi blends like Stranger Things, and so on.

In literature, at least in the sci-fi and fantasy world, sticking closely to a sub-genre and observing its tropes (while still aiming for a unique story) is the norm, with more defined borders around each sub-genre. Currently, space opera, urban fantasy, cyberpunk, and military sci-fi are all doing well.  It’s harder to gain visibility in a crowded genre like action-adventure, for example, unless it’s a killer concept or an already popular author. And if a story spans multiple genres, it’s even harder, because the bookstores don’t know where to place it (and readers aren’t quite sure what to expect). This is why publishers always have the same battle cry, “Give me the same, but different.”

Psychological thrillers/mysteries are big in both film and literature, and in fact, many such novels are made into movies  (e.g., Gone Girl; Girl on a Train; Woman in the Window; The Marsh King’s Daughter; Girl with the Dragon Tattoo; just to name a few). Oddly enough, most books in this genre are traditionally published, while the sci-fi arena includes a good portion of indie books.

One thing is certain. A story with great characters, a compelling premise, and a killer logline will have a much better chance of finding an audience in any arena. In the book world, if it’s an easily identifiable sub-genre, all the better.

As a writer, these are the things I tend to ponder as I plan a new book series. Either way, for me, the story comes first. If it doesn’t appeal to me or offer a set of characters I want to spend a lot of time with, it doesn’t matter what genre it is. But more on that later!

Filed Under: amwriting, Movies, sci-fi, thriller Tagged With: AmWriting, Movies and TV Shows, Storytelling, WritersLife

Let’s Do the Twist: The Sixth Sense and Other Great Twist Endings

January 28, 2017 by J.B. Manas Leave a Comment

greatest-plot-twistsWho doesn’t love movies with huge twists? When The Sixth Sense came out, it’s all anyone talked about. Same with The Usual Suspects.

Here’s a great list of 18 films with twist endings, including the above-mentioned landmark films.

Warning: It should go without saying, but if you haven’t seen any of the films mentioned, I’d just check the titles and not read the descriptions because – SPOILER ALERT – they give away the twists!

To their list, I would also add many of Alfred Hitchcock’s films, especially Vertigo and North by Northwest (two of my favorite movies of all time), and even Hitchcockian thrillers made by others, such as the magnificently twisty Charade (with Cary Grant and Audrey Hepburn) and the 1991 film, Shattered (with Tom Berenger). The less I say about them, the better, but I highly recommend all of them.

The riveting 2004 film, The Forgotten, drew mixed reviews, but I thought it had a killer premise (a mother’s son disappears, nobody remembers her ever having a son, and there is no trace of his ever having existed) and it certainly had a twist toward the end that I didn’t expect.

More recently, I thought the sci-fi film Arrival (Amy Adams) had a brilliant twist that clearly differentiated it from most alien invasion films.

toservemanAnd of course, almost every Twilight Zone episode ever made had a killer twist (my favorite being the “To Serve Man” episode, where an alien race had a book called “To Serve Man,” that turned out to be:

SPOILER ALERT

.

.

.

A cookbook!

What other twist-ending films have you seen and recommend?


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#movies #PlotTwist #twilightzone

Filed Under: Movies, PlotTwist, TwilightZone Tagged With: Movies and TV Shows, Storytelling

Battle of the Bastards: Anatomy of a Villain

January 23, 2017 by J.B. Manas Leave a Comment

Ramsay and JoffreyA question on a writers’ forum got me thinking about villains again. Particularly: What makes a good villain?

A quick look at Game of Thrones serves up some perfect examples. For anyone who has watched the show, it would be hard to argue that Joffrey Baratheon and Ramsay Bolton aren’t two of the most hated villains in television history. And Cersei Lannister has been running pretty close, though arguably with slightly more sympathetic traits.

What makes them so hated?

For a hint at the answer, let’s look at another popular series, this time in the movies: Harry Potter. This series, too, has one of the most hated villains of all time. And no, I’m not talking about Voldemort. I’m talking about Dolores Umbridge, who even overshadows “he who shall not be named,” not an easy feat.

Why is this? What makes Joffrey Baratheon, Ramsay Bolton, Cersei Lannister, and Dolores Umbridge so darn hateworthy? Sure, they do bad things to those we like, but is that it? Not really. Others also do bad things to those we like, but we don’t necessarily hate them.

I would argue that, paradoxically, what makes a strong villain is weakness.

Yes, you heard that right.

Think about it. All four villains I mentioned have no significant strength of any kind. One strong person could arguably defeat all four together in a fight within 30 seconds. But each of them is exceedingly powerful and difficult to defeat.

These devious weaklings abuse their power, they foil things for the heroes, they come across as “bigger than their britches,” they often achieve their positions unjustly, and they annoyingly get away with their actions in sneaky, calculating ways. And of course, they do bad things to people we like, sometimes smiling as they do it.

It’s the same with Doug Stamper in House of Cards, possibly the most hated character on the show. Or President Snow in The Hunger Games. Or the kid, Olly, on Game of Thrones. None of them have any particular power, but they’re put in positions of advantage that they exploit to the hilt.

There are exceptions, of course, but by and large, many of the most hated villains are weaklings with an unfair advantage and a lack of empathy.

Just a Pinch of Sympathy and Humor

Of course, just as a little salt can help a recipe but too much can destroy it, a few sympathetic traits, minor backstory elements, and even humor, can add depth to such characters. But too much, and you risk making the villains likeable or sympathetic, which isn’t a bad thing in itself, but may not generate the hatred you want for them. It’s more an art than a science—a constant balancing act.

What About That Battle?

Speaking of the “Battle of the Bastards” in Game of Thrones, from which this post gets its title, think about that particular battle. Ramsay Bolton (the villain) vs. Jon Snow (the hero), both allegedly born out of wedlock.

What makes them different? Both were ostracized to varying degrees because of their lineage. But they couldn’t be further apart in terms of their outlook on life.

I believe what separates the villains from the heroes are three things: the choices they make, how they choose to let their past impact them, and their general nature. For the writers out there, these are all things to think about as you craft your villains. And for fans, think about your most hated (or most liked) villains and what makes them so.

I’d love to hear from you all as to who your favorite villains are and why?


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#amwriting #screenwriting #GameofThrones

Filed Under: amwriting, GameofThrones, screenwriting Tagged With: AmWriting, Storytelling, writingtips

La La Land – A Thriller Writer’s Perspective

December 18, 2016 by J.B. Manas Leave a Comment

lalalandI went with the family to see La La Land yesterday. They may as well just give it the Oscars (plural) now, because this one’s an instant classic, folks.

I was hesitant to write about it here because, after all, I’m a writer of sci-fi thrillers. But I’m also a lover of all things storytelling and an admirer of all forms of art and music, especially that which is done to perfection, which this is.

And yes, there are some lessons in this movie even for thriller writers.

La La Land is a magical, musical tale of two star-crossed lovers, an aspiring actress and an underemployed jazz pianist, trying to make ends meet and achieve their dreams in modern day Los Angeles.

This mesmerizingly beautiful film is an ode to LA, just as Woody Allen’s Midnight in Paris was an ode to Paris. But it’s also an ode to artists and creative types everywhere who are struggling to achieve their dreams. Likewise, it’s an ode to young love, trying to stay vibrant and alive when individual dreams threaten to get in the way. And it’s an ode to the great MGM musicals of the past, a daring aspiration that it achieves with honors.

The film is a stunning work of art, at times reminiscent of such Gene Kelly classics as An American in Paris and Singin’ in the Rain. However, it reminded me even more of another landmark film—The Umbrellas of Cherbourg, musically, visually, and thematically. La La Land even has a few nods to “Cherbourg,” including, if I’m not mistaken, a quick shot of the umbrella shop.

Not to be overlooked are the show-stopping performances from Emma Stone and Ryan Gosling, both of whom illuminate the screen like the stars of old—especially Stone, who emotes with her eyes and facial expressions like no other, aside from maybe Jennifer Lawrence.

As for valuable lessons that writers of thrillers and other genres can glean from this blissful example of filmmaking perfection, here are but a few:

  • Vivid worlds and motifs can elevate a story to new heights – In this film, Los Angeles itself was a character, and an important one at that. As a writer, in what ways can you bring your story world to life, whether by its culture, it’s sights, smells and sounds, or its threats and opportunities?
  • It’s all about the characters and their wants and needs – Whatever your plot, if the character wants and needs aren’t clear (and often, they have no idea what their real needs are), everything else will be diluted. It’s the struggle between their wants and needs, their external and internal desires, the lies they tell themselves and the truths they need to learn that truly drive a story.
  • The antagonist doesn’t always have to be a villain – Every story needs conflict. In this story, the primary conflict came from the two artists’ struggles in the often cruel world of LA, compounded by their individual internal struggles trying to balance their dreams with their relationship. Of course, some genres typically do include a human antagonist, but even then, adding the internal obstacles, obstacles from the environment, and moral dilemmas can enrich the story that much more.
  • Stick with your dream and stay connected – If nothing else, take away the lesson from the film that we only live once. Don’t give up your dreams, Stick with it. And in the process, remember not to lose sight of what drives us to begin with—the need for connection and love.

Bottom line: Whether you typically like musicals or not, La La Land is worth seeing as a shining example of a powerful and all-too-rare work of original art that will take you away to another world for two hours. I urge you to take a chance and see it.


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#LALALAND #moviereview #screenwriting

 

Filed Under: LALALAND, moviereview, screenwriting Tagged With: Movies and TV Shows, Storytelling, writingtips

Westworld and Jurassic Park – Long Lost Twins?

November 29, 2016 by J.B. Manas Leave a Comment


As reported on pop culture site Nerdist, YouTube channel College Humor has posted a hilarious comparison between Westworld and Jurassic Park.

This doesn’t surprise me in the slightest, as I’ve long said the two are pretty darn similar, especially with both having been created by Michael Crichton. After all, both are essentially about people trying to survive in a theme park with man’s creations gone amok.

Of course the video takes it ten steps further with a funny take on even more similarities, including the “old white-haired British guys” running the place. They even coined a new tagline:

Westworld: Jurassic Park, but with robot cowboys

For a more serious, but fascinating, in depth analysis of what makes the Jurassic Park formula work so well, check out screenwriting guru John Truby’s take on it.

When you think about it, there are quite a few similarities between Jurassic Park and Jaws as well (both films, of course, were directed by Steven Spielberg). A few years ago, I developed a side-by-side comparison of the story beats of both films. In an upcoming post, I’ll share it, but at the highest level they both involve:

  • Lead characters with a fear (Chief Brody hates the water, Alan Grant hates kids and parenting)
  • A temporary antagonist until the monsters take over (Mayor Larry Vaughn in Jaws, John Hammond in Jurassic Park)
  • Something gone wrong during the battle (the Orca running out of gas in Jaws, the electricity going out in Jurassic Park)
  • Increasing exposure to the monster(s) until the total immersion in the final third
  • Lead characters who get over their fears at the end (Chief Brody swims to shore saying how he used to hate the water, Alan Grant saves the kids and is cuddling with them on the helicopter)

And of course, you may know that Ridley Scott’s Alien was originally pitched as “Jaws in space.”

As the saying goes, there is nothing new under the sun.


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#screenwriting #Westworld #sci-fi

Filed Under: sci-fi, screenwriting, Westworld Tagged With: Movies and TV Shows, Storytelling

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