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I must agree with Dustin. The concept here is to deliver a fast-paced THRILLER that doesn't let up for a second. That means you need to jump right into it, get to the inciting incident within the first page or two.
This also means you can't waste time saying "hey folks, here's a happy family, get to know them for a few pages before something bad happens to them so you can care", not exactly the point of the challenge.
It's not a drama, lol. It's a race-against-time thriller where the main protagonist has a limited time to do something. In RAT thrillers, the point is to invoke a sense of uncertainty and suspense.
If we don't care about the protag...why would we root for him to win? Thriller or not, your protag has to connect with people or they won't give a cr@p if he gets what he wants.
I must agree with Dustin. The concept here is to deliver a fast-paced THRILLER that doesn't let up for a second. That means you need to jump right into it, get to the inciting incident within the first page or two.
This also means you can't waste time saying "hey folks, here's a happy family, get to know them for a few pages before something bad happens to them so you can care", not exactly the point of the challenge.
It's not a drama, lol. It's a race-against-time thriller where the main protagonist has a limited time to do something. In RAT thrillers, the point is to invoke a sense of uncertainty and suspense.
I cannot agree with this at all. Sorry...just can't.
Sure, some scripts/movies start off with a bang and that can be great, but usually, that bang does not involve our main Protag. There is a feeling out process. A getting to know and like you process.
Actuyally, it's alot like life - trust me, I've had more than my fair share of bang bang meetings that start off like fireworks on the 4th of July, but usually, those relationships are short lived.
Take any classic thriller and I think you'll understand what I'm talking about...
LOL I see you saw my post in the Cutting thread. Yeah, I'll admit I have seen stuff like that already - Dead Man Walking, The Life of David Gale, that one Eastwood movie but the name escapes me right now - but to me it felt fresh because we didn't open right off the bat with what everyone else was doing: cops, spies, agents, terrorists, etc. Plus, there was just an aspect of that first 10 that hit me in the heart, and I felt connected right away. It's just my opinion of course.
I must agree with Dustin. The concept here is to deliver a fast-paced THRILLER that doesn't let up for a second.
That's cool and everything and I'm not saying to waste 30-40 pages on building character, but Marnie is right and Jeff as well. I have to at least care some what about the protag in some way to give a rat's ass whether he beats the clock or not. It's like the opening of Godzilla. The writer expects us to cry because the wife is about to die? No, that's not happening, because we just met these people, we don't care if they die or not.
That's cool and everything and I'm not saying to waste 30-40 pages on building character, but Marnie is right and Jeff as well. I have to at least care some what about the protag in some way to give a rat's ass whether he beats the clock or not. It's like the opening of Godzilla. The writer expects us to cry because the wife is about to die? No, that's not happening, because we just met these people, we don't care if they die or not.
But what if the writer does tell you after those 10 pages? I'm not saying they literally throw it in your face, but if it happens over a conversation...
But what if the writer does tell you after those 10 pages? I'm not saying they literally throw it in your face, but if it happens over a conversation...
Screenwriting rule numero uno....show...don't tell.
Screenwriting rule numero uno....show...don't tell.
Telling us info doesn't make people connect.
It's a restriction. I see that a lot in the screenwriting world. So many restrictions to hold people back from achieving anything. (< such as orphans)
It's one of the things I despise about this craft. Too many darn rules. No room for any sort of freedom whatsoever, everything has to be a certain way or it's not right.
It's one of the things I despise about this craft. Too many darn rules. No room for any sort of freedom whatsoever, everything has to be a certain way or it's not right.
IMO opinion, A thriller is just like any other story.
Either get the interest of the reader right out of the gates, or lose them.
And in this area, rules really not apply. Just get their attention...and hold it.
I would rather see a little bondage ... like the character or at least sympathize with them... BEFORE it goes balls to the walls... why would you even watch it if you didn't care the outcome??
Another thing ...I've seen some that start so fast then drop by somewhere in the second act...I understand setting the tone at the beginning, but be careful planning something you can't hold up. A thriller should elevate as it moves to the finish. And if you have to stop midway through it because you can't keep up the action, then what? Character set up can be done even with action/suspense going on at the same time.
Thriller or not...we have to buy into the characters. IMO.
IMO opinion, A thriller is just like any other story.
Either get the interest of the reader right out of the gates, or lose them.
And in this area, rules really not apply. Just get their attention...and hold it.
Shawn.....><
Agreed, mate. I've always considered it a good idea to SNAP a person's interest and as you said, hold it, rather than do the common "here's some people, get to know them before this thing happens".
I usually do this, then worry about developing those characters afterwards. Throw the reader into the middle of it, then make them care.
I would rather see a little bondage ... like the character or at least sympathize with them... BEFORE it goes balls to the walls... why would you even watch it if you didn't care the outcome??
Another thing ...I've seen some that start so fast then drop by somewhere in the second act...I understand setting the tone at the beginning, but be careful planning something you can't hold up. A thriller should elevate as it moves to the finish. And if you have to stop midway through it because you can't keep up the action, then what? Character set up can be done even with action/suspense going on at the same time.
Thriller or not...we have to buy into the characters. IMO.
I can understand why. But what if it starts fast, then you get to know these people as it rolls on? That's what I'd go for in this situation.
The "drop" in pace too, agreed. If you're gonna write a thriller, IMO, write a thriller that never stops. You don't need something that starts insanely quickly, then drops its pace in Act 2, just keep it going at all times. Thrillers, as you said, must elevate.
The character set-up is also possible with the action and suspense running alongside, I'd go for something around these lines. You get to know them as they face that ticking clock and even if this utilizes flashbacks, the plot's still moving forward as you start to unravel what this character did to get to the point they're at now.
Characters are fundamental to great stories. I know this from novels, though novels are considerably EASIER to write than screenplays are, yes I said that.
Lee, screw rules, but be smart. Orphans are a problem for you? As in, you want to have them littering your script? Why...seriously...why?
LOL after I posted that I thought...someone is going to think KINK here haha I mean bondage as in characters caring for characters; audience caring for characters haha so don't get out the duct tape!!
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haha I mean bondage as in characters caring for characters; audience caring for characters 
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