Post by MenelaosGkikas on Apr 11, 2022 20:41:47 GMT
Republished from my Facebook Page, Maker's Dust, January 9, 2022
Hio folks, creatives and definitely say, Jacob Krueger Studio alumni! I hope the New Year has been launched with amazing premises for many of you. Today I would like to emphasize on this magical, unique, inspiring, ambiguous, essential, capricious, sassy and many more I could possibly imagine, notion described for writers as The Inciting Incident. Nevertheless, our today’s discussion will be more focused on what truly exists above, below and in-between. To give you a sense of my Zeitgeist spirit, we’ll mingle notions such as the sixth sense, bull’s eyes, intentions, beats and objectives and last but not least, phantom zones! Our goal after all, is to externalize the internal.
The inciting incident is this little chuck that happens in all scenes of the screenwriter that denotes something is about to change. Something that it could possibly change everything, upset the status quo, send the characters on a journey, force the character into action, etc. Above it, there’s what’s called normal world. What is this? Does it exist? Partly because professors say it’s a shitty term? Well, no. Normal worlds ain’t boring. It’s the world in which the character pursues what he wants based on the previous scene. I could possibly envision it as the script that goes above dialogue. Below it, there’s completion. The completion of the scene. It’s where the character or we writers, finally say, he got it, he didn’t get it, he is interrupted. As I write the script now, I am partly fascinated of discovering a sequence among previous and forthcoming scenes that could possibly match normal worlds of the after and completions of the before. But that’s not my main reason right now. Look, our first concerns of writing something good have to be around setting up a story. For example, in Titanic there have been 3 scenes of literary action before the fourth one that begins with action and then dialogue. Of course, there may not be such canons but it all depends on how writers set up stories!
So, there are scenes with normal world, inciting incident and completion and right afterwards a new scene begins with a new normal world, inciting incident and completion. Learning to do scenes equal learning to do movies! But there’s more when it comes to the inciting incident. Is it more like a new and out of the blue opportunity? The answer to a dream? Fasten your seatbelts folks! There are more turns and twists such as these on the line level, scene level, whole scenes, whole acts and then a movie. Inside the scenes we call these turns beats or intentions. Intentions are for the line level and beats for the scene level. Objectives are for whole scenes, super objectives for acts and super-duper objectives for movies. Can the entire script, the entire movie be assumed a giantic inciting incident? Here’s where the complexities arise and a more radical approach is quested. You got to move it, move it, hey move it!
In script writing, since the dawn of mankind, writers have always felt entering their room, their laptop, their type-writing machines and suddenly, a million pair of eyes start looking after them. How am I supposed to make it? What do I do when I screw up? Is it good? Will it become a hit? Logical, understanding but sometimes peculiar queries of lots of writers, in the sense that the brain’s hardwiring makes us more primitive than we might think. Or the laptop. Or the type-writing machine. And of course, the one million pair of eyes! Writing is all about the processing of our subconscious formed into tangible pieces of art. After all, very few of us can become that famous…
As a first rule of thumb, writers have to build self-confidence. As a second rule of thumb, writers should think global but act local. Meaning, whom they address? In the 21st century of computers and AI and where Disney’s executives had foreseen all along that Hollywood is not a place on the map but a state of mind, writers should pre-feel what could possibly happen. We should seek reliable sources. Sources, sources and more sources, a chicken with a keyboard that doesn’t know when to let go, confronts his nemesis with his own weapons. There can be sources for everything but succeeding as a storyteller should be harder than a mime of the streets.
Excessive speculation that reminds us of the dot-com bubble should make all writers think crystal-clear when it comes to separating facts from fiction. Sometimes facts are stranger than fiction. Pre-feeling of what could possibly happen forms the basis of what we call sixth sense. Masterminds or unskilled impostors? These days when I try to read or write, having actually developed hard and soft skills as a transformational leader, I try to think of the inner emotion of what could the process mean to me. Remember, our goal after all was to externalize the internal. Feelings, misunderstandings, mistakes or even better or worse, remembering how plans pass in the first place through the valley of death, makes us forget about making plans and start telling stories. Whoever knows how to tell stories… The sixth sense is all about feeling that something felt right despite the adversities, casualties or internet menageries… There’s one important question to ask in the process. Are you safe? Do writers feel safe?
Small also means safe… Risks and hazards arise from the very moment we try to work outside of our safe harbor and our hassle-free experiences that for many of us this seems inevitable. The map of the internet knows very well how to exterminate bull’s eyes that threaten our health, our prosperity and happiness but most of all, our creative juices flowing. Now the final frontier seems more dramatic than ever: How do writers function in the phantom zone? And what does it mean, anyway? Is it all about the powers that be and at the same time, they don’t be? Here, we could possibly think of Murphy’s Law: Whatever can go wrong will go wrong. First of all, it’s how we, all of us, turn a negative experience into a positive one. Stay with me, folks, this is not quantum physics. It’s how writers get past blocks and bullying. It’s how you alienate from those speaking gobbledygook… But most importantly it’s how creatives approach spiritual enlightenment, approach creativity with joy and defeat the dark, metaphysical, purifying and sometimes revolutionary mindsets. It’s how you defeat the bull’s eye. Have a great time folks!
Hio folks, creatives and definitely say, Jacob Krueger Studio alumni! I hope the New Year has been launched with amazing premises for many of you. Today I would like to emphasize on this magical, unique, inspiring, ambiguous, essential, capricious, sassy and many more I could possibly imagine, notion described for writers as The Inciting Incident. Nevertheless, our today’s discussion will be more focused on what truly exists above, below and in-between. To give you a sense of my Zeitgeist spirit, we’ll mingle notions such as the sixth sense, bull’s eyes, intentions, beats and objectives and last but not least, phantom zones! Our goal after all, is to externalize the internal.
The inciting incident is this little chuck that happens in all scenes of the screenwriter that denotes something is about to change. Something that it could possibly change everything, upset the status quo, send the characters on a journey, force the character into action, etc. Above it, there’s what’s called normal world. What is this? Does it exist? Partly because professors say it’s a shitty term? Well, no. Normal worlds ain’t boring. It’s the world in which the character pursues what he wants based on the previous scene. I could possibly envision it as the script that goes above dialogue. Below it, there’s completion. The completion of the scene. It’s where the character or we writers, finally say, he got it, he didn’t get it, he is interrupted. As I write the script now, I am partly fascinated of discovering a sequence among previous and forthcoming scenes that could possibly match normal worlds of the after and completions of the before. But that’s not my main reason right now. Look, our first concerns of writing something good have to be around setting up a story. For example, in Titanic there have been 3 scenes of literary action before the fourth one that begins with action and then dialogue. Of course, there may not be such canons but it all depends on how writers set up stories!
So, there are scenes with normal world, inciting incident and completion and right afterwards a new scene begins with a new normal world, inciting incident and completion. Learning to do scenes equal learning to do movies! But there’s more when it comes to the inciting incident. Is it more like a new and out of the blue opportunity? The answer to a dream? Fasten your seatbelts folks! There are more turns and twists such as these on the line level, scene level, whole scenes, whole acts and then a movie. Inside the scenes we call these turns beats or intentions. Intentions are for the line level and beats for the scene level. Objectives are for whole scenes, super objectives for acts and super-duper objectives for movies. Can the entire script, the entire movie be assumed a giantic inciting incident? Here’s where the complexities arise and a more radical approach is quested. You got to move it, move it, hey move it!
In script writing, since the dawn of mankind, writers have always felt entering their room, their laptop, their type-writing machines and suddenly, a million pair of eyes start looking after them. How am I supposed to make it? What do I do when I screw up? Is it good? Will it become a hit? Logical, understanding but sometimes peculiar queries of lots of writers, in the sense that the brain’s hardwiring makes us more primitive than we might think. Or the laptop. Or the type-writing machine. And of course, the one million pair of eyes! Writing is all about the processing of our subconscious formed into tangible pieces of art. After all, very few of us can become that famous…
As a first rule of thumb, writers have to build self-confidence. As a second rule of thumb, writers should think global but act local. Meaning, whom they address? In the 21st century of computers and AI and where Disney’s executives had foreseen all along that Hollywood is not a place on the map but a state of mind, writers should pre-feel what could possibly happen. We should seek reliable sources. Sources, sources and more sources, a chicken with a keyboard that doesn’t know when to let go, confronts his nemesis with his own weapons. There can be sources for everything but succeeding as a storyteller should be harder than a mime of the streets.
Excessive speculation that reminds us of the dot-com bubble should make all writers think crystal-clear when it comes to separating facts from fiction. Sometimes facts are stranger than fiction. Pre-feeling of what could possibly happen forms the basis of what we call sixth sense. Masterminds or unskilled impostors? These days when I try to read or write, having actually developed hard and soft skills as a transformational leader, I try to think of the inner emotion of what could the process mean to me. Remember, our goal after all was to externalize the internal. Feelings, misunderstandings, mistakes or even better or worse, remembering how plans pass in the first place through the valley of death, makes us forget about making plans and start telling stories. Whoever knows how to tell stories… The sixth sense is all about feeling that something felt right despite the adversities, casualties or internet menageries… There’s one important question to ask in the process. Are you safe? Do writers feel safe?
Small also means safe… Risks and hazards arise from the very moment we try to work outside of our safe harbor and our hassle-free experiences that for many of us this seems inevitable. The map of the internet knows very well how to exterminate bull’s eyes that threaten our health, our prosperity and happiness but most of all, our creative juices flowing. Now the final frontier seems more dramatic than ever: How do writers function in the phantom zone? And what does it mean, anyway? Is it all about the powers that be and at the same time, they don’t be? Here, we could possibly think of Murphy’s Law: Whatever can go wrong will go wrong. First of all, it’s how we, all of us, turn a negative experience into a positive one. Stay with me, folks, this is not quantum physics. It’s how writers get past blocks and bullying. It’s how you alienate from those speaking gobbledygook… But most importantly it’s how creatives approach spiritual enlightenment, approach creativity with joy and defeat the dark, metaphysical, purifying and sometimes revolutionary mindsets. It’s how you defeat the bull’s eye. Have a great time folks!