A newsletter about the 'what' and the 'how' of  scripts that don't fit the Hollywood three act one hero chronological model
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Hi All.  There are so many scams about on the net these days that I thought I should warn you that I have not sent you a message asking for money, so if you get one it's a scam.  Also, I'll never  pass on your email address. 

None of my subscribers has reported receiving a scam email pretending to be me, but I've today heard about a scam hitting some newsletter systems, I just thought I'd warn you.  Please do take all the normal precautions - change your passwords regularly etc .

While I'm here, you might be interested in a few thoughts I had the other day,  thinking about The Good Lie. It's a group protagonist story (so look up on the website or my YouTube Channel  if you're not clear on what that means),but interestingly, on one side we are with a group of African immigrants to the USA (different versions of the same protagonist) but on the other we have another protagonist. This is a very different protagonist - the  US woman who is helping them settle in in the USA.   So you have a single protagonist in one storyline (the woman) and a set of protagonists in the other, whose group and individual stories we follow. The whole point of the film is that we see the situation from the points of view - on one hand, the points of view of the various immigrants and on the other, the point of view the US woman.  You could not do that film without using  this structure. In structural terms, you can't say  that the US woman is 'the sole protagonist' (as I'm sure a lot of people who subscribe to the 'one hero structure is the only one' will)  because the film spends a lot of time without this woman on the screen as we follow the immigrants.  Hence,  as writer you have to give the immigrants their joint story and their separate stories - and that means you're constructing multiple storylines. 
Let's go back over that.  Okay.  If the film stayed with the US woman virtually all the time and didn't take us into the group of immigrants unless she was present, that would be a single hero story, because the story requires you as writer to write solely from that woman's view of the world, seeing the immigrants from the outside.  Bu much of the point of The Good Lie  is  to show the differences and confusions between the two cultures - as in the funny bit where the African men are presented with a green jelly and have no idea what it is.

Always remember that my approach to structure is to examine how, as a writer, one constructs the stories one wants to write.  I'm not about theories for the sake of theories.  I just want to know, personally, how best to construct the stories I want to write, and I then, for what it's worth,  share it with you.  

The Good News and The Bad News about my latest YouTube Video.
As some of you know, I created a really detailed  video about  double narrative flashback for YouTube and then, inexplicably, it suddenly angled itself at 45 degrees and I can't fix it.  Weird. A very nice person offered to help me, but I was determined to do it myself ('I will not be beaten by this!') thinking I could just crop it, leaving myself looking a bit odder than usual perhaps, but not as if the whole room was slowly sinking sideways with me in it.  But when I looked at the video again (getting a crick in my neck) I thought it was perhaps a bit too detailed. 

So maybe I'll cut it up into bite size bits, first digging out the original bits of non-tilting footage. Or maybe I could just insert the theme song from Titanic... Watch this space.

I might be doing some mentorships after all, but they will be different from what I've done before. Much more extensive.  But if I decide to go ahead I'll send another newsletter.

Keep changing those passwords!

Best wishes
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