Sleep Deprivation = Creativity

I'm really beginning to think that I should write only when I've had less than 5 hours of sleep and way too much caffeine/sugar.

I've been feeling there's something missing in my story lately, and I had begun to realize it was because I needed another character. One to replace MAX, because he was suddenly no longer filling the role I had originally designed. So, I needed a new character. But, if I created a new character, how was he going to fit into the group and where would that leave MAX, since I didn't want to completely get rid of him? I didn't know until today.

I went shopping after work at the mall, which essentially meant I was awake for a whole 24 hours in the end. Right now, I'm working, but I get off tomorrow--which equals sleep, more shopping, and cookie baking. Anyway, sitting here in the super quiet, trying not to fall asleep at my desk, I suddenly realized in the middle of counting money what to do. One of those "AH! HA!" moments, which I haven't had in a while.

Looking at a number of established group dynamics on TV (Firefly, Buffy, Angel, Dexter, Outlaw Star, Leverage, Chuck, etc.), I've come to this conclusion. There are two categories for characters: function and personality. And most groups have this kind of a set up.

Function
Main Character

Brains
(Willow)

Muscle
(Adam Baldwin)

Mechanic
(not sure what to call this but it's basically Parker or Kylee or Jim)

Femme Fatal
(Inara, Sophie)

Wise One
(Shepherd, Loren)

Character that Drives the Story
(usually, but not always the main character - ex. River in Firefly)


Personality
Leader
Naive
Nag
Wild Card/Anger Management
Comedic Element
Confidant
Romantic Interest

As I was trying to go further in the story, I realized I needed a mechanic character. So, I created Luca and used him to fulfill MAX's original role. So, where does that leave MAX, in the much needed role as the Wise One and Confidant, of course. How else are you going to pursue your Plot Point 1 and Plot Point 3?

Anyway, I'm excited to get back to the story now, after a little creative lull. Plus, I have a new character to fill out. Finally, my sister seems to have corrupted me, because I've decided to name most my characters in Madness after hockey players.

Simplify...Don't Think Too Much

I'm beginning to think part of the problem with TV and Movies today is that they try too hard. They go for these big, elaborate plots that go nowhere, don't make any sense, and throw the character completely out of whack so that we say "WTF are they doing?!".

Break it down to the basics. Many times the simplest ideas work the best.

This has become my mantra lately. I've had a ton of writer's block while working on Madness. I've gone back and forth, doubting my plot points, rearranging them, trying to come up with better ones, and I've come to the conclusion that the best way to fix this is to quit thinking so damn hard!

Often times my biggest problem is that I'm thinking too much. Or maybe I should say I'm thinking too much in the wrong direction. Instead of flitting around, trying to come up with a good idea to fix this and realizing it contradicts that, I decided to just dive right into the story.

By placing myself inside my character's mind, I can calm down and think rationally. What would they do given this situation? What resources do they have available? If they needed to do this, what options are available?

Hopefully, with my new bit of realization, I can finally finish up the plot points problems and get to writing the script.

Second Pinch/Reversal

I've been working on beats these past couple weeks for the first half of my 2-hour pilot, Madness, and it's been proven yet again that for me the second Pinch/Reversal is the hardest. Most other plot points fall into place, and even though some may need some work, they're pretty solid. I can fill out every other main beat and tons of smaller ones while staring at the blank space where the second Pinch/Reversal goes, wishing it would just write itself.

I think it's hardest for me because of the emotional component behind it. While there are other plot points with emotional components, they're usually more potent. The second reversal is powerful, but subtle. A major complication in the story that just seems to sneak up and bit you, like a snake poisoning the story.

On a somewhat happier note, I added another character to the pilot. Her name's Emily. I want to make her a character that people will like, but I think I'm gonna kill her and use it to screw over the group for most of the season. It'll be like the last episode I saw of No Ordinary Family where they killed off the police woman. I was upset to see her leave the show after only 2 episodes. I blame them for my desire to kill Emily.

Laziness (and Bleach) Provides

I've been a bit lazy lately. Spent yesterday and today watching tv and reading manga. Sounds a pointless way to whittle away one's time. Usually it is, however, I find that if I let my mind wander for a while I often discover the answers to some of my writing blocks.

During the planning stages before I write a script, which for me clearly maps out the character's voice and personality, I will usually find a character or two in another work (written or visual) who resembles my character. It helps me define them and gage their reactions to situations. After writing the script, that resemblance fades as the character grows into their own person, and I'm left with my own character, not defined as a carbon copy of someone else's work.

So, for a while now I've been having trouble defining one of my main characters in a pilot I'm working on. The others are pretty much pinned down, but every time I think I have him, he slips out of my grasp. Anyway, point being, as I was watching Bleach yesterday, I realized Uryuu Ishida was about the closest thing to a role model for Ash as I have been able to get. So, under the guise of doing research, I am going to continue my Bleach obsession for a few more days.

To see a review on Bleach, go to the Books and Manga Tab.