Showing posts with label Script Three. Show all posts
Showing posts with label Script Three. Show all posts

Friday, September 7, 2007

Frenzied Scripting 2: Engineering the Title

At the moment, as I've said, it's Swamp Opera. Which isn't really working. So, today, I spent a little bit of time coming up with some other options. Here are the best ones I've got:


#1. The Songs We Sing to Ourselves


I mentioned this one the other day. It stems from a line within an early version of the script. A line I'm rather fond of, obviously. I'm not really a big fan of making sure your title gets into the text of the script or the other way around, though. There's just no way it doesn't come across as forced, somehow. But in this case, I could live with it because it's not a precise mirror of the text. And it resonates fairly well with the overall arc of the story, especially if I change a detail here or there, including the job of one of my main characters. At the moment she's a writer, a novelist, but if she was a singer...


The line, by the way, comes from a pet metaphor of mine. I was, at one point, obsessed with the different ways that media, that culture could be used. Are used by the societies that create them. How they can be used to influence, to teach, but also to reinforce the values and messages that a particular society finds to be important. The songs we sing to ourselves then, are the stories we tell one another. The ones that make us feel good, feel reassured about who and what we are, even what we're doing. They're different from the stories we tell to others which are something akin to propaganda. Although not in a negative or pejorative sense. The process of cultural diffusion is too unfocused, too nebulous, to be directed into such hostility. Not for long, anyway, and not unless you really know what you're doing (If you do, of course, culture can be a huge weapon in a state, a civilization's arsenal. But I'd be hard pressed to think of an example of any nation that's done it right for any extended period of time.). It's more like advertising, like convincing those outside your culture of your identity. Both are important concepts for this script – or separate facets of one, vital concept – but in the forefront enough to really merit the titular allusion?


#2. Sunk Costs


Ah, that's right. It's another one of my favorite conceptual toys, the sunk cost fallacy. Which is another idea that's really central to this script. Because, although I haven't really talked about the issue yet, it's really concerned with occupation and imperialism and the costs thereof. The protagonists of the piece are part of an expedition out to modernize, to civilize, a distant outpost of their great and powerful state. But what they find there is far from the unsophisticated, uncultured primitives they expect. Because they've been thrown into a flash point of old, established cultures that are primed to push back against outside domination. And a great deal of the story is about just how much that great state is willing to spend, just what those protagonists are willing to sacrifice in order to bridge that gap.


It's also, by the way, a bit of a punne or a play on words. Because, spoilers, but the sinking of at least one ship is going to be a key plot point. The world, the area, I'm dealing with here is one that's made up of islands and archipelagos, ships and sea travel are central to the setting. And one way of reading the story is that it's the characters dealing with the hidden costs of that sinking. So, it's working on a few levels from simply sounding kinda cool to highlighting an important thematic element. But I'm worried it's just a bit too inside baseball for its own good. That I'm trying too hard here to come up with something clever, a reference that no one will get, instead of something that people will respond to.


#3. Ghosts on the Wind


This one gets into the discussion on the strength of the imagery alone. The sheer poetry of something ethereal, insubstantial, handled by something invisible. Like cold fog melting away under the morning sun. Like a faint scent wafting from the plate you've just cleaned. It's about something fleeting, something that you can't ever hope to grasp slipping out of reach.


Another writer, another artist might say “the dying of the light” or “sands through the hourglass” because, like those, it's a metaphor of destiny, of life, for the temporary, transitory nature of existence. And that's also a large component in the story. The concept that we have but a brief time, only brush ever so lightly against each other, and it falls upon us to make the most of it.


In the story itself, however, it refers to the antagonists. A group of guerilla fighters working to subvert and sabotage the occupation of that distant land. Hardened fighters, underdogs against an overwhelming foe, who strike and fade away like, well, ghosts. As such, it's another title that works on several levels at the same time. Which, in case you can't tell, is something I like. Efficiency is the calling card of good design. Economy of effort. You only have an audience's eyeballs for so long, it pays to cram as much data as you can into whatever you're streaming to them. Whether they unpack it or not is a gamble but what you can be sure of is they won't, if there's nothing there in the first place. So, I don't mind expending so much time and effort on thinking about the consequences of something that only a small handful will ever appreciate. Better that some connections are there to be drawn than none at all.


The problem here, though, is while I like this title, I just might have another story it fits even better.


Don't think I have a winner yet, then. Torn, again, by which path to follow, which option to select, and which avenues to foreswear. Thoughts? Opinions? Crickets? Let me know.

Thursday, September 6, 2007

Frenzied Scripting 2: The Backstory

I've mentioned that I'm calling this script Swamp Opera for lack of anything better. A more accurate way of saying that is that I'm subtitling it Swamp Opera for now. Because the full title would be something like The Nameless Empire: Swamp Opera. Or A Tale of the Empire: A Swamp Opera.


In case you can't tell, I'm not so good at naming things. But what I call the Empire is a world, a place, that I've been toying with for...years now, at this point. Building it up from the ground into something with a million different moving parts and motivations. A living, breathing world that can house a dozen stories, a thousands, just as easily as it could a single epic. As you might imagine, it's horribly complicated. And mutually contradictory, in parts, because I haven't managed to smooth out all the kinks. I can't decide, for example, if it's a lost continent, like Atlantis. Or a hidden world within a world like Burrough's or Skartaris. At the moment it's in a dimension tangential to our own, not quite separate but not quite a part at the same time. But the idea at the heart of it all is that it's a place that's connected to the world outside my window but different in some important aspects. Ways that let me use it to highlight certain issues and play with specific concepts that would be hard if I had to deal with the grand sweep of history, the limitations of geography, and what could legitimately happen within those constraints.


I could tell you all about the fictional history of my fictional world, or explain the dynamics from any number of perspectives at certain points along that timelines and, before the month is over, I probably will. But not today. Instead, I'm only to going to share what's important for understanding my current script, not to take in the grand tapestry itself. A primer, if you will, on the current events that set the stage for my story.


In that story, we're at a point which predates what will come to be known as the Empire – a nation so great and so powerful that it needs no other descriptor, like a great king who only writes his name on his tombs, confident that anyone who sees it will need nothing more. The pieces are there but only the merest hints of the greater destiny that awaits can be discerned. There's simply no one big enough, bold enough, and powerful enough to lay claim to such a grand title. Instead, the world is full of rival states and powers, fighting tooth and nail to gain control. Or security. Or simply continued existence. It's a wartorn, ravaged world, but one moving into a stage of recovery and rebuilding as the great, world spanning Gem Wars, the largest conflict since the Great Wars of generations past, are finally burning themselves out.


They were sparked by the collapse of Nuevetrusca, an ancient, established nationstate, leading to a power vaccuum, followed by a scramble by the remaining players on the world's stage to secure the valuable resources and territory left unguarded by that sudden implosion. The wars waged between rival powers and claimants to the throne were largely fought by proxy, with the larger powers with the most to loose trying to influence events from behind the scenes. Even still, the conflict soon spread to other parts of the globe as the ongoing fighting became an excuse to settle other scores and redraw all the maps (Something that had proven nearly impossible since with the development of the atomic weapons which had brought an end to the Great Wars years earlier.). And although no weapons of nuclear destruction were unleashed, mass destruction in other forms was rained down upon the world. The wars were fought with the latest and best technology, leading to horrific losses and heartwrenching tragedies. Whole communities, whole civilizations nestled on the islands and colonies they called home for centuries were destroyed, others were forever altered. Through invasions powered by ships and aircraft which could reach further and faster than ever before. By soldiers armed with rifles of deadly accuracy and overwhelming firepower. Massive bombs containing biological and chemical agents were unleashed, sometimes for conquest, sometimes merely to keep a prize out of an enemy's hands. And in the halls of power, the game of diplomacy and trade was played as territories and holdings changed hands with the stroke of a pen.


Even as the last fires of conflict are burning themselves out, the survivors are counting up the score. The costs were staggering. The worst affected areas were the lands formerly claimed by that great power which had fragmented into civil war and irrelevance with stunning speed. And the surrounding areas felt the pain as well. But for all the strife and dark clouds unleashed by the storming war, there were silver linings to be found. Fortunes to be made. New nations, new powers on the rise even as the old and formerly secure were fading away.


One of those new powers, known at this time as the MPC, or the Meishpaolan Prosperity Collective, was an unheralded collection of island colonies from the southern backwaters. One remarkable for a few reasons, not only for managing to survive against a literal sea of hostile and resentful neighbors but moreso for its progressive policies and modernized practices which had led to revolutionary prosperity for the small nation. On the backs of their agricultural reform and the resulting economic boom – known as the Meishpaolan Miracle – they'd manage to vault onto the world's stage. The Gem Wars were their first opportunity to show just what they were capable of against not just impoverished regional powers but the best minds and leaders of the whole world.


Although it's yet to become apparent, history will judge that they played their hand far better than the conservative track it's regarded at the moment. Because while the rest of the world were fighting to control the mineral wealth left exposed by the shifting political winds – especially the eponymous gemstones that gave the series of wars their popular name – the MPC concentrated on securing the sea routes from that resource rich region into the suddenly resurgent southern regions (Which had, until that time, been considered something like the 3rd world, hardly worth the bother.). They hadn't managed to gain much territory in Nuevetrusca proper, although they had a few key additions such as a crucial port and, also, assuming the burden of most of the contracts for the Novaroma, one of the world's premier militaries (At this point, at this time, most nationstates lack the resources to support their own standing armies and instead outsource the task to what amount to mercenary military cultures.) who had long spearheaded the Nuevatrucans' colonial efforts. Instead, they'd gained vast tracks of seemingly unimportant land in bordering regions. Land that goods and materials would soon be crisscrossing as the newfound industrial might of the relatively placid south, fueled by materials from the Novetrusca region would be put to work in rebuilding and reconstructing all that had been lost. Trade along lanes that the MPC would control and, ultimately, benefit from. The rest of the world doesn't realize it, but the MPC captured the ultimate prize of the war – economic control of the region – with hardly any of the effort expended by the other combatants.


The MPC knows it, though, and they've busied themselves consolidating their hold over their new holdings. Not only through harsh military occupation and the obligatory purges of any opposition to their rule but also through a program of investment and improvements, designed to bootstrap those territories and rapidly bring them into the fold of the MPC as full-fledged, contributing partners. A program also designed to spread the Meishpaolan culture, their imprint, to those disparate new lands, even as they reassured them that their traditions would be respected and welcomed (Provided, of course, they met certain benchmarks and guidelines provided by the central MPC bureaucracy.). Goods and cargo from the MPC were streaming to those new lands, containing the implements and components needed to build their infrastructure but also the latest songs and stories and luxury goods from the hothouses of Meishpaolan culture, ready to flood the new territories, grateful for the aid and a chance to get back on their feet with the MPC's point of view. A tactic which had worked well as the MPC had extended its grasp over the south. But now faced its greatest, and largest test yet because the MPC had never before tried to absorb so much territory at one time.


A massive governmental program was created, tapping the best and brightest from the so-called Core - the heart of the MPC, the earliest colonies to fall under its umbrella. Places full of wealthy, successful areas who'd long benefited from the MPC's policies and guidance. The cream of the crop would be skimmed and sent to the new territories. To oversee them, to guide them, to watch over them, as they were brought up-to-date and in-line with the MPCs practices. And promising civil servants and more took up the cause. Drawn by nationalism, by the call to duty and the chance to improve the world just as much, no doubt, as they were by the promise of lucrative bonuses and headstarts on their careers. Already, the Colonial Oversight program was paying dividends.


But not every move the MPC had made had proven so successful. As the story opens, there's a problem with one of their new lands. One acquired almost as an afterthought, as a late edition, to a complex and complicated deal between the great powers to realign ownership of several strategically important areas. To secure those key pieces of the puzzle, the MPC had agreed to assume the title to a small, unimportant island, called Chexio by the locals. It was far removed from any other place the MPC held, easily the most remote of any of its holdings but that had seemed unimportant at the time in an era of planes and ships that were swiftly shrinking the globe with their speed. But, by now, it had become apparent that not only was the island remote, the surrounding terrain was harsh and foreboding, nestled within a dense swamp with an unbroken treeline. It lacked even the simplest of facilities, including an airstrip, meaning it had to be supplied by sea, and the MPC's was ill-equiped with ships that could navigate the treacherous waters. Worse still, the region it was located in had been an area the Nuevetruscans had long sought to expand into only to be met with fierce resistance. The MPC's alliance with the Novarom who had, mere years before, been in charge of brutally repressing such rebellion meant the locals were angry and distrustful of their new governors. And their neighbors unlikely to extend any friendly hands. The colony was kept afloat thanks only to a large military garrison and frequent, large aid convoys of ships rented at an outrageous premium from the local ports. And now, the elusive and mysterious Swarvmach – the “ghosts on the wind” who'd led the guerilla fight against the Nuevetrusca – had begun to target those slow-moving cargo ships laden down with supplies.


The place was, in short, a lemon. A pit into which the MPC was pouring resources with no apparent hope of return. And the crafty negotiators who'd saddled the upstart MPC, renowned for their ability to turn even the most hopeless of lands into productive parts of their economic powerhouse, with a hopeless millstone crackled and congratulated themselves. If the MPC stayed, they faced a staggering blow to their all-important bottom line. But if they pulled out, then they would lose even more – their prestige and the foundation of the implicit agreement between the varied parts of their greater whole. If the MPC would let one colony fail, then they could let any of their components suffer for the greater good. And the spirit of co-operation and self-sacrifice that drove their success would become a thing of the past as the whole house of cards collapsed into petty bickering and selfish hording. That was the plan of the MPC's enemies, anyway. But the MPC is not about to give up so easily. The Oversight Program has worked wonders in the past and the leaders of the MPC are gambling that it can do so again. So, once more the call has gone out across the Core. Those eager to serve, those eager to find their wealth and power, those who want to see a far off land have been been asked. And a team of the best candidates, the very blossoming fruit of the MPC's long process of improvement has been assembled. Trained, prepared, for the task ahead. Soon, very soon, they'll be shipped off to distant Chexio. There to take control of the destiny of a poverty stricken, resource-bare land filled with resentment and danger. Because the MPC has given them the last chance to turn the place around.


That is where my story opens. And those are the characters it concerns itself with – that group of bright, talented, optimistic people being fed into the garbage disposal because of the great game of politics being waged by the leaders of nations. If you suspect that things don't turn out so well for them, you'd likely be right (Depending, of course, on how you define “well”.), as my plot has at least a few more twists and turns before it plays itself out. But that, of course, isn't the backstory at all so I'll leave it for another day.

Frenzied Scripting 2: Where It All Begins

Alright, so my new script bears the working title of Swamp Opera. It's awful and I'm looking to change it to something else. I press forward in the hopes that something will present itself as the story develops. Some line, some metaphor, that's central to the plot, illuminates it, enriches it, and flows naturally from the text itself. And at the same time will look good on the posters. I'm tempted by a rather poetical line within the barebones script, at the moment, which is along the lines of “Why can't you leave us to sing our songs to each other?” I think The Songs We Sing To Ourselves could be a great title but it doesn't really fit the story as is.


But I call it Swamp Opera, for now, not only because it takes place largely within a swamp but because it's something of a take off on one of my favorite genres, the space opera. There's just something about me that responds to the sweeping epic, the cast of hundreds, the exotic places and a narrative that jumps from point of view to point of view with casual ease. Probably because it's about the exact opposite of where my own writings tend towards. They've fallen out of favor, become trite, I think, because they can be so melodramatic. So full of shlock and sentiment and the worst sort of clanking robot science fiction that it's hard to take them seriously as a medium. But I've long thought that the form could be updated with a modern take on characterization, where everything and everyone is tarnished with the brush of realism. Where cardboard cutouts and rigid archetypes break down as the reader is brought into a personal connection with the cast. As opposed to the far flung, space-age gleaming, sterile adventures of a space opera, it would have to go bellow decks, get down and dirty. Into the muck. Into the grime. Into the lives and motivations of its characters. Hence the allusion to the murky, cloudy waters of a swamp.


That human touch is the sort of thing that's been done before, of course, in the best examples of the space opera genre. Because getting the reader to care about your characters is the mark of a good writer, if you ask me (Doing it without resorting to maudlin harping along the heartstrings is where the greats separate.). But those exist in the day and age of Buck Rogers and Plan 9 from Outer Space. Creatures of their own time, trapped by their expectations and preconditions. Nothing wrong with a little creative rebranding to stand out from that crowd, to announce that I'm trying to move the goalposts a bit.


And I am, here, at least a little because although the plot of the novel involves the kind of grand, sweeping epic that would feel at home in a space opera, the scale is decidedly personal. The empires wrestling, nations crumbling, while the world is turned from its axis, that's the backdrop. That's what contextualizes the story of the people involved. The ordinary ones whose lives, whose destinies, are controlled if not determined by forces they can barely comprehend let alone control. And the assertion of self over those vast, impersonal forces is a big part of the planned story.


It's like the old “for want of a nail, the kingdom was lost”. An example of how the right person at the right time at the right place can grease the wheel of history and send the world spinning off onto an unexpected path. About how duty and responsibility can be in conflict. And, ultimately, just how far love can make someone reach to find what lays beyond their limits.


In other words, it's a huge, complicated story with a ton of moving parts that I've managed to find a nice, small angle to view it from. One that lets me deal with everything from that overarching story and at the same time push it into the subtextual background for the viewer to find while they explore the simpler, rawer, personal story in the foreground. I think.