Spank me and structure me.

[Ordet]

Currently writing a so called multithreaded (many characters) film. Been writing for over a year and a half now. I've got a shit load of material, character development, back story, dialogue, plot outlines and more dialogue. Etc.
The structure is becoming a little tough I've gotten down ten pages and I haven't established all my characters yet. The problem is that they're all very developed three dimensional types. I know it's difficult to give advice when you don't know the material. But just very general insight would help on what makes this type of movie work without having to rely on the clichéd cut to cut to cut to. Which I'm sure I'll use. Anyway, sorry about this it's day time and I need 16 cups of coffee to be on my edge and wait for the night when the muse arrives or whatever. I'm also starting to auto-mock the film within the film or the type of film. CKS-Charlie Kaufman Syndrome

Anything will help

Cheers.        

[cowboykurtis]

wheres your question?

[Ordet]

Sorry.

I hate my brain chemistry.

Structurally what do you think makes multi-character film interesting and well paced?

What's a good way to follow the characters subplot and not make it feel splattered all over?  

   

[kotte]

Sorry.

I hate my brain chemistry.

Structurally what do you think makes multi-character film interesting and well paced?

What's a good way to follow the characters subplot and not make it feel splattered all over?  

   

The answeres to your questions are structure and connection.

[Ordet]

They are all connected.

But how fast should I introduce them?
Show them all as fast as possible and give as much information in short scenes or establish them in every aspect and then move on to another character.

This is too subjective. I'm already boring myself.

Your opinions are greatly appreciated.

I'm gonna download some porn. That should awake the dramatist in me.

I'm gonna do some writing better. Keep you posted.

By the way anybody want to read my short film.

[kotte]

They are all connected.

But how fast should I introduce them?
Show them all as fast as possible and give as much information in short scenes or establish them in every aspect and then move on to another character.

This is too subjective. I'm already boring myself.

Your opinions are greatly appreciated.

I'm gonna download some porn. That should awake the dramatist in me.

I'm gonna do some writing better. Keep you posted.

By the way anybody want to read my short film.

I think what PTA did in Boogie Nights, introducing all the characters at once, is a great idea but you should do it your way.

[Weak2ndAct]

It's a juggling act, gotta keep all the balls in the air and not drop any.  A few things to remember:
- When introducing characters, try to get as much defining characteristics/traits/etc. as soon as possible, while still managing to advance the plot and not make it too forced.
- Transitions, transitions, transitions.  Have the scenes flow into each other, find the connections between the people and places.  If you have to jump to an entirely new place/locale, find a way to hook it back into the story soon or you'll lose the reader.
- Decide right off the bat whether or not you have a lead character (or two, etc), and make sure that you evenly distribute the scenes accordingly.  Don't let an ultimately meaningless character weigh down any part of the story.
- Keep track of your arcs.  It doesn't matter if your character's arcs happen according to the structure of the movie (example: Little Bill wraps up in the middle of Boogie Nights, rather than the ending), just make sure they progress correctly.
- Most importantly of all: NEVER LOSE FOCUS OF WHAT THE MOVIE IS ABOUT.  It's almost easier to write an ensemble b/c there's less act 2 legwork and a compression of characters and through-lines, but you often run the risk of making of a movie 'about' nothing.

[Ordet]

It's a juggling act, gotta keep all the balls in the air and not drop any.  A few things to remember:
- When introducing characters, try to get as much defining characteristics/traits/etc. as soon as possible, while still managing to advance the plot and not make it too forced.
- Transitions, transitions, transitions.  Have the scenes flow into each other, find the connections between the people and places.  If you have to jump to an entirely new place/locale, find a way to hook it back into the story soon or you'll lose the reader.
- Decide right off the bat whether or not you have a lead character (or two, etc), and make sure that you evenly distribute the scenes accordingly.  Don't let an ultimately meaningless character weigh down any part of the story.
- Keep track of your arcs.  It doesn't matter if your character's arcs happen according to the structure of the movie (example: Little Bill wraps up in the middle of Boogie Nights, rather than the ending), just make sure they progress correctly.
- Most importantly of all: NEVER LOSE FOCUS OF WHAT THE MOVIE IS ABOUT.  It's almost easier to write an ensemble b/c there's less act 2 legwork and a compression of characters and through-lines, but you often run the risk of making of a movie 'about' nothing.

cool cool cool cool cool cool cool. There is a protagonist that brings the story together...

Have you ever thought of opening your own screenwriting seminar and stealing all of Mckee's students?

Thank you much my amigos.

Endorphins are kicking in so I'll try and take advantage.

Thank you, thanks, thanks, thank you.

Spank me more if you think necessary.

Cheers.