climbing Action Mountain

[callitt]

A challenge for the 'action' genre writers here:

How to approach an action sequence in which the odds are overwhelmingly, astronomically, monumentally, completely against the hero--but they MUST succeed if the story is to continue. All form of logistics, practicality, detail, and villainy dictate the hero will fail--but he must not.


Example: You're the hero on board The Titanic. You've just struck the iceberg, it's going to sink, you've got to save everyone on board.

How do you approach finding the solution to such a problem?

[Steve]

That's your job as a writer. Set impossible odds for your hero then find a way for her/him to overcome them. There isn't a "way" to do this. It's just part of constructing a good story. The more clever and audacious your hero is in overcoming the obstacle, the better the story will be.

Often in action movies the hero is able to call on a skill that up to that point had been a liability or useless, or realizes in the crucial moment that he needs to do the exact opposite of what he's been doing. That sort of thing tends to deepen character or complete the character arc.

But to ask about it in general terms is like asking "how do I make a comedy really funny?"

[Strange Mind]

if i was the hero on the titanic, i'd be leonardo di caprio, and as leonardo di caprio i don't really have to do anything but look sufficiently raggedy but handsome, and simply die in the end, now do i?

[callitt]

Steve,
I ask about the above situation in general terms because I don't wan't anyone *giving* me the answer I need--it IS my job to find that solution.

Hard as it is, it's a great predicament to be in, and I agree that the solution lies within the character and will certainly deepen their arc/development.

Maybe the question is better phrased as:

"How do you approach discovering the solution to such a problem?"

[StRogue]

callit - depends on the event. If a ship is sinking, there is no possible way for one individual to save everybody, so he would have to pick and choose who lives, who dies. If it is a small boat, then you should have by this time given this hero a skill that will help save them all (great navigational sense, piloting ability, something).

Depends on the danger, make sure you have given the hero something that can work. Remember the straw that stopped the bomb in Executive Decision? Something small.

You want something cool, remember how James Bond escaped in a small jet in Octo*****?

Depends on your story, depends on your hero, depends on you. Instead of asking such a general question (and the Titanic is not a good example since we all know they could not all be rescued), give us an event that is similiar to yours to help explore the possiblities.

I'm with Strange on this one. If you're Leonardo, who cares, he's gonna die anyhow (and that kid was temperature sensitive to boot).
Charli

[TonyRob]

Callit,

For an interesting approach to this conundrum, check this out (if you haven't already):

www.wordplayer.com/column...ilure.html (http://www.wordplayer.com/columns/wp08.Impressive.Failure.html)

Tony

[wcmartell]

I'm dashing to see AI, so this is the quick response.

I don't know what you want to know.

If you've painted yourself into a corner, you weren't in control of the script. I never create a situation unless I know the what the audience EXPECTS it to be resolved and a really clever way to resolve the problem that they've never seen before. I'm writing the script, it's not writing me. I know the answer before I ask the question (first rule of journalism, too).

If you're wondering how to come up with that unexpected resolution, the only answer I have is - that's our job. Coming up with cool, unexpected things is what we do for a living.

If you're looking for something else... well, I gotta go see a Spielberg movie and maybe afterwards I'll have more of an answer.

- Bill

[callitt]

Thanks to all responding here.

Tony, great article at Wordplay--I really have to get over there more often.

I wasn't looking for anyone to really give me a solution to my problem. I was looking (more or less) for fresh ideas on approaching a problem that had me baffled, and I mean really baffled, for MONTHS. The entire roadblock came from historical fact surrounding the action--some things simply could not be changed or ignored.

Of course, after I post this topic seeking help the answer comes to me. The answer did indeed lie within character, actually within a combination of two characters working together using special knowledge. What they must do and the execution of their will require some deft manuevering, but hey,

THAT'S MY JOB AND I LOVE IT!!!!
Thanks again, everyone.

[pteranodon2000]

There were over 2000 heavy wooden doors on the titanic each big enough to float a man. Plenty of time and plenty of crew to take them down and throw them overboard.

BUT NOOOOOOOOOOOOOOOOOOOOOO!!!

[mosnarb]

Callitt,

Read plenty of Clive Cussler novels. The hero, Dirk Pitt never dies. Once he was sucked into an underground river with no possible way of escape.

I thought for sure this was the end. I won't tell the ending but it was one of your situations.

Take your protagonist to their last heartbeat, go somewhere else in another story arc for awhile, the viewer wonders what happened.....then come back to revive them.

Mos

[callitt]

Don,
That would be the kind of innovative solution I'd be looking for. In my scenario, I have found the 'heavy wooden door' I needed, and the *carpenter* to take them down. It was in front of me all the time--I just didn't see the simple solution that would work because I was looking for the complex, clever way out.

Mosnarb,
My heroes end up in as much heart-pounding danger as you could imagine. It is almost certain they will die at every twist and turn, but this particular sequence is the 'centerpiece' of the novel--equate it to the midpoint in a screenplay. I already know what lies ahead for them (started working backwards from the end when I jammed up on the action--great tips from Steve) and things certainly get more difficult & dangerous.

I have not read Cusssler. What novel does Pitt end up in the underground river? Sounds like a good read (or a ripoff of a Baywatch episode?)

[mosnarb]

Callitt,

You have to read Cussler's books. I believe 'Atlantis Found' is the one with the flooded mine.

go.borders.com/features/rrcussler.xcv (http://go.borders.com/features/rrcussler.xcv)

Comparing Baywatch would be like comparing the new rookie signees to Michael Jordon. :)

I would start with his first one. It gives you some character insights. Sounds like it would be right up your alley. (or mountain for this matter)

Mos

[warmgoodness]

Callitt -

As a guy who has sold an action spec or two in his day, trust me -- whatever twisted, impossible obstacles you manage to put in your character's way...never, and I mean NEVER EVER EVER take the easy way out. It's always tempting and it's always wrong...although it may well lead you to the hard way.

[callitt]

warmgoodness,

Simple solution, very difficult execution of the plan. And of course, plans don't always go exactly as imagined....