No way Out?

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  • #16
    Re: No way Out?

    You're probably well on your way to getting out the predicament you put your characters in, but this happens to me all the time. Like on page 3.

    But sometimes what helps me is that I think of the most ridiculous thing--for example, in your situation, a flying saucer would appear, and little green men would release the guys in exchange for letting them know where they can find little green women--and that leads to even more implausible (and wrong) solutions, BUT it frees me up to think about anything, no matter how outlandish, and (sometimes) it'll eventually lead me to something more realistic and appropriate for the situation the characters are in.

    HH

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    • #17
      Re: No way Out?

      Think piercings.

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      • #18
        Re: No way Out?

        Not a huge fan of a "goth" sacrificing someone. It shows a lack of understanding of what a goth actually is. You want whatever comes after Satanist...

        Anyway, maybe the guy tied up can pretend he's channelling the voice of said evil deity and convince her that they're unworthy sacrifices? She buys it for some reason, you get a few easy gags and carry on.
        Trainee Writer Blog

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        • #19
          No Way Out?

          Isn't this where the protagonist's allies step in and do their stuff?
          JEKYLL & CANADA (free .mp4 download @ Vimeo.com)

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          • #20
            Re: No Way Out?

            Originally posted by Fortean View Post
            Isn't this where the protagonist's allies step in and do their stuff?
            This would normally be true, but their buddy is out screwing with the Prot's Mom.
            Never let the competition know what you're thinking... and never tell the unseen masses your story idea.

            -- Rule 85, Ferengi Rules of Acquisition (updated by cmmora)

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            • #21
              Re: No way Out?

              Originally posted by Kandiman View Post
              Not a huge fan of a "goth" sacrificing someone. It shows a lack of understanding of what a goth actually is. You want whatever comes after Satanist...

              Anyway, maybe the guy tied up can pretend he's channelling the voice of said evil deity and convince her that they're unworthy sacrifices? She buys it for some reason, you get a few easy gags and carry on.
              Actually, Goth's are not sacraficing anyone. The Devil and his/her disciples are using Goth trappings to hide then strike. But this is just a minor funny interlude in the whole story.

              And I have just come up with a funny way for our heroes to get out of all of this.
              Never let the competition know what you're thinking... and never tell the unseen masses your story idea.

              -- Rule 85, Ferengi Rules of Acquisition (updated by cmmora)

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              • #22
                Re: No way Out?

                maybe the Devil is someone they know from their past... and right before he strikes he recognizes them. cause the devil ain't real anyway. and maybe this guy (pretending to be the devil) is out to screw the goth chicks as well.

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                • #23
                  Re: No way Out?

                  Originally posted by cmmora View Post
                  But one "rule", "suggestion", "practice" that I have pretty much never broken is the one where our protagonist (s) always get themselves out of trouble by their own ingenuity.
                  I'm not sure this is a rule.

                  Luke needs Obi Wan to help him get past the stormtroopers.

                  Neo needs Morpheus to help him get away from the Agents.

                  Then there's the episode of Seinfeld where George is tied up and the exit is just banal and simply referred to later (the maid came in).

                  I think the trick is to just move onto the next step in some sort of feasible way.

                  My two cents.
                  Story Structure 1
                  Story Structure 2
                  Story Structure 3

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                  • #24
                    Re: No way Out?

                    Some great suggestions about setting things up earlier. IMO, the set-up should be subtle enough that the solution isn't obvious to the audience. Keeps the scene tense.

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                    • #25
                      Re: No way Out?

                      Thanks everyone. Great advice from all of you. I really appreciate your help.
                      Never let the competition know what you're thinking... and never tell the unseen masses your story idea.

                      -- Rule 85, Ferengi Rules of Acquisition (updated by cmmora)

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                      • #26
                        Re: No way Out?

                        There is a certain chicken-egg principle to this argument. If the situation doesn't allow or doesn't need the character to get out in his or her special way (using their known, or revealing new, skills) then the situation probably doesn't belong in the film in the first place. If the scene is generic and any other character would solve it the same way, then it needs work. It needs to be changed, augmented or twisted to align with the character. It's like you can have the wrong character for a scene or story and you can have the wrong scene or story for a character.

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