I read "Duplicity" by Tony Gilroy [Thanks Naudikom
].
And I almost cried. Not because it was a sad story. Because it was so damn good on so many levels I read to the last line and thought, "How can I send anything out unless it's on par with this."
Not giving anything spoiler-ish away, it's a story about corporate espionage. I'm certain the hook (which I won't mention) would sound high-concept in a logline.
Yet it's really character driven. Which is such a tricky thing to do: a high concept script with fully developed protags.
As far as commercial value, it would definitely pull a male audience. Yet there's a quirky love story going on between the two leads, nicely explored, which would satisfy a female audience. And as a woman I love Gilroy's female lead - not a stereotype to be found.
Plotwise - he weaves in "a-ha's" that keep you on your toes. Skilled storytelling at its finest. Then the writing - oh the writing. Sigh.
Even dialogue is a plot device. It's hard to explain but it's the first time I've seen that used.
And then there's the way it reads -- it reads as if it was effortless to write. Although I know damn well it wasn't -- it still reads that way. As complex as it is. This is amazing skill.
My point is ... if we aspiring writers get the quality of our writing to this level it would make everyone sit up and take notice. The first five pages of Duplicity announces by pure virtue of the skill: this is an exceptional writer.
Now, before someone says, "Yeah but he's an A-list writer and ... right script, right time ... adequately executed," I'd like to say ...
...it would serve us to set the highest benchmark for ourselves. It would make our specs rise like the proverbial cream.
I've added Duplicity to my list of benchmark scripts. Those which I feel epitomize the level of quality I want to reach.
Anyone else see value in setting a quality benchmark?

And I almost cried. Not because it was a sad story. Because it was so damn good on so many levels I read to the last line and thought, "How can I send anything out unless it's on par with this."
Not giving anything spoiler-ish away, it's a story about corporate espionage. I'm certain the hook (which I won't mention) would sound high-concept in a logline.
Yet it's really character driven. Which is such a tricky thing to do: a high concept script with fully developed protags.
As far as commercial value, it would definitely pull a male audience. Yet there's a quirky love story going on between the two leads, nicely explored, which would satisfy a female audience. And as a woman I love Gilroy's female lead - not a stereotype to be found.
Plotwise - he weaves in "a-ha's" that keep you on your toes. Skilled storytelling at its finest. Then the writing - oh the writing. Sigh.
Even dialogue is a plot device. It's hard to explain but it's the first time I've seen that used.
And then there's the way it reads -- it reads as if it was effortless to write. Although I know damn well it wasn't -- it still reads that way. As complex as it is. This is amazing skill.
My point is ... if we aspiring writers get the quality of our writing to this level it would make everyone sit up and take notice. The first five pages of Duplicity announces by pure virtue of the skill: this is an exceptional writer.
Now, before someone says, "Yeah but he's an A-list writer and ... right script, right time ... adequately executed," I'd like to say ...
...it would serve us to set the highest benchmark for ourselves. It would make our specs rise like the proverbial cream.
I've added Duplicity to my list of benchmark scripts. Those which I feel epitomize the level of quality I want to reach.
Anyone else see value in setting a quality benchmark?
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