KEEPING BUTTS IN SEATS
Five Tools To Keep Your Audience Riveted
Human beings are naturally curious. As a screenwriter as a
storyteller your job is to manipulate this curiosity to
your advantage.
Sound like a cheap trick? Consider: the foundation of all storytelling
is playing on your audience's expectations getting them to
expect something, then satisfying or frustrating those expectations.
Audiences, really, are counting on you to manipulate them, and
manipulate them good!
Below you'll find five tried and true principles of storytelling.
These techniques should be familiar to you (that is, if you've ever
watched a movie or heard a story). The names are not always the same,
and the categories sometimes differ, but what they describe are the
tools every screenwriter should know, and know well.
And all these examples are taken from
The Silence Of The Lambs. Which just goes to show that when you
use them, you might just wind up with an Academy Award.
Telegraphing
Telegraphing is indicating what will happen in the future, either in
dialogue or visually. Use telegraphing to create an expectation which
points where the story is heading. All telegraphs have payoffs
either the expected payoff, or a reverse payoff.
Think of telegraphing as "telegraphing your intentions" to
the audience but, slippery you, you might not give them what
they think they're going to get! (Not to be confused with the bad kind
of telegraphing like when you telegraph a punch or telegraph
your intentions to your adversary. Inadvertent telegraphing is a
mistake...intentional telegraphing is a powerful
tool.)
Before Clarice even sees Lecter for the first time, there's a lot of
talk about how fearsome he is, starting with "You spook easily,
Starling?" This telegraphing creates anticipation and primes us
for Clarice's (and our) first meeting.
A deadline or ticking clock when someone puts a
time limit on something is telegraphing. Clarice has to hurry
to catch the killer before he strikes again. At one point, the figure
of three days is mentioned to loosen their skin. After that,
it's curtains!
A false telegraph is when you payoff with the
unexpected. Lambs has several of these, obvious and not
so obvious. The most effective one is when we're led to believe that
Jack Crawford and his men are ringing the bell at Jame Gumb's house
but when Gumb goes to the door, he opens it on Clarice. The
killer's house isn't in Illinois at all, it's in Ohio...and Clarice is
in big trouble.
Then there's what I call a blind telegraph when we're
led to believe something will happen, but we have no idea what.
Illustrated perfectly by Dr. Chilton's pen we keep getting
pointed to this pen (pointing is another word used for
telegraphing). Ultimately Lecter fashions a lockpick out of the pen's
pocket clip to unleash mayhem in Memphis. It's much like a setup
(see below), but ultimately it's a telegraph because we're made
abundantly aware something will happen involving this pen.
The Setup
A setup is an unobtrusive detail which justifies its payoff
a detail without which the payoff would not make sense. Unlike
telegraphing, a setup should not be brought to the audience's
attention...but it should be there, hiding in plain sight, so that
you'll remember it when the payoff happens.
If we hadn't seen the killer using night vision goggles earlier, the
sequence at the end where he stalks Clarice in the dark would be out
of the blue. Also, when Clarice visits Lecter the second time, he
notes she's bleeding. She's quizzical, but then she remembers Lecter's
sense of smell. And we should too, because he gave us a demonstration
earlier.
The death's head moth symbolizes several things in the context of the
script, which is why it makes such a good setup if a setup is
obvious, like this one, then it should serve double duty. When
Clarice, in the house of the man she thinks is Jack Gordon, sees a
moth lighting nearby..she knows. At that moment, she knows
exactly where she is, and exactly who she's up against. We know she
knows, because we've been set up!
Foreshadowing is a setup which symbolically prefigures a later
development in the story. This helps lend thematic unity to your
script. Clarice opens the movie running alone in an obstacle course.
This foreshadows her struggle to come alone, against great
obstacles. The key to foreshadowing is to make it so subtle, it's
almost subliminal. (Don't telegraph it, in other words!)
The Dangling Cause
A dangling cause is an unresolved issue dangling in the audience's
mind as other events ensue. Generally coming from a character's mouth,
it's a statement of intention, a prediction, a warning, a threat, or
any other such promise that a character will do something.
Lecter: "I'll help you catch him, Clarice". Clarice:
"You know who he is, don't you? Tell me who decapitated your
patient, Doctor." Even Dr. Chilton, when we see he's listening,
is a dangling cause, because from that moment on we know he's going to
interfere somehow. The question is...when?
A dangling cause is waiting for the other shoe to fall. Something has
been promised a cause and its effect is delayed.
Dangling causes are usually large, script-wide, shaping the action (as
in the above examples). Sometimes, though, they're quite small.
A dialogue hook dangles only long enough to hook us into the
next scene. Lambs has several. Soon after the above, Lecter
says, "Our little Billy must already be searching for that next
special lady." We immediately cut to Catherine, driving along,
singing along to the radio. A dialogue hook alerts us to anticipate
something immediately before it happens, and draw a relation.
Dramatic Irony
Dramatic irony is when the audience knows something the character
onscreen does not. This always infuses a scene with a whole new level
of meaning, and is irresistible to audiences, particularly in comedies
it's the comedic "misunderstanding" which has driven
many a classic sitcom plot.
Clarice is in the killer's house. We know it we've seen him
before. We know she's in great danger, but she's got no clue. Then the
moth lets her know. Now, she knows where she is, but
he doesn't know she knows. So there's another level of dramatic
irony keeping us on the edge of our seats.
Dramatic Tension
The engine of all good scripts. Dramatic tension comes from the
simple question: Will the characters get what they want? This forms a
question, which leads to a deliberation, which leads to an answer.
Three pieces...three acts.
Will Clarice find the killer? This drives
The Silence Of The Lambs. But there are other dramatic tensions
at work too: Will Lecter get his view? Will Dr. Chilton break Lecter?
Will Buffalo Bill get his suit completed? All these questions form the
dramatic tension of the script.
Ideally, dramatic tension should also be, in miniature, a part of
every scene you construct. In every scene, someone wants
something will they get it?
A Final Word
This has only been an introduction to these
notions a cheat sheet, if you will. This list was enlarged from
material in The Sequence Approach, by Paul Gulino, but you can
find more information about these techniques, and detailed discussions
and analyses, in any number of places. (Search Google Books, for
example.)
But whatever you do, do your best to internalize these techniques and
let them become a part of your screenwriting. Use them, and use them
well, to mess with your audience's minds and keep their butts nailed
to their seats...they'll love you for it!
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