THE AUDIENCE APPROACH
Most writers tend to ignore their audience as they write. Bad
mistake. Your audience is a vital participant in your script -- in the
movie you want your script to become. And if you want your script to
have an audience, eventually, then you had better factor them
in when you write it!
The audience is a blank slate, with certain expectations going in:
cultural expectations, which we can never know entirely; genre
expectations, which it's your job to know; and, dramatic expectations
-- a good story, well-told.
(Given that you are writing a script, you must also factor the reader
into this equation -- but the reader is a audience member too. Just a
very knowledgeable and suspicious one.)
Manipulating the audience (let's be real, that's what we're here to
do) is a game with two main components: you will control the flow of
information, and you will manage your audience's expectations.
Flow of Information
Again, the audience is a blank slate. Their minds are an empty stage.
You will place characters one by one on this empty stage and make them
do things. What you tell the audience, they will know. What you do not
tell them they will not know. Therefore, you must tell them what you
want them to know, when you want them to know it.
You control the flow of information at every level. You reveal things
about the environment that no characters know. You reveal things about
one character -- motives or agendas -- that other characters do not
know. You reveal something that all characters know but one. Playing
clued-in characters against clueless characters is the simple formula
of all drama.
The audience is the most clueless character there is. The audience
comes into the story knowing nothing. You must reveal information
strategically, to maximize suspense, maintain tension, and hold
audience interest, from first to last.
There are three main levels of audience knowledge: the audience knows
more than a character, knows just as much, or knows less.
Respectively, these are "audience superior", "audience
equal", and "audience inferior". These operate
script-wide, and on a scene-by-scene basis.
There are many examples, but let's consider the movie
The Sting. In the poker game on the train, we see all three:
Superior: We know Gondorff is playing Lonnegan for a sucker. We
know Lonnegan slips in a stacked deck. What we don't know is how these
characters will deal with these situations -- that's where the fun is,
that's what interests us.
Equal: We watch Lonnegan's encounter with Gondorff, not knowing
how these men will react to each other, how they will interact on
this, their first meeting. Identifying with each character, we know
only as much about how their current interaction will unfold as they
do.
Inferior: We don't know Gondorff has switched his cards until
he puts them down on the table. We know he intends to cheat, but not
that he's pulled a last minute fast one. That information is concealed
from us, until the final brilliant reveal.
These three levels of knowledge work between characters as well.
Characters are one another's audience, after all. Keep this in mind as
you craft their interactions, and manage the flow of information
between them, just as you do with your audience.
Managing Expectations
By manipulating the flow of
information, you manage your audience's expectations. Given a certain
amount of information, they will develop specific expectations about
the outcome of any interaction, scene, or sequence. You will then
satisfy or frustrate those expectations.
In The Sting, we're led to believe Salino is a man. Men as
important as Lonnegan speak of Salino with respect. Men fear Salino,
and get killed by Salino. A pair of gloved male hands tap a steering
wheel in a car, watching Hooker. The same gloves turn off the light in
an apartment overlooking Hooker & Loretta's bed on the night
before the sting. This expectation is then frustrated, in masterly
fashion, when the gloved man shoots the real Salino in the
forehead.
We're kept audience inferior here, just as we are with Snyder and the
FBI. Gondorff says they'll have to do something about Snyder, but we
don't know what. We don't know Hooker's been informed and that he's in
on it, and that the "FBI" are really fellow con-men, until
the very end. In this way, The Sting plays a con on the audience too
-- which involves the audience in a very personal and immediate way.
Just as with the flow of information, managing expectations goes
scene-by-scene (we know Lonnegan has a stacked deck, and expect
Gondorff to be surprised by this) or script-wide (we believe Salino is
a man, but "he" turns out to be the oddly-nosed broad
instead). Information and expectations ebb and flow throughout a
script, according to rhythms you must learn and master.
The Audience Is A Character
As a deft and commanding writer, you'll manipulate the flow of
information between clued-in and clueless characters, just as you will
between these characters and your audience. Which reveals a very
important fact:
The audience is a character in your script!
Just as characters are each other's audience -- the audience is just
another character in your story! You use the same rules for character
interaction as you do in interacting with your audience. It's all
about information and expectation, the foundation of all storytelling
-- and the foundation of an audience's involvement in, and enjoyment
of, that story.
Writers spend a long time crafting their characters, but spend very
little time considering the character of the watcher, the audience
member. The audience is a vital character in your script, and the flow
of information must be managed not only between all the characters
onscreen, but between their story and the watcher in the dark.
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