First......
some definitions.........
CUT TO:
CINEMATIC TECHNIQUES DEFINED
I have a perfect cure for a sore throat: cut it. –Alfred Hitchcock
Because story is the basis of both film and fiction, it is not difficult to apply cinematic techniques directly to techniques used by writers.
The basic unit of both fiction and film is the shot. The shot is “an uninterrupted flow of imagery” (Butler 64). A shot can be a glimpse or a moment; it can encompass dialogue, and even a complete scene.
A scene consists of one or more shots connected by time or space. Every scene must contain a story event; “it must create meaningful change in the life situation of a character that is expressed and experienced in terms of a value and achieved through conflict” (McKee, 34). In a scene, the plot must move forward. Something important has to happen.
Cuts connect shots to make scenes. When the filmmaker cuts, the camera and the audience’s attention move from one character, object, or scene to another. A cut is usually clean and precise. When the transition is subtle or fuzzy, it is called a “pan” or “dissolve.”
Scenes bridge to form a sequence. David Howard defines sequence as “a self-contained portion of the story with its own tension, its own beginning, middle and end” (268). A sequence has a protagonist, usually but not always the main character of the whole story. The sequence must take into account and fit into what Howard calls, “the rising action.”
Shots, scenes and sequences do not have to exist linearly. Sometimes the director needs to speed up time into fast motion or slow it down considerably. “A series of rapidly cut images that radically condenses or expands time” is called montage (McKee, 343). In film, fast motion is almost always used for comic purposes. Slow motion, on the other hand, can literally stretch emotional tension. Although Robert McKee finds the montage as trite as a dream sequence, he admits that it can be useful when relaying “undramatized exposition” (344). In fiction, summary is a form of montage and works to connect scenes and sequences that are separated by lapses in time.
Last, the filmmaker must consider where the camera sits as it records the action. In fiction writing, creating “long shots” and “close ups” are the job of the narrative voice. In fiction, camera angle is called psychic distance. John Gardner coined this phrase in his book, The Art of Fiction. He urges the writer to control psychic distance, or camera angle, carefully and intentionally. Gardner explains, “When psychic distance is great, we look at the scene as if from far away—our usual position in the traditional tale, remote in time and space, formal in presentation; as distance grows shorter—as the camera dollies in, if you will, we approach the normal ground of the yarn and short story or realistic novel” (111-112). Careful shifts in psychic distance can inform the reader and help him notice the details of setting and character. New details emerge when the perspective changes. Gardner urges writers to think about where the camera sits and therefore, what it sees.
All these techniques can help the writer see and even stage her manuscript. By visualizing story, the writer can make sure that all important facts are presented for the reader in the best order. In these ways, cinematic techniques can help the writer visualize and revise plot and thus, heighten the suspense of her story.
NOTE: Psychic distance was the concept I needed to understand! Thinking about the exact position of the camera helped me get into point of view.....And got me to stop belly button gazing. If you are working on a manuscript, try highlighting your internal monologue. If it is overtaking dialogue and action, you may be guilty, too! Read Gardner. Think about the subtle differences he offers in his definition of psychic distance. In those examples, picture where your camera man is sitting.
And by the way, if you think I'm only talking about character, thinking like a filmmaker, helped me understand that my scenes had to be presented in a precise order! On my desk, I keep a card that says, "WHAT HAPPENS NEXT?" When I'm revising, I make a storyboard that helps me analyze if I've envisioned the order of the scenes correctly! I remind myself to only reveal details WHEN I NEED THEM.
But I'm getting ahead of myself. We'll talk about cinematic plot tomorrow.
For now, let's do some more work on CAMERA ANGLE.
Pick up one of your favorite books and examine the beginning. Think about psychic distance. Where is that camera? What is it showing you? How does it dally around the setting. Where is it? What does the protagonist see? Are you in his head? If you are working in first person, look for phrases like "I feel" and "I want," phrases that by definition, change the camera angle. Look at the concrete details that the character notices. What do they tell you about that character?
If you like, read the beginning of Rag and Bone Shop. It begins with a conversation with minimal tag lines. But the dialogue makes us make assumptions that help create a visual image.....it is one of my favorite beginnings.....
Wow, Gus! This book is going to rock the world. The hard work is paying off. This illo and the one with the NY rooftops / water tanks are really fantastic. Order me a few copies for next Christmas. T
Your a good man Tristan!Will put in an order - hardback I assume!
Have a great xmas mate and look forward to catching up early in the new year. Love to all.
Count me in - I will be buying it. I wanted to be like Wendy but now I think I want to be Rosie.
"Jodester27"
Lordy that's just brill! I see you have fiddled with your style a little too GG. It looks amazing. Where is this thing called The Brooklyn Bridge?? Can I go there too? jxx?