Episode 466 - And then What?

Feb 16, 2020

What happens to characters after the big action scene or climactic moment? This could be anywhere in the story but it's usually close to the end. Do they process any of the things that have happened to them to lead them up to that point or do they just forget about everything and simply act as if nothing except the last 4 seconds matter? The later seems to be the trend in a lot of badly written fiction, and it's a notable trope in 80s style action films. Death of family members or lovers are irrelevant when you have a hot action star standing next to you!

Topics and Show Notes

“So, what are you going to do now?” Someone always asks…
“Well I thought I'd settle down somewhere and open a bar.” replies the characterless hero, displaying complete disregard for the entire list of things that happened to them throughout the course of the story and instead recites a meaningless and tired line that was written before their writer was even born.

And THAT my friends is what we call bad writing ;)

Unless you're deliberately writing something spoofy, it's usually worthwhile to reward the audience: They've just sat through your story, hopefully they'll be invested in your characters. The audience really, really appreciates when those character acknowledge the effects and existence of events that you saw happen to them earlier on in the story. It makes the characters more believable and rounded, and it really helps with the suspension of disbelief.
Like anything though you can overdo it. You don't want the characters traumatised over every on-screen death (unless specifically called for), and you don't want them going on and on about something that happened to them in the story, just acknowledging it and showing some effect on the character is enough usually.

It's a good idea to remember what it was too! Don't forget about it and mix things up like in The Witcher wherethe writers forget Yennifer gave up her uterus for magical plastic surgery to look beautiful so she could grab the prized easy posting of court magician in her home country and lord it over the people there, and instead the story centers around how they “forced” her to give up her baby-making parts in order to be allowed to practice magic… Your job as a writer is to keep your story straight or your character growth will be a nonsense and you will look like a fool.

This week Gunwallace has given us the Music to GeMiTo 2073 - A slow, quiet intro, thoughtful pacing, introspective wailing electric guitar riff. This one creeps in gently and takes care of you. This rock ballad wants to make sure you’re ok,

Topics and shownotes


Links

Tantz's The Day After newspost - https://www.theduckwebcomics.com/news/2020/feb/14/the-day-after/

Tantz's anime - https://www.imdb.com/title/tt9288892/

Featured comic:
Coquin - https://www.theduckwebcomics.com/news/2020/feb/11/featured-comic-coquin/

Featured music:
GeMiTo 2073 - https://www.theduckwebcomics.com/GeMiTo_2073/, by Marcorossi, rated T.

Special thanks to:
Gunwallace - http://www.virtuallycomics.com
Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/
Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean
Banes - https://www.theduckwebcomics.com/user/Banes
kawaiidaigakusei - https://www.theduckwebcomics.com/user/kawaiidaigakusei/

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Episode 404 - Strong characters

Dec 10, 2018

3 likes, 0 comments

We mined Tantz's Saturday newspost for our discussion topic: Strong characters and how to write GOOD ones! What is a strong character? Well it has nothing to do with physical ability, power, command, or anything so obvious and trite. Strong characters are well rounded and well realised, they're often active and opposed to reactive, they make things happen, the story hinges on them. Failed attempts at “strong” characters or obvious and often result in Mary Sues, whether male or female. People hand them traits that they THINK will make the character strong: make them a general, make them a great fighter, make them royalty etc. The problem comes when none of that is ever logically backed up in the story. You can't just title a character something or have other characters talk about how great they are without having them demonstrate a reason for it, or else all you have is a pathetic paper tiger and a really shizzy failed part of your story.

Episode 391 - personality mix group dynamics

Aug 19, 2018

2 likes, 0 comments

This Quackcast was based on an idea from Banes. We chat about designing a group of characters with complementary temperaments. In Banes' own words: “I like the idea of the line between a logical, left brained person and a creative, right brained person, crossed with a spectrum of a more active, extroverted, action taking temperament and a more nurturing, introverted type.

Episode 232 - Creating a Rounded World

Aug 17, 2015

5 likes, 8 comments

Hello, hello, hello! This is the second part of our hugely long expose on the tricky art of WORLD BUILDING! And it really IS extra loooooooooooog… that's because we take so much time crafting the Quackcast world for you. To recap: world-building is a big part of ALL fiction from SciFi and fantasy to your common or garden police shows or even comic strips. You create locations that have relationships with each other, characters that have jobs, families, friends, histories etc, all that is just as much world building as a fantasy world with a specific style of magic and monsters or a SciFi world with aliens and a 1000 year war. Typically, if you do your homework and set up your world nicely then it makes it easier to write stories within it, but you also have to remember not to show all that research to people in the form of big long explanations. Banes and Bravo1102 join Ozoneocean to talk about it! Listen to Gunwallace's lovely theme for Regarding Dandelions!

Episode 208 - Testing Your Writing

Mar 1, 2015

5 likes, 6 comments

In this Quackcast Banes and I discuss some methods for testing your writing, well mainly your characters, to see how well you really know them. We use a comedic character creation template that we have found is perfect for testing and learning more about your established characters, no matter how serious they are. It consists of four interrelated elements: Point of view; Exaggeration of the point of view; Faults; Relatability / Humanity. We also talk a little about the dreaded dangers of the Mary Sue... you never want your writing to fall in that putrid, cancerous hole of smelly excrement where your main character is perfect and all the others worship them. And lastly the very useful Bechdel test for seeing how rounded your female characters are. There are 3 rules: You have to have at least two named women; They who talk to each other; It's about something besides a man. We were both a bit sad about the death of Leonard Nimoy. R.I.P. Mister Spock.

Episode 71 - Institutionalised Superheros, Screenwriting: Part 4

Apr 2, 2012

7 likes, 6 comments

This is the 4th and last of Banes' screenwriting tutorials. We round up here with the final two story genres; "Superhero" and "Institutionalised", rounded out with some more useful time and tricks on writing in general! This series has been part of the Quackcast screenwriting month, beginning with Quackcast 68 and ending with Quackcast 71. Aaaaand we also have all the voice tryouts for the aspiring actors that want to be a part of the 2012 DD radio play! We'd love you to vote on your faves for each role- just write down the number you like for each and email your vote to drunkduck100@yahoo.com, or PQ them to http://www.drunkduck.com/quack/compose/?user=ayesinback or just write it here in the QC comments!


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