Travel Writer: Stuart McDonald June 30, 2022.Travel Writer: Heather Greenwood Davis July 28, 2022.Travel Writer: Matt Kepnes September 1, 2022.“For the Traveler,” by John O’Donohue (2008) June 4, 2022.The Vagabond’s Way: Ballantine to release Rolf’s new book in October of 2022 June 6, 2022.“Picturesque World”: Intro to The Best Travel Writing, Vol.Kristof’s case for using indie-travel guidebooks (from 1986) July 14, 2022 “The Philosophy of Travel,” by George Santayana August 11, 2022.Paul Fussell’s introduction to The Norton Book of Travel (1987) August 25, 2022.Traveler ideals, hospitality, and the disappearance of an Italian priest in Syria July 12, 2022.A Critical Race Theorist’s guide to writing smut novels, with Dr.“On the Ice”: What it’s like to live and work at Antarctica’s McMurdo Station August 2, 2022.
#Exposition in film tv#
Vagabonding audio companion: Love, finding home, and telling TV travel stories August 16, 2022.The Vagabond’s Way: An audio introduction to Rolf’s new book August 23, 2022.–Richard Walter, Essentials of Screenwriting The rules: Keep it short, present it in a fresh manner, and avoid making more of it than it is worth.
–Robert McKee, Story 6) When exposition is necessary, keep it shortĮxposition is necessary at the start of virtually every film. Film is not about decorative photography.”
Undramatized exposition is boring in any light. All the writer has done is dump weak writing on the shoulders of the director and cast. “It does the writer no good to write an exposition-filled scene in which nothing changes, then set it in a garden at sundown, thinking the golden mood will carry the days. –Erik Bork, “ The Problem with Flashbacks,” 5) Undramatized exposition is boring in any light This can be important to do, and it’s certainly better to see these things in dramatic scenes than hear them described in dialogue, but what’s even better is to see dramatic scenes in the present, when the outcome is still unknown. They tend to play more as information about how the character got to their current place. No matter how good the scenes from the past are, they tend to not have the same sense of emotional import. –Dave Trottier, “My Favorite Flubs”, Script Magazine, Octo4) The present is better than the past for revealing character
#Exposition in film movie#
Obvious exposition includes voiced-over narration that adds little to what we already see on the movie screen and flashbacks that stop the momentum of the movie. Let exposition emerge naturally in conversations…unless you are writing a broad comedy. –Blake Snyder, Save the Cat! 3) Voice-over and flashbacks tend to be overused And when you think you’re talking too much: Show, don’t tell. So when you find yourself drifting into talking the plot, don’t. you should be more concerned with what’s happening now than what happened before the story started. You must get out all your wonderful plot and backstory on the fly, or better yet, not at all. And in a good movie, information doesn’t come out in dialogue, it comes out in the verve and forward motion of the story. As in Life, character is revealed by action taken, not by words spoken. The truth is that movies are so much about what happens that we must learn about character by what they do, not by what they say. –Robert McKee, Story 2) We must learn about characters by what they do A great story authenticates its ideas solely within the dynamics of its events failure to express a view through the pure, honest consequences of human choice and action is a creative defeat no amount of clever language can salvage.” Explanations of authorial ideas, whether in dialogue or narration, seriously diminish a film’s quality. Dialogue, the natural talk of characters pursuing desire, is not a platform for the filmmaker’s philosophy. Audiences are rarely interested, and certainly never convinced, when forced to listen to the discussion of ideas. They do the hard, painfully creative thing - they dramatize. 1) Never explain something you can dramatize