Posts Tagged Goldfinger
Here’s one of the timeless problems with novels. The reader knows the author can do anything they like. And one of the things I see in manuscripts is that the author has the story firmly by the ears and is steering it. Enough to make me wince.
Being killed or falling in love
In real life, love can just happen, right? A glance across a crowded room might be enough. And, at the less optimistic end of the spectrum, people do just die.
But in stories they can’t if it’s convenient for the plot. You have to work harder to earn that development. There may have been a time when you could erase a villain by striking him down on the golf course, but very few readers will swallow that now.
Finding the murderer
In some manuscripts, detectives find their suspects far too easily. If the murderer is Chinese, all they have to do is go to the Oriental supermarket and chat. Hey presto, a vital clue.
When characters get information they badly want, it needs to be hard won. It’s a way for the character to demonstrate resourcefulness, bravery, doggedness. Or maybe gullibility, if that’s what you want.
In fact, it’s better if they chase the wrong lead for a while. Suppose the person he talked to was protecting the real villain. Remember, stories aren’t a linear escalator to a success, they need slips and reversals. In Silence of the Lambs, a SWAT team stakes out a house – and it turns out to be the wrong one. This blunder dramatically raises the stakes for the heroine who is about to confront the killer on her own. In The Day of the Jackal, the police seem to have discovered the assassin’s true identity but at the end he’s revealed as the wrong guy – a neat twist in the coda that preserves the mystery. (If you didn’t know that, um sorry…)
Many writers mistake where the real drama is in a fight scene. They think it’s the trading of blows, or perhaps the natter that goes on (rather unrealistically) between them. But readers know that the writer can keep all that going as long as needed. The police won’t burst in until the right moment. The roof won’t collapse, no matter how much it’s wobbling.
What makes a satisfying end to a fight? It has to be a surprise. Perhaps it’s storytelling sleight of hand. In the film of Georges Simenon’s Red Lights, a whisky bottle bought earlier by the protagonist is smashed and turned into an impromptu weapon.
Perhaps the reader is convinced the hero can’t win. In the climax of Goldfinger the story has established that James Bond can’t beat Oddjob in a straight fight – so when he outsmarts him and electrocutes him with an electric cable, we’re so surprised that we feel the win is deserved. (Moreover, Oddjob had sliced the electric cable with his hat – a neat comeuppance.)
Another satisfying way for a protagonist to win a fight is if they complete an arc – perhaps defeating the monster inside themselves. Or – like in Blade Runner when Roy Batty saves Deckard instead of killing him – a complex victory for both.
A story is not just what happens, but how and why. And one of your jobs as a writer is to make failure possible and triumph surprising. The more an event or discovery matters, the more your characters have to earn it.
Thanks for the lightning pic, Opacity
Do you have favourite examples of earned victories or discoveries? Share in the comments!
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1. Write first, fix the pace later
‘He stepped back to avoid the fist that came at him like a sledgehammer. Then he grabbed the arm and twisted, but his opponent had already recovered his balance and the teapot was whizzing towards him.’
Writing action is slow. Dead slow. When you’re plodding through every blow, twist, feint and reaction your exciting scene becomes a dire trudge. But you need to get the details down because those are your raw materials.
I remember in one early thriller I wrote there was a cliff-top chase, which culminated in the MC diving into the sea. It was supposed to be spectacular but dear me, it crawled. In desperation, I took out every other sentence (yes, that’s how much I had to cut). Suddenly it had the pace I wanted – the slick, breathless scene I imagined when I put it in the synopsis. Now I could see what speed the choreography should be, I checked the details, swapped some in and out – and it worked.
2 You don’t have to show absolutely everything
You don’t have to show the scene blow by blow. You can give a sense of what the scene feels like without showing every step, every blow, every thrust and counter-thrust. As with every kind of description, telling details that give the emotional feel of the scene are the most important. For instance, this excerpt from Ian Fleming’s Goldfinger:
‘Ten yards away, Oddjob hardly paused in his rush. One hand whipped off his ridiculous, deadly hat, a glance to take aim and the black steel half-moon sang through the air. Its edge caught the girl exactly on the nape of the neck.’
3 Make it more interesting than just a fight or a chase
Prose is an internal medium, and is much better for internal, or emotional, action. A scene that is just a set of physical instructions is never going to be as interesting as one with significant character interaction, or humour, or a development that matters to someone on an emotional level.
Screenwriter Jane Espenson said she always found it hard to write the fight scenes in Buffy The Vampire Slayer. So she would design the scene about something else – an argument or a revelation between the characters. When that was established, she slipped the fight in around that.
Thank you, Simon Wicks on Flickr, for the photo
Do you find action scenes easy to write or hard? Do you have any tips? Share in the comments!