Screenwriting Fundamentals (by Blake Snyder, peppered with more nonsensical criminal notes by me) p2

… Opening image, me in the bed writing under the blankets. Why? Cause is freaking cold here! Deduce the rest my dear Sherlock.

FROM OPENING IMAGE TO AMBIANCE

Snyder’s guide takes us from the opening image to environment. How was our character’s life BEFORE the triggering event? Is they single, divorced, sexually active[1]? Do they have friends? Do they carry a boulder of responsibilities or worries[2]? Is they boring? Is they an otaku being ostracized by society?

CONTROLLING IDEA AND AMBIANCE

This is when we can glimpse the controlling idea: good always triumphs, one gets stronger by the wish of protecting others, balance must be met, the nerds who read comics aren’t a bunch of loosers but a whorty market of successful dudes… What’s the axis idea that gives coherence to the crime of our story?

So far, what we do is a good research on antecedents. Our victim’s life’s analysis to understand the crime. If scriptwriting were to be one.

Once we have a motive (ruling idea), someone pulls the trigger. Iruka sensei throws himself to save a wild Naruto in order to keep the village’s secrets under control and, side dish, keep his student unharmed. The avatar Ang is freed from the ice prison bringing collateral effects to the Water village… And for collaterals I mean a big fleet that bomb town. For a new example, the honour student detective gets a fat guy wearing a superhero T (who is a comic eminence) as his (outsource) assistant to solve the crime… Do I have to make it clear that the detective hates comics[3]?

NOW WHAT TO DO?
THE INQUIRY OF THE MURDER GOES TO TWO

The next move is to get the suspect into the interrogation cell and leave them alone. That gives them time to doubt. Yes, Blake says to give the main character a time of doubt or debate. To embrace the nine tails fox or reject it’s power? To be the avatar or not? Are comic readers really the loosers? This is the time for characters to have a chance to turn tails and flee the scene. Te time the story can stop being and evaporate into nothing. This is solved with going to two, the next part of the inquiry divided into three acts.

THE CRIME SCENE MUST WAIT FOR US TO HAVE FINGERPRINTS. TILL NEXT PROOFS

[1] I won’t say virgin. Virgin is an invention of those who use sex as a controlling social parameter and little me only sees the difference between those who have intercourse and those who don’t. Thus

[2] Stop. Any k drama will have at least a poor character that carries an overwhelming debt…

[3] Talking about Unknown origins, a Spaniard movie I, curiously enough, watched in English with subtitles…