2020-02-26

In Memorium (short story 3)

Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.

Inspired by A. Chekov's short "The Orator."
*

Helen Sodre, the youngest mathematics professor ever tenured at Yale, unlocks her door. It has a name plate “Professor Helen Sodre” above the paper tray mounted beside her door. She enters her office and dumps a pile of papers and books on a chair. To anyone else, it’s a messy office, but to her it is carefully organized. She knows where everything is. If you were to ask her, where’s Zalivsky’s paper on the classification of strongly regular signed graphs? She’d tell you it’s the third paper under the red book by Gramwood on combinatorics in the pile on the floor near the window.

Emily, her only graduate student (meaning, Helen’s Emily’s thesis advisor), knocks on the doorframe and comes in asking a math question. “What if I use Kramer’s method to do the estimate?” Emily’s about the same age as Helen. They communicate like equals.

“Good idea, Emily. Try it,” Helen said, as she sits in front of her computer reading emails. “Did you ever meet Jorgensen?” Helen asks.

“Jorgensen spelled with an ‘son’ or with an ‘sen”’ Emily asks.

“Spelled with an ‘sen”’ Helen says.

“No. I heard he got cancer the year before I arrived. Why?”

“I knew him pretty well until he got sick. He mentored me when I first got here. The organizers of his memorial conference have asked me to give a talk. Wanna go?”

“Where is it?”

“Bowdoin.”

“Maine in the summer? Sounds nice. Thanks Professor.”

“It kind of does, doesn’t it? Let’s go. Pack light, no sweaters or coats.”

*

Helen and Emily depart a shuttle van in downtown Bowdoin, each wearing a short-sleeved shirt and dragging two-wheeled luggage behind them. A “Welcome to Bowdoin” sign is ahead. They see a Bank of Bowdoin sign with a time of 2pm and a temperature of 35 degrees. Next door to the bank is Annie’s Tavern.

“Why do we have to fly into Bowdoin the one day of the summer when it’s friggin’ freezing?” Helen asks.

“That tavern looks warm.” They head to Annie’s Tavern.

Once inside, Helen and Emily sit at a small table, with their luggage beside them. “Nice and toasty in here,” Helen says, taking her coat off. A waiter walks up. “Just two beers,” she orders.

“You got it,” the waiter says, then leaves.

“What are you going to say about Jorgensen in your talk?” Emily asks.

“Good question. I guess people what to know what it’s like to work with him. I knew him as a co-worker, not as a co-author or advisor.”

The waiter returns with their beers. “Here you go,” he says, putting the bill down as well.

“Were you friends?”

“God no. He got my friend Matilda pregnant. She had to leave grad school to have the baby. She never told him.”

“I had no idea. Are you going to tell everyone that?”

“Should I? What do you think? He’s dead, what good would it do?”

“Won’t his widow be at the talk?”

“He never married,” Helen says.

“What if Matilda's not the only one? What difference does it make?”

Helen thinks about it as they finish their beers.

“We should make it to our rooms. Your talk is at 5 o’clock, right?” Emily says.

“Yeah, let’s go,” Helen says, putting a ten down down for the bill as they put their coats back on.

Outside, Helen and Emily start to shiver as soon as they leave the tavern. Dragging her two-wheeler suitcase behind her, Helen says “Holy crap, it’s cold. Did the temperature drop that fast?”

Emily points ahead. "See The College Tavern a block ahead? Let’s stop in there just to warm up,” she suggests. They head to The College Tavern.

Inside, Helen and Emily sit at a small table, with their luggage beside them. “My teeth were chattering out there,” Emily says.

“This feels much better. The heater’s overhead.” A waitress walks up. “Just two light beers,” Helen says.

"Did he ever hit on you?" Emily asks. "Jorgensen, I mean, with the -sen."

"Back then? Let me think. I think it was more sexist jokes. I didn't laugh."

"Sounds like a misogynist jerk."

"He wasn't that bad. Is that a problem with you or the other female graduate students?"

"At a grad student mixer, one guy said he wanted to fuck me right there. Just like that. We'd just met that day."

``Sounds like a jerk. I hope you slapped his face."

"Look at the time," Emily says, changing the topic. Helen and Emily leave the tavern dragging two-wheelers behind them.

“Holy mother of christ, it’s freezing out here,” Emily says, teeth chattering. Helen points to a "The Polar Bear Bar & Grill" sign a block ahead.

Inside, Helen and Emily sit at a small table, with a large neon “Polar Bear Bar & Grill” above the bar on the other side of the room. Emily is shivering. “I’m starting to defrost,” Emily says.

A waitress walks up. “T-t-two beers, p-p-please,” Helen says, teeth chattering. In a moment, the waitress returns with their beers. “I gave you ladies ale’s. No up-charge,” she says, putting the bill down as well.

“Thank you,” Helen says, taking a large sip.

“So Jorgensen with an 'e' slept with at least five grad students, getting three of them pregnant?” Emily asks. “I heard Jorgenson spelled with an 'o', who's much younger, slept with some of his students. Almost sounds like him.”

“No, we’re talking about Jorgensen spelled with an ‘e.’ Plus, Jorgensen stole Smottle’s construction of strongly regular graphs.”

“You mean, Jorgensen graphs are actually Smottle graphs?”

“Yep. Smottle slept with the chairman’s wife around the same time Jorgensen refereed his paper. Jorgensen put his name on it and told Smottle to shut up about it to keep the affair secret,” Helen says.

“That’s the worst case of academic dishonesty I’ve ever heard of. I thought the Jorgenson in Jorgenson graphs were spelled with an ‘o.”’

“‘E’, Emily, not ‘o.’ That jerk Jorgensen will not be missed.” They finish their beers.

“It’s 4 o’clock and your talk is at 5,” Emily says.

“We'd better go straight to the auditorium,” Helen says.


*

Helen and Emily sit at the edge of the front row of a crowded auditorium. Helen belches loudly.


Professor Morgenstern introduces Helen. “Our last speaker of the day is the youngest mathematics professor ever tenured at Yale. She’s also the only scientist who’s won both the Abel Prize and the Wolff Prize: Professor Helen Sodre!”

To generous applause, Helen mounts the stairs to the stage, tripping drunkenly over the top step.

“Here did that fucker come from?” Helen jokes on her way to the podium. Helen looks over the crowd of smiling faces. A elderly woman in black sits in the center of the front row. Behind her sits Professor Jorgenson. (That’s Jorgenson with an ‘o,’ for those keeping score at home.) “We are here to reflect on the memories of by former colleague Professor Jorgensen. What a man,” Helen says.

The elderly woman in the center sniffs and dabs her eyes with a hankerchief.

“We mathematicians are personifications of truth and rigor,” Helen says. Everyone nods. “I want to share the truth about Jorgensen.”

“Oh, no,” Emily says. She slouches down in her seat.

“I have a friend named Matilda who he got pregnant. She had to leave grad school to have the baby she had with Jorgensen,” Helen says.

“What did you say?” asks the elderly woman in the center.

“She never told him,” Helen adds.

“What did you say?” Jorgenson asks.

“Is there an echo in here?” Helen asks. Then she belches.

“She wasn’t the first,” Helen continues.

The elderly woman in the center breaks down and cries.

Helen belches. “But that wasn’t all. Have you heard of Jorgensen graphs?”

Jorgenson gets up with an embarrassed huff and quickly leaves.

“Jorgensen graphs ... wait, Jorgenson graphs are spelled ‘son’ not ‘sen”,’ Helen says.

“That’s what I told you before,” Emily says.

“After three beers, I can’t understand what you are saying,” Helen says.

“Are you saying my husband stole his results?” asks the crying elderly widow.

“Who are you?” Helen asks.

“Mrs Jorgensen,” she replies.

Beellccchh. “Is that spelled ‘son’ or ‘sen”,’ Helen asks.

Professor Morgenstern mounts the stairs to the stage shouting, “Let us thank our speaker?”

2020-02-18

Fun with the Fords (short story 2)

Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.
*

We're watching a rerun of an old TV sitcom "Fun With the Fords":
Young husband Fred Ford enters the kitchen where his wife Ginnie is fixing dinner and watching over their 1 year old baby, Hank.
“You sexy thing. Say something dirty to me,” Fred says.
“Clean the toilet in the downstairs bathroom,” she replies.
Canned laughter.

Even louder than the laughter from the laugh track is the laughter from Chuck Dillon, the actor who played Fred Ford years ago. He’s sitting in the living room in his comfy chair, with his back to the adjoining kitchen and dining room, watching a rerun from 20 years ago. Chuck polishes off a third beer as the credits roll and his wife Edie in the dining room finishes preparing the dinner table.
“Dinner’s ready,” Edie yells.
Down the stairs come their son, 21-year old Sam, and daughter, 25-year old Dottie. They both cram into the dining room to take their seats at the dinner table.
“We’re waiting for you, Dad,” Sam says.
“That show paid for this house,” Chuck says getting up, watching the credits finish, then walking over to sit with the others for dinner. “You can wait.”
“What good is a house if we starve to death in it, Daddy?” Dottie jokes.
“Very funny,” Chuck says.
“I made a list of foods for you to buy at the store, honey,” Edie says.
“Why do I have to do that? Why can’t you?” asks Chuck.
“I told you, I’ll be at the cardiology conference all week,” Edie says.
Chuck looks at Dottie.
“Daddy, I’ll be working late every night until my team’s project report is finished. We’re beta testing a new kind of smart glasses,” Dottie says. “But if you need anything, just give me a call. I’m only an hour’s drive away.”
Chuck looks at Sam. “Dad, I’m leaving for Chicago to gather footage for my thesis film. It’s going to be a documentary on how poverty social programs have changed in the past 25 years,” Sam says.
“I’m going to be alone all week?” Chuck asked.
“No, honey, you’ll have Buster and Felix. Buster has a grooming appointment on Wednesday. Don’t forget to get more tick meds. Felix has a check-up with the vet on Friday. She just needs some shots. Don’t let her sleep on the sofa.”
*
The next morning, Chuck wakes up. He gets up and notices the sheets on his side are messed up and on Edie’s side are neat. She's gone. On her nightstand there's a framed collage of pictures of all her activities at work - getting an award, posing with patients she’s cured, and an old photo with Sam and Dottie when they got an award in middle school. Chuck looks on his side of the bed. His nightstand has old pictures of him on set of “Fun with the Fords”, old stills Larry King Live with other actors from the show. He was absent from his family then. He’s absent now. It dawns on him that, in some ways, he’s changed places with his wife and kids, who are now successful themselves, while Chuck has to read Variety and People magazine articles calling him ”washed up.”

He drags himself downstairs and puts the dog Buster out into the fenced back yard, then he shuffles into the kitchen to make himself a cup of coffee. As he slurps away, he wanders into Sam’s old bedroom, then wanders into Dottie’s old bedroom, missing them all.

*

For lunch, Chuck sits at a table in the local Deli with his producer friend, Tony. Chuck complains Sam is away and he misses him.

Tony lost a son 6 months ago to a fentynal OD. “I miss mine every day,” Tony says. “Spend time with him while you still can. You’ll regret it if you don’t.”

On the drive home, Chuck punches the phone button on his steering wheel. “Call Sam,” he orders.
“Hello, Dad?” Sam answers. “Is everything all right?”

“Hey, buddy. Yeah, I’m just calling to see how your thesis project is going. It’s something about poverty, right?”
“Yeah. Can I call you back? I’m on a shoot and it’s super crazy busy right now.”

“Sure thing. No problem. Love you, Sam.”

“I love you too, Dad.”

Click. Sigh.

“Call Dottie,” he orders.

“Hello, Dad?” Dottie answers. “Are you okay?”

“Hey, sweetheart. Yeah, I’m just calling to see how things are going. YOu're doing something with smart glasses, right?”

“Yeah. We can always use beta testers. Do you want to do that? It would really help me out.”

“I guess so, sure. What do I do?”

“I’ll express mail out a pair and call you tonight with instructions.”

“Sounds good. Can you call after 7?”

“Yes. Don’t want you to miss your reruns.”

“That's my girl. Love you, Dottie.”

“I love you too, Daddy.”

Click. Smile.

“Call Edie,” he orders.

“You have reached the voicemail of --”

With a sigh, Chuck hangs up before he can leave a voicemail on his wife’s cellphone.

*
The next day, the smart glasses arrive, with a charger. He plugs them into the charger to charge them. After an hour, he puts them on, presses ‘Record’ then plays with Felix inside the house and plays in the backyard with Buster. He then downloads the files to his laptop and watches the video.

As Chuck drinks a beer, he gets a idea about a TV show. He’s so fired up by it he calls Edie. It goes to voicemail. This time, he leaves a very upbeat message about his great idea. He knows she’ll be proud of him this time.

Later that day, at lunch, Chuck sits at the same table at the same local deli with his friend, Tony. Chuck brought the smart glasses with him and puts them on the table between them.
“So, what’s this great idea you told me about, Chuck?” Tony asks. He’s trying not to be too skeptical.

Charles pitches his idea. “This will be a serious film documentary portraying the suffering of poor in American society. Sam is working on a similar idea.”

“He’s working on his thesis film?”

“Right. He’s studying how social programs for Americans in poverty have changed in the past 25 years. My film will involve the study of poverty through the lens of smart glasses to get some of the footage.”

Tony rejects his idea. “You’re a sitcom star, not a documentary filmmaker. The business has changed since your show ended. This isn’t something I see you happy doing. I love you like a brother, but let’s face it, you have a pretty
lazy work ethic.”

“I want to change. I want to get more involved with my son. Like you said, if I don't, I'll be sorry. What if he dies tomorrow? What kind of father have I been to him?”

“He’s not going to die tomorrow, Chuck. Besides, he’s a great kid, going to film school.”

“Which Edie pays for. My residual checks are getting smaller and smaller.”

Tony counters with a reality show concept. “Here’s an idea that I could sell. You star in a reality show titled ‘Life as a Has Been’. Go around town and see who recognizes you and who doesn’t. Tell some jokes. It’ll be funny. What do you think?”

“That is the opposite of what I’m envisioning. I want to do something right, not something I have to do so show biz execs can make another buck. I’m done with that.”
“Good luck, brother.”

*
Another scene from “Fun with the Fords.”
Chuck drinks his third beer and closes his eyes. In his mind, he laughs along with the laugh tracks to old jokes. His son Sam laughs with him, as does Dottie and even Edie. The whole family sit in the living room, laughing with him. Chuck drains his beer and when he opens his eyes they are gone. It’s just him alone, getting drunk. Buster gets up to sleep in the other room.

The next morning, Chuck plays with his Dottie’s smart glasses. He calls her. “Daddy, go out into town. Test them out, that’s why they’ve been loaned to you,” she says.

Early the next morning, in the bedroom, Chuck picks out some old jeans and an old junky jacket, and takes off at daybreak into the inner city to record some real video of inner city life. He records a purse-snatching, huge rats, and used hypodermic needles in elementary school playgrounds, all with the smart glasses.

Once he gets back home, he then watches the video on his laptop. This gives him another idea.

*
Another lunch, Charles and Tony in the same deli, same table. Charles places the smart glasses on the table between them.

“Am I having deja vu?” Tony asks.

“I’ve got an idea for a reality series,” Charles says.

“I’m listening.”

“This is based on me wandering the city in disguise, capturing the real effects of living in poverty. Call it ‘People On The Edge,’ okay?”

“Love the title. I’m liking the vibe of this. Go on.”

“The footage will be captured using smart glasses. We’ll get Google as a advertiser.”

“Awesome sponsor suggestion. Kind of a Candid Camera but for the inner city. We could sell this to Oprah’s network.”
“I’ll pitch it.”

The next day, Tony calls Charles and tells him the producer’s boss loves it. It’s green lit the day after that.

*
Chuck calls Dottie to tell her. As a result, of the smart glasses show going into production, she expects to get a promotion at Google.

Chuck calls Sam to brag to his son about the new show. “Maybe you can get hired on as a consultant?” Chuck asks.

“Awesome, Dad. You are the best. I can’t wait to tell my thesis advisor,” Sam says.

Finally, Chuck is able to talk to his wife on the phone. She cancels a scheduled dinner meeting at her conference to spend the night talking with him on the phone.

“I’m so proud of you, baby,” she says.

“Oprah loves it. The show will draw attention to issues in the inner city, but entertaining.”

“I can’t wait to get home to you, you sexy thing."

"I miss you, honey."

"Say something dirty to me,” she teases.


The End

2020-02-11

Russell, editor extraordinaire (short story 1)

Over a year ago, as an exercise, I started writing one short story a week. This was something Harlan Ellison (I think) suggested to one of his fans, his reasoning being "You can't write 52 bad short stories in a row." I'm not sure about that, but here's one of those stories.
*

It’s eight o’clock on a quiet Sunday night. Russell’s finishing up notes on an article he’s editing for Modern magazine.


His mathematics professor wife Bertie is happily knitting. A sock, a blanket, or maybe it’s a sweater, he’s not sure. She knows a lot about mathematics, but she’s not the best knitter.



Should he call it a day and have a nightcap, or read one more submission? Just one, he decides. Russell settles into his comfy chair with the article, a fresh cup of decaf coffee and his trusty red fine-point pen.

He plops his feet on the coffee table and starts reading Russell, editor extraordinaire. “Russell was an editor, an extraordinarily good one,” he reads. Strange coincidence, but good name and occupation, Russell thinks. Who wrote this? Henry Maxwell Dempsey. Never heard of him.

The phone rings. Bertie doesn’t even look up. “It’s for you,” she says.

Russell picks up. “Yellow.”

“Russell, good news. Did I wake you?” It’s his boss, Tamika, the managing editor.

“Yes, you did. Does that mean it’s bad news?”

“I did not. You’re wide awake. This is good news. You got a promotion.”

“Is there a pay raise involved?”

“No, but it’s a really good deal. You’ll only edit works written by other editors.”

“So, presumably, less crap? Not that any of our authors submit crap.”

“No, of course not.”

“But they do.”

“Think of your old self like a crude sieve, a gatekeeper of the barbarian horde –”

“I always said that.”

“And your new self is a finer filter, more select, more elite.”

“Oh, elite. I like that.”

“You’re an editor extraordinaire.”

“I get it. What about this piece I’m reading now by Henry Maxwell Dempsey? What do you want me to do about it?”

“I know him. He edits for EC Comics, keep reading it.”

“Will do.”

“Remember, only edit those editor-writers who do not edit themselves.”

“Thanks, Tamika. I guess.”

“Yipee! Congratulations! See you tomorrow at the office.”

They hang up.

“More money, honey?” Bertie asks.

“No. She just called to tell me I only edit for editor-writers who do not edit themselves. She calls it a promotion.”

“Do you edit your own stories?”

“Of course.”

“Not any more.”

“Because I –”

“... only edit for editor-writers who do not edit themselves.”

“Right. Now I can’t edit my own stuff, dammit. I gotta call her back.”

“Hold on. You do not edit yourself –”

“I just said that.”

“Don’t interrupt me. You do not edit yourself, but you ‘only edit editor-writers who do not edit themselves,’ right?”

“Sounds logical.”

“Therefore, you can edit yourself.”

“Bertie, thank God you’re the mathematician in the family, not me. I’m glad we straightened out.”

“You’re welcome.”

“So, for the record, you’re saying I can edit my own stories after all?”

“No. I’m saying you don’t exist,” Bertie says, returning to her knitting.

And, with that, Russell disappears.

2020-01-11

David Mamet on Writing

I've been watching a ton of masterclasses (from masterclass.com). For example, I loved Aaron Sorkin's, James Patterson's and Annie Leibovitz's. Finally, I decided to try David Mamet. I knew of him, of course, as everyone has. I've seen all his movies, some multiple times, read his script for The Verdict, and one of his books. My firm opinion was I didn't like him. Watching his masterclass gave me a chance to recall all the strong opinions he holds on matters which I disagree with. There are a lot. Still, I found myself enjoying the wisdom of his writing lessons, communicated in his frank, sometimes dogmatic, and even bombastic, style. At the end, I said "God damn it!" They are that good. I'm watching them a second time right now.

These are not precise quotes, but are fairly accurate representations of his ideas.


  • Writers are like beavers, A beaver chews down trees because his teeth itch. He has to chew in order to keep his teeth from driving him crazy. A writer writes to get his/her conscience to shut up for awhile. Give it a problem it likes and it will shut up - writing does that.
  • Myth is a form of unverifiable reality. Drama is a form of myth. It is not false (or true) but merely unverifiable.
  • Cause and effect is how we perceive reality, even if there is no real correlation. Drama, like life, is a narrative of cause and effect. But don’t investigate reason via drama. The purpose of good drama, like a good joke, is not to teach but to entertain. To help the audience member forget their stress-filled burden of everyday life. Done right, drama brings us closer to God. If you write drama, do your job.
  • Your job is to tell a story with a hero who wants one thing. The story begins with a precipitating event. It has to be told simply, so you can mislead your audience. The story ends when the hero achieves or fails to get what they want. Everything in the middle must be a progression, using cause and effect, from beginning (the precipitating event) to the end.
  • On character, 1: A drama is the story of a character, the protagonist, who wants one thing.
    1. What does a character want?
    2. Why does he/she want it?
    3. What happens if she doesn't get it?
    4. Why now?
  • On character, 2: Aristotle says character is simply habitual action. Character doesn't really exist as we naturally conceive of it. There is no more to a character other than what they do in the script. As a corollary: if you have a character "in your head" but haven't described a character attribute using action lines you've written, don't think the audience can guess this aspect of your character's behavior. For example, say Sally is your protagonist and you think of her as honest and decent. If you haven't given her actions to indicate this, the audience won't know.
  • A story is told in the closing lesson which I really liked. It emphasizes a dictum that Mamet repeats over and over in his lectures: if you decide to be a writer, take it seriously - to the same level of seriousness that you take a marriage. Mamet tells his viewers "thank you for your attention" before giving his final message. This is taken from a scene in scifi writer Alfred Bester's Hugo award-winning novel "The Demolished Man": People have discovered that (1) certain people can read minds (that is, are telepaths), (2) there is a time warp that allows people to travel very long distances. However, only the mind-readers can communicate with those who have traveled this way across the galaxy, so the mind-readers are revered in this future society. Everyone wants to be a mind-reader, so the mind-readers set up a school and people showed up at the school to apply to be a mind-reader. The crowd of applicants are in these long lines filling out the application forms. The mind-readers look at these lines of people filling out forms, waiting to be tested, and the mind-readers think "If you can hear my thoughts, I want you to go to the door on your left marked 'No Admittance' and I want you to go through that door." At this point, David Mamet simply looks at the camera says "thank you" and leaves.

    What a great class!

2019-08-08

"His Girl Friday" (1940) and the Nutshell Technique

Recently, Jill Chamberlain wrote a book called "The nutshell technique: crack the secret of successful screenwriting" (link to her website). While I'm not yet done reading it, I like this book. As an exercise to understand this book, and to better delve into my favorite movie His Girl Friday (HGF), I wrote this post. Hope it helps someone out there.

Note:
  1. HGF is in the public domain, so you can read its script and watch it for free. I'm going to assume you've watched the movie in this post.
  2. Jill Chamberlain wrote a blog article describing Jordan Peele's Get Out using her Nutshell Technique. Check it out for more details on the method.

There are two flavors of the Nutshell Technique, one for Comedy (in the Aristotelean sense, where the protagonist gets what they want) and one for Tragedy (where the protag doesn't). We'll deal only with the comedy version in this post, since that's what HGF is.

The Nutshell Technique is a way to describe a feature film story using seven story elements which the protagonist (the main character that drives most of the action) has or experiences.

  • Flaw
    This is a weakness of the protagonist, a character trait which causes the protagonist to react negatively towards the "catch."

    In HGF, Hildy Johnson's "flaw" is her "external need" (in "the hero's journey" paradigm): she wants to be a conventional housewife, with a 9-to-5 husband, 3 kids and a house in the suburbs. As a result, she gets engaged to Bruce.

  • Point of no return (PONR)
    As with the "inciting incident" (in "the hero's journey" template of a screenplay) the PONR happens to the protagonist and is not an event created by the protagonists' actions. The PONR can occur after the inciting incident, but the PONR has to be connected with the SUW and the Catch (see below).

    In HGF, Hildy's PONR is her engagement followed immediately by the chance to write a newspaper article that saves someone's (the escaped convict) life. (One could also say, she got engaged and this immediately caused Walter Burns to interfere by giving her the article assignment. So the engagement is the PONR/inciting incident.)

  • Set-up want (SUW)
    In "the hero's journey", the "external want" of the protagonist motivates action until the midpoint, after which the "internal need" becomes more of a driving force.
    Here, the SUW is the protagonist's want that the PONR delivers to them; typically it corresponds to the internal need.

    In HGF, Hildy's SUW = internal need is to be great reporter, being thought of as an equal or better by the other newspapermen.

  • Catch
    This is a plot point something else delivered by the PONR but it is something the protagonist doesn't want. It's a counter-balance to the SUW and a test of the "flaw."

    In HGF, the catch is that Bruce's mom plans to live with them and interfere with the marriage.

  • Crisis
    This is the low point of the protagonist's arc (often marking the end of act 2). It is in some sense the worst thing that could happen to the protagonist, from the perspective of the SUW.

    In HGF, Hildy's crisis is when she and Walter Burns are both arrested by the Sheriff (for aiding an escaped criminal and kidnapping Bruce's mom), supporting the crooked Mayor.

  • Climactic choice
    This is a choice made by the protagonist which is counter-indicated by the FLAW. In "the hero's journey", it can be a choice determined by the "internal need," as opposed to the "external want."

    In HGF, Hildy's climactic choice is to ignore the objections of Bruce's mom and to pursue her newspaper article instead of following Bruce to the train station.

  • Final step
    This is a more emphatic choice made by the protagonist which is counter-indicated by the "flaw." It is a consequence, or at least dependent on, the climactic choice.

    In HGF, Hildy's final step is to reunite with Walter Burns and to return to work on the newspaper, but this time as the top reporter.

  • Strength
    The strength is the protagonist's characteristic that is achieved at the end of the character arc. It is a natural progression from the perspective of the climactic choice and the final step. In some sense, it is opposite to the "flaw."

    In HGF, Hildy's strength is that she is an independent woman, as capable or better than any man on the newspaper reporting staff.


2019-08-06

Sol Saks’ Ten Commandments of comedy writing

The late great Sol Saks (creator of the Bewitched TV series) wrote a terrific book on comedy: Funny Business. Highly recommended. Taken from that, here are his Ten Commandments of Comedy Writing:

  1. Thou shalt be brief.
  2. Thou shalt be simple.
  3. Thou shalt be clear.
  4. Thou shalt be bold.
  5. Thou shalt be relevant.Show ph
  6. Thou shalt be recognizable.
  7. Thou shalt be controversial.
  8. Thou shalt be unpredictable.
  9. Thou shalt be original.
  10. Thou shalt be salable.

2019-07-02

More lessons from the script for "His Girl Friday" (1940)

I've blogged before, here and also here, about one of my favorite films, His Girl Friday. This film, and its script, are in the public domain. The film screenplay was written by Charles Lederer, a friend of the great writer Ben Hecht, based on the play The Front Page, co-written by Hechtand Charles MacArthur (brother of "genius grant" creator, John D MacArthur).

The script and film largely tell the same story. However, the film changed some character names and also had a different (and better, IMHO) ending than the screenplay. Here is the list of characters:
  • Walter Burns (Cary Grant), head of a newspaper, once married to former newspaper reporter Hildy and still in love with her. He is the antagonist.
  • Hildegard "Hildy" Johnson (Rosalind Russell), once a newspaper reporter who worked for Burns. She is the protagonist.
  • Bruce Baldwin (Ralph Bellamy), Hildy's fiancee, who will give her all she thinks she wants - a house, a normal marriage, etc.
  • Mrs Baldwin (Alma Kruger), Bruce's mom
  • Duffy (Frank Orth), as assistant editor to Burns
  • Louie (Abner Biberman), a gangster friend of Burns
  • Earl Williams (John Qualen), a pitiful (mentally handicapped?) who's on death row, and the one Hildy is trying to save
  • Mollie Malloy (Helen Mack) a young woman who's taken pity on Earl, befriending him.
  • Mayor (Clarence Kolb), he uses Earl's executon to garner votes for his re-election.
  • Sheriff Hartwell (Gene Lockhart), the bumbling sheriff that allows Earl to escape.
  • Joe Pettibone (Billy Gilbert), the messanger carrying a reprieve from the governor, which the mayor and sheriff try to bribe to go away.
    (Pettibone is Pinkus in the script)
  • And several minor characters who play reporters:
    Porter Hall as Murphy,
    Ernest Truex as Bensinger,
    Cliff Edwards as Endicott,
    Roscoe Karns as McCue,
    Frank Jenks as Wilson, and
    Regis Toomey as Sanders (Sanders is Schwartz in the script?, if so, he's also a reporter).
    Pat West as Warden Cooley.
  • Edwin Maxwell as Dr. Eggelhoffer, psychiatrist who interviews Earl to see if he's crazy.
  • Marion Martin as Evangeline (the blonde girlfriend of Louis)

The script is available in various places on the internet as a pdf. It is worth studying. Threads to pay attention to:

  1. The camera directions add a visual feel. Note:
    1. These camera directions take a lot of space on the page, and are considered my many as excessive by today's script standards. Such directions usually are left to the director, besides taking up space on the page.
    2. Today, camera directions are sometimes included, but in an abbreviated fashion. For example, the original
      CLOSE SHOT OFFICE BOY as he bends over paper. We catch a glimpse of the squares of a crossword puzzle.
      
      might be rewritten today as
      OFFICE BOY (15) bends over the crossword puzzle page in a newspaper.
  2. The actor parentheticals add a blocking/physical feel.
    Note:
    These actor directions are considered as excessive by today's script standards. These are usually dropped altogether, but if they are included they're sometimes given in an action line. For instance
    HILDY 
        (with a smile) 
       Hello, Skinny. Remember me?
    
    would simply be
    HILDY 
       Hello, Skinny. Remember me?
    
    Perhaps her happy demeanor would be indicated during her character introduction. But
    WILLIAMS 
         (putting out hand to stroke her hair)
       Don't cry, Mollie, there's nothing to cry about.
    
    might be rewritten today as
    Williams puts out his hand to stroke Molly's hair. 
                 WILLIAMS 
       Don't cry, Mollie, there's nothing
       to cry about.
    
    Usually parentheticals are reserved for tone, eg, if a line is to be read sarcastically. However, one modern script with lots of parentheticals is the script for Saw (2004, written by Wan and Whanell and available online).
  3. The changing dynamic between what Hildy wants externally (husband, house, kids) and what Hildy needs internally (to make a difference, to be respected, to be independent as a professional).
  4. Keep an eye on the dynamic between Walter Burns and Bruce Baldwin, Hildy's two love interests in the story. Observe how their different personalities represent Hildy's different wants. (Energetic, driven and self-confident Burns connects to her internal want of being a good reporter. Shy, legalistic, and conservative Bruce connects to her external want of wanting a stable home and family.)
  5. Pay attention to the changing romantic connection between Hildy and Bruce vs Hildy and Burns.
  6. The lack of "intercuts" wastes a lot of space on the page in the phone conversations between Hildy and Burns. (The others are covered as a one-way dialog, but they involved minor characters.)

Here is a plot summary, based on the script.

A scene of a busy newsroom, one end an elevator and stairs, the other end the windowed-off office of the managing editor, and inbetween a bullpen of activity (called the "City Room"):
* telephone switchboard operators,
* office boys running errands,
* reporters in a hurry.

The elevator doors open and Hildy emerges with her fiancee Bruce. She greets the office boys and operators with a friendly smile and kind words. Bruce is sweet towards Hildy, then she leaves him to wait while she talks to Walter. In her walk along the length of the City Room, the greetings she receives makes it clear she is much loved.

The first scene between Burns and Hildy. They are much more alike than Hildy and Bruce. Burns and Hildy are both fast-talking, tough-minded reporters, with a nose for news. We learn they were once married and that Burns is bothered by the fact that Earl Williams (a criminal with some sympathetic aspects) is to be executed tomorrow. Then they start to bicker over things Burns did that caused Hildy to divorce him (not taking his marriage seriously - allowing the newspaper to take precedence, a curtailed honeymoon, no house that he promised her, etc). Hildy wants him to stop "phoning me a dozen times a day -- sending twenty telegrams ...". Burns wants to get married again.

More wonderful banter. Hildy's insistent she won't return. Burns makes up a lie that Sweeney won't be a work today since his wife is delivering a baby. He begs her to come back to work and offers a raise. She reveals that she's engaged, and to be married tomorrow. She wants to quit the newspaper business. He says she'll be unhappy doing anything else. Burns insists on meeting Bruce.

Burns and Hildy walk the length of the City Room, everyone's quit listening to their banter. Burns whispers to an operator to have his assistant editor call him in the restaurant in 20 minutes. As Hildy’s about to introduce Burns to Bruce, Burns intentionally mistakes Bruce with an elderly office “boy”, profusely flattering him. When Bruce tries to tell Burns that he is the real Bruce, Burns gets rude. When Burns recognizes the real Bruce he insults him snidely and insists on taking Hildy and Bruce to lunch.

At the restaurant, Hildy is warmly greeted by the staff. Burns asks Bruce about the wedding. It’s revealed that his mother will join them and Mom with live with them for the first year. Burns is called away to the phone booth. There he tells the newspaper than Hildy is returning. He returns to the table and fakes being crushed by sudden bad news about his reporter Sweeney. He tries to convince Hildy to help him out this afternoon to help write an article what Sweeney was supposed to write. She refuses. Burns says if she’ll help him, he will buy a $100000 life insurance policy from Bruce. She agrees, with Bruce’s encouragement, provided that it is paid with a certified check.

In the press room of the criminal courts building, reporters are playing cards while waiting for court news. There is a bank of phones at one end of the room for them to use once something happens. They are especially interested in the Earl Williams case, where he may get the death sentence carried out. Hildy enters. They all greet her warmly. "No, I'm not back for good. I'm just covering the Earl Williams story for Mr. Sweeney who had a sudden attack of something but will be all right by tomorrow. No, I haven't made up with Walter Burns...." She learns by talking to the reporters that Williams is delusional and hid out at Molly Molloy. The Mayor orders him arrested. The cop that arrives is killed by Early because he (in his delusional state) assumed he was there to murder him.

Hildy learns that a new psychiatrist (called an "alienist" in the script), Dr. Max J. Egelhoffer, is going to interview Williams. The execution by hanging is creating a big controversy (told in a darkly humorous way by the reporters).

Burns and Bruce have a discussion of the life insurance policy. Burns still loves Hildy and wants her to be his beneficiary of his policy.

On the phone, Hildy warns Bruce not to put the certified check in his wallet, but to put it in his hat instead. (She knows Louis can pick his pocket.) Louis follows Bruce anyway and scams a cop to arrest Bruce claiming Bruce stole his (Louis') watch. Bruce goes to jail, but at least he keeps his hat.

Hildy interviews Earl Williams in his jail cell. He believes the Golden Rule means to "do away with the profit system and have production for use only. There's enough food and clothing and shelter for everybody if we'd use some sense. ... Food was meant to be eaten, not stored away in restaurants while poor people starved; clothing was meant to be worn, not piled up in stores while people went naked." In this way, Hildy established that he lacks the ability to understand the consequences of his actions. Hildy then asks "Is that how you came to shoot the policeman?" Earl answers "Sure. You see, I'd never had a gun in my hand before and I didn't know what to do with it. Well, when I get stuck, I know that there's an answer for everything in production for use. So it came to me in a flash: what's a gun for? To shoot! So I shot. Simple isn't it?"

Back in the press room of the courthouse, Mollie Malloy shows up to berate the reporters for their slanders against Earl. She says "I never said I loved Earl Williams and was willing to marry him on the gallows! You made that up!" Hildy shows up and starts typing up her interview with Earl. Finally, Hildy says "Come on, Mollie. This is no place for you" leading Mollie toward door. Mollie says "They're not human!" Hildy says "They're newspaper men, Mollie. They can't help themselves. The Lord made them that way."

Mollie and Hildy leave together. Bruce calls for her. When she returns she speaks to him and learns he's in jail. She goes to the jail. Convinces the police lieutenant in charge to release him, or else "the Post will run the story of that roulette game on 43rd Street that you brother-in-law runs." The LT lets Bruce out. Bruce tells Hildy he lost his wallet but has his hat.

Hildy and Bruce go back to the press room in a cab. Hildy leaves Bruce in the cab, intent on finishing the interview, then taking the cab directly to the train. Hildy goes back to the press room by herself, types up the interview then takes it to the phone, asks for Burns, and tears it up over the phone. "ear that? That's the interview I wrote... Yes, I know we made a bargain. I just said I'd write it -- I didn't say I wouldn't tear it up." She hangs up.

Earl Williams is being questions by the incompetent Dr Egelhoffer and the Sheriff. Earl escapes just as Hildy is about to storm out of the press room. The reporters rush to the window to watch police search for Earl, gunshots being clearly heard, some even hitting the windows of the press room. Each reporter quickly calls his newspaper, sends in a report by phone, then leaves the press room (presumably to watch the action on the street).

Hildy calls Burns backs and tells him the news about Earl's escape an that she's back on the job. Hildy runs downstairs and corners Cooley, a policeman who witnessed the escape. Hildy brides Cooley (with 450 dollars) to tells her how Earl escaped. Colley agrees.

Reports return to the press room, including Hildy. Some file more reports but they don't know how Earl got his gun. Hildy does (but it hasn't been yet revealed to the audience). They ask Hildy how Earl escaped and she jokingly says "the Sheriff let him out so's he could vote for him." More machine gun fire downstairs and the reporters rush out of the room again. Hildy and Burns have a phone conversation taking 3 pages (at the time, intercuts were not used). We learn that "The Sheriff gave his gun to the Professor, the Professor gave it to Earl, and Earl gave it right back to the Professor -- right in the stomach! Who? No, Egelhoffer wasn't hurt badly. They took him to the County Hospital where they're afraid he'll recover." Burns promises to join her there in the press room. She tells him to hurry, as Bruce is downstairs in a cab. Burns hangs up and tells Louis and his blonde girlfriend to play a trick on Bruce in the cab.

A reporter comes in and files another report by phone. Hildy gets another phone call from Bruce, in jail again. Hildy rushes out again to help get Bruce out of jail.

The Mayor enters the press room looking for Sheriff Hartman. Hartman enters and tells the reporters how to find Earl (at Mollie's). They all run out, leaving the Mayor and Sheriff alone. Another reporter enters and makes fun of both of them, also making clear that the Governor doesn't like the Mayor and conversely, files a report then leaves.

Mayor and Sheriff leave to find a more private room to discuss something important. They go to Sheriff's office and agree that if they don't hang Earl, they will lose the upcoming election. A messenger Pinkus (Pettibone in the film) comes to tell them that Earl has a reprieve from the Governor. The Mayor bribes Pinkus to leave, to return the next day, hoping he can capture Earl before Pinkus returns.

Hildy is in the press room when Louis shows up with $450 in counterfeit bills. She also demands Louis returns Bruce's wallet, which he does then leaves. Hildy is alone when Earl crawls through the window. She gets the gun from him and calls Burns, telling him to hurry over. She gets a call from Bruce and asks him to wait more. Bruce hangs up on her. Mollie shows up and gives Earl moral support.

The reporters want to get in but the door is locked. Hildy hides Earl in the rolltop desk. She asks Mollie to pretend to have fainted, as a distraction. Mollie lays does, closes her eyes and Hildy unlocks the door. Mrs Bardwin (Bruce's mom) shows up and berates Bruce. Mollie recovers and the reporters grill her so heatedly she goes crazy and jumps out the window (Mollie doesn't die). Mrs Baldwin faints. Burns arrives and Mrs Baldwin recovers, very upset. Burns tells Louis to take her out of the room. Burns talks Hildy into focusing on the story and to ignore Bruce for the moment. Hildy begins typing up the story furiously.

Bruce shows up, having been released from jail again. (He bailed himself out.) She keeps typing. Bruce asks for the money she owes him. She gives him $450 (in counterfeit bills), as well as his wallet. He tells her he's going on the 9pm train and tells her to meet him there. Bruce leaves. Burns and Hildy lock the door again. A reporter shows up, demanding to be let in. Burns offers him a job at his paper, tells him to go talk to Duffy right away. Reporter leaves. Burns calls Duffy and tells him to "Stall him along until the extra comes out." Hildy finished her article. Burns kisses her.

Louis returns, says his cab crashed into a police car and he lost Mrs Baldwin. The implication is that Mrs Baldwin is dead. Hildy wonders how she will tell that to Bruce. Burns tells Louis to get some men to haul the desk with Earl in it out of there. Having called the local hospitals with no luck, Hildy gets ready to leave to search for Mrs Baldwin.

The Sheriff shows up with the reporters and demand that Hildy tell them where Earl is. He's about to arrest Hildy and Burns and confiscate the desk when Mrs Baldwin enters, with two deputies. Bruce is there as well, but she has him stay outside the press room. Mrs Baldwin and Burns argue over who kidnapped her. Burns insults her and she leaves. The Sheriff discovers Earl hiding in the desk, then takes him out. The reporters all run for their phone and file a report. The Sheriff returns and puts Burns and Hildy in handcuffs.

Pinkus returns, drunk, and mentions the reprieve to Burns and Hildy and the bride the Mayor gave him. Burns and Hildy use this information to get the Sheriff to release them.

Burns reminds her that Bruce is expecting to meet Hildy at the train station to take the 9pm train and that he (Burns) promised she'd be there. Burns asks Hildy to stay another hour to finish the article, telling her she can make the 10pm train instead. Conflcted, she flips a coin: Heads she goes, tails she stays to write the story. She stays and wires Bruce to call off their engagement. Burns proposes again. She excepts (under pressure from Louis, who kidnaps a judge to perform their marriage ceremony.

After they are married, Hildy learns that Bruce has been arrested again, this time for passing counterfiet money (the money Burns gave him via Louis). As she chases Burns around the table, Louis has the last line, said to the judge: "I think it's going to work out all right this time." (This is not the ending of the movie.)