Wednesday, November 12, 2008

Visual Storytelling - Part 2

I left off last time just before I got to image systems. This is one of my favorite elements of writing.

In film, every movie has a production designer – one artist (and these people are genius level, let me tell you) who is responsible, in consultation with the director and with the help of sometimes a whole army of production artists) for the entire look of the film – every color, costume, prop, set choice.

With a book, guess who’s the production designer? YOU are.

As it happens, Michael brought home the anniversary edition of the ALIEN series recently. I could go on all week about what a perfect movie the first ALIEN is structurally as well, but for today - it’s a perfect example of brilliant production design – the visual image systems are staggering.

Take a look at those sets (created by Swiss surrealist HR Giger). What do you see? Sexual imagery EVERYWHERE. Insect imagery – a classic for horror movies. Machine imagery. Anatomical imagery – the spaceships have very human-looking spines (vertebrae and all), intestinal-looking piping, vulvic doors. And the gorgeous perversity of the design is that the look of the film combines the sexual and the insectoid, the anatomical with the mechanical, throws in some reptilian, serpentine, sea-monsterish under-the-sea-effects – to create a hellish vision that is as much a character in the film as any of the character characters.

Oh, and did I mention the labyrinth imagery? Yes, once again, my great favorite – you’ve got a monster in a maze.

Those are very specific choices and combinations. The sexual imagery and water imagery opens us up on a subconscious level and makes us vulnerable to the horrors of insects, machines and death. It also gives us a clear visual picture of a future world in which machines and humans have evolved together into a new species. It’s unique, gorgeous, and powerfully effective.

Obviously TERMINATOR (the first) is a brilliant use of machine/insect imagery as well.

I know I’ve just about worked these examples to death, but nobody does image systems better than Thomas Harris. SILENCE OF THE LAMBS and RED DRAGON are serial killer novels, but Harris elevates that overworked genre to art, in no small part due to his image systems.

In SILENCE, Harris borrows heavily from myth and especially fairy tales. You’ve got the labyrinth/Minotaur. You’ve got a monster in a cage, a troll holding a girl in a pit (and that girl is a princess, remember – her mother is American royalty, a senator). You’ve got a twist on the “lowly peasant boy rescues the princess with the help of supernatural allies” fairy tale – Clarice is the lowly peasant who enlists the help of (one might also say apprentices to) Lecter’s wizardlike perceptions to rescue the princess. You have a twisted wizard in his cave who is trying to turn himself into a woman.

You have the insect imagery here as well, with the moths, the spiders and mice in the storage unit, and the entomologists with their insect collections in the museum, the theme of change, larva to butterfly.

In RED DRAGON Harris works the animal imagery to powerful effect. The killer is not a mere man, he’s a beast. When he’s born he’s compared to a bat because of his cleft palate. He kills on a moon cycle, like a werewolf. He uses his grandmother’s false teeth, like a vampire. And let’s not forget – he’s trying to turn into a dragon.

Now, a lot of authors will just throw in random scary images. How boring and meaningless! What makes what Harris does so effective is that he has an intricate, but extremely specific and limited image system going in his books. And he combines fantastical visual and thematic imagery with very realistic and accurate police procedure.

I know, all of these examples are horror, sorry, it’s my thing - but look at THE WIZARD OF OZ (just the brilliant contrast of the black and white world of Kansas and the Technicolor world of Oz says volumes). Look at what Barbara Kingsolver does in PRODIGAL SUMMER, where images of fecundity and the, well, prodigiousness of nature overflow off the pages, revealing characters and conflicts and themes. Look at what Robert Towne/Roman Polanski do with water in CHINATOWN, and also - try watching that movie sometime with Oedipus in mind… the very specific parallels will blow you away.

So how do you create a visual/thematic image system in your books?

Well, start by becoming more conscious of what image systems authors are working with in books and films that YOU love. Some readers/writers don’t care at all about visual image systems. That’s fine – whatever floats your boat. Me, with rare exceptions, I’ll toss a book within twenty pages if I don’t think the author knows what s/he’s doing visually.

What I do when I start a project, along with outlining, is to keep a list of thematic words that convey what my story is about, to me. For THE HARROWING it was words like: Creation, chaos, abyss, fire, forsaken, shattered, shattering, portal, door, gateway, vessel, empty, void, rage, fury, cast off, forgotten, abandoned, alone, rejected, neglected, shards, discarded… pages and pages like that.

For THE PRICE – bargain, price, deal, winter, ice, buried, dormant, resurrection, apple, temptation, tree, garden, labyrinth, Sleeping Beauty, castle, queen, princess, prince, king, wish, grant, deal, contract, task, hell, purgatory, descent, mirror, Rumpelstiltskin, spiral…

Some words I’ll have from the very beginning because they’re part of my own thematic DNA. But as the word lists grow, so does my understanding of the inherent themes of each particular story.

Do you see how that might start to work? Not only do you get a sense of how the story can look to convey your themes, but you also have a growing list of specific words that you can work with in your prose so that you’re constantly hitting those themes on different levels.

At the same time that I’m doing my word lists, I start a collage book, and try to spend some time every week flipping through magazines and pulling photos that resonate with my story. I find Vogue, the Italian fashion mags, Vanity Fair, Premiere, Rolling Stone and of course, National Geographic particularly good for me. I tape those photos together in a blank artists’ sketchbook (I use tape so I can move the photos around when I feel like it. If you’re more – well, if you’re neater than I am, you can also use plastic sleeves in a three-ring binder). It’s another way of growing an image system. Also, it doesn’t feel like writing so you think you’re getting away with something.

Also, know your world myths and fairy tales! Why make up your own backstory and characters when you can tap into universally powerful archetypes? Remember, there’s no new story under the sun, so being conscious of your antecedents can help you bring out the archetypal power of the characters and themes you’re working with. (I’m going to be talking more about fairy tale and mythic imagery very soon.)

So help me out here with some non-horror examples (horror examples are just fine, too). What books to you have particularly striking visual and thematic image systems? What are some of your favorite images to work with?

----------------------------------------------------------------------------


I have succumbed and put the Screenwriting Tricks workbook up for Nook and on Smashwords, where yes, you can finally download it as a pdf file or whatever format you want. Any version - $2.99!



- Smashwords (includes pdf and online viewing)

- Kindle

- Barnes & Noble/Nook

- Amazon UK

- Amaxon DE (Eur. 2.40)

-------------------------------------------------------------------------

Previous articles on story structure::

What's Your Premise?

Story Structure 101 - The Index Card Method

Screenwriting - The Craft

Elements of Act One

Elements of Act Two

Elements of Act Two, Part 2

Creating Suspense

Visual Storytelling Part 1

7 comments:

Jeremy James said...

Hi Alex,

I'm loving your series on story structure. Great work! I remember looking through your image collages at SCWC in San Diego, and thinking, best take home tip of the conference.

Recently I've discovered the "Circa" / "Rollabind" system for creating and organizing journal entries, story research, and magazine clippings, and I wanted to pass along a few links in case this method is of interest to you.

A unique hole-punch in combination with button-sized wooden or plastic discs forms the basis of the system, and gives you the versatility of tape + sketchbook (without the tape)--plus the ability to mix and match *any* writing paper, note cards, magazine cutouts, or even fabric *together* in ONE custom notebook. You can also remove and rearrange the "pages" without having to manipulate any mechanical loops or springs like you do when using a binder.

LINKS:
http://tinyurl.com/68th5z (punch)
http://tinyurl.com/43nbp7 (how-to)
http://www.rollabind.com/ (low cost)

I've also had luck finding pre-punched paper and notebook covers in my local Staples office supply store.

Hope you or your readers find this useful. I really enjoyed THE PRICE by the way.

--Jeremy James in San Diego

jnantz said...

Alex,
Great info as always. I don't focus as much on constant visuals, but I love the idea of a theme running through. Best example I can think of is the rive in Joseph Conrad's HEART OF DARKNESS (which became Apocalypse Now). Marlow follows the river deeper and deeper into center of the congo to find Kurtz, which can be both the labrynth/monster and also the archetypal flowing river showing the relentless march of progress, like Imperialism and the Ivory trade marching right over the backs of the indigenous people there.

I also think Barry Eisler does a good job of creating the "seedy underbelly", the idea of the Morlock's machinistic world beneath the unsuspecting Eloi of TIME TRAVELER, in each of his novels, as Rain goes into the depths of Tokyo, Thailand, China. This is especially true when he points out that the Sky train in Thailand will eventually add shops and such, and create a "new shining city" built right on top of the old, decaying one.

Alexandra Sokoloff said...

Hey Jeremy - how's it going?

That looks like a fantastic stationery system for collaging. Intimidating! but I'll check it out. I'm just starting a new book so it's good timing, thank you.

Alexandra Sokoloff said...

Oh, yeah, rivers! They're often not just part of the image system but a whole story world. I love rafting so I know one of these days I'm going to do a river story.

I like the way you describe Eisler's seedy underbelly. A world under a world is one of my favorite thematic structures. Loved that in PAN'S LABYRINTH.

Gayle Carline said...

Geez, Alex, you make me want to go back and re-write my whole book (my first novel, Freezer Burn, is being published by Echelon Press). I read books as if I'm watching a movie, so I understand the visual part of writing. That's what I wrote, a book that I could view, but any symbols or common phrases, etc, seemed to come organically and not due to any thought process.

As far as what I read, I'm so all over the map, but I'm especially drawn to:
1. The sunny boulevards of Dean Koontz's Orange County locations - I feel they serve as both an escape and a predator's map. Am I running away from danger, or towards it?
2. Steinbeck's Cannery Row. The first sentence knocks me out, (... is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream) The rest of the book takes each one of those words and demonstrates it in the place and people.
3. I'm still a sucker for Edgar Rice Burroughs' Mars series. The red skins of the people reflect the level of violence of the society, and the contrast of stark buildings with opulant fabrics shows me the yin and yang of their passions. And I'm pretty sure ERB wasn't thinking about that at all.

Ace Antonio Hall said...

During downtime at the Greater Los Angeles Writers Society meeting, I thought of you and smiled.

Why?

Incredible guidance on structure...when the world caught me up with keeping a roof over my wife and kids heads-twenty years after intense study (1990 BA)...and twenty years of acting like I know what I'm talking about but really struggling to stay sharp, you come along. You have single-handedly (spell check please) helped me take my 7th rewrite of my manuscript into my 8th and craft it into something I can confidently say is complete (until the editors get to it).

Thanks, all the same...I'll be watching, reading and most importantly listening.

I agree, this should certanly be stuffed, packed and wrapped up in a beautiful visual called a book. U rock!

luos said...
This comment has been removed by a blog administrator.