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Non-Fiction Narration
Script:
The sun is shining as I get to the dive shop at 7 a.m. I can smell the salt from the sea and hear the waves rolling up on the beach. Another day in paradise as I prepare the boat with tanks and equipment. I wait for my guests to arrive, and then we head out to our first dive site. I did not make a lot of money, but when you love your job, what more can you want? I feel blessed that I have found a job that makes me genuinely happy every day. There are a lot of people that think being a dive professional is an easy and glamorous job. Living in the tropics and getting paid to dive sounds great, right? There is a lot more to it than that. I must admit that on a calm and sunny morning, being with experienced divers makes the job easier. Unfortunately, there are days of big waves, strong winds, and currents. There are also people throwing up on the boat, some divers with bad training, or guests with minimal experience. Getting beat up by the latter while getting back onto the boat is an occupational hazard. That is when the job becomes hard work. There is a difference between diving on vacation in a tropical paradise and living and working there. There are many things that you do not see when you are only diving with us for the day or week. Things like the handling and filling of all the cylinders, loading up the boat, repairing equipment, sweeping, and scraping boat bottoms.
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Fiction
1st Person Narrator
Script:
There wasn't a single traffic light in the whole town, and I was assuming the stop signs were relatively new. I didn't think I had seen a stop sign without graffiti or stickers on it my entire life. The whole place was spotless, not a lick of trash on the ground, and there wasn't a police officer in sight. As I stared out the SUV window watching the town go by, the driver took a right and pulled up in front of a nondescript brick building looking as if it had been there for at least a hundred years. On the outside, a sign hung above the door swaying in the breeze. It read, Rooming House, which I knew was the place I was supposed to be staying while in town. As the SUV parked, I sat there staring at the place, realizing this was the hotel I would be calling home while I was in town. It definitely wasn't the Four Seasons by any stretch of the imagination, but I couldn't imagine many people came to visit the little town of Bonanza very often. At least the front door said there was Wi-Fi, and I would be spending most of my time on site. I sighed and climbed out of the car, taking off my gloves and shoving them into my peacoat pockets. The driver grabbed my luggage from the back and headed inside to get me checked in. I smiled at a passing woman with her child and gave a nod, climbing the stairs. I reached down into my pocket and pulled out my phone, looking down at the screen. It was my PR agent, checking in on me as usual. She was more like my babysitter than my PR agent, but I supposed I could probably use her these days. Hello, I said. Did you get there okay? I did, I said. I'm walking into the, um, hotel as we speak. Good, she said. Make sure you smile at everyone. Hold some conversations and make yourself look like you fit in. I didn't bring my overalls, I whispered. Anyway, she said, ignoring my snide comment, your new venture is playing out very well in the press. Of course, no one has forgotten about your, well, we'll just call it the incident. Do they ever forget about the bad stuff? Of course not. Right, I said, climbing the stairs to the top floor where the company had rented out all the rooms. Well, I'll do my best to portray that image as well. How much trouble could I get into out here, anyway? I'm not much into cow tipping.
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Non-Fiction Narration
Script:
single-player campaigns, and the three-act structure. Video games in recent years have seen a trend toward greater depth in story development. Gaming has always been about immersion in a different world, and for most gamers this is best accomplished with a deep and all-encompassing story. While the gameplay mechanics of the Assassin's Creed franchise, or games in the Elder Scrolls universe, or even the Mass Effect trilogy have arguably gotten better with each new iteration, what keeps the buying public coming back is largely the storyline. To that end, game developers who ignore something as basic as three-act structure do so at their own financial peril. So, okay, what is three-act structure, and how does it apply to gaming? In its most simplistic form, it's a story with a definite and sectioned beginning, middle, and end, along with specific events that are expected in each segment. Look at three-act structure as some form of get your hero up a tree, throw rocks at him, then have him get himself down, one way or another. Of course, it's much more complicated than that, but a storyline game that isn't at least based in this structure probably won't be worth the money. Confused yet? You could always consult an award-winning novelist and screenwriter like Alexandra Sokolov, who goes into tremendous depth when teaching writers this kind of structure in her book. Or, for a more basic breakdown, let's just look a little closer at that simplified example of the structure. Your first act is going to be largely informative, establishing the protagonist and antagonist of the story and presenting the central problem that will be the basis for the adventure at hand. Introduce the hero and get him up a tree. Act two generally involves the trials and tribulations that pit the protagonist and antagonist against one another from afar. The villain keeps hatching plans and throwing up obstacles for the hero to solve or survive, i.e. throw rocks at the hero while he's in the tree. Act three is the final battle and brief wrap-up slash epilogue, though not too brief. I'm looking at you, Bioware. The hero must either solve the central problem and save the day or ultimately fail and lose. Either way, he's out of the tree, whether by getting himself down or by falling.
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Fiction
3rd Person Narrator
Script:
Neuromancer Ratz was tending bar, his prosthetic arm jerking monotonously as he filled a tray of glasses with draughtkirin. He saw Case and smiled, his teeth a webwork of East European steel and brown decay. Case found a place at the bar between the unlikely tan on one of Lonnie's own hoars and the crisp naval uniform of a tall African whose cheekbones were ridged with precise rows of tribal scars. "'Wedge was in here early with two joeboys,' Ratz said, shoving a draught across the bar with his good hand. "'Maybe some business with you, Case?' Case shrugged. The girl to his right giggled and nudged him. The bartender's smile widened. His ugliness was the stuff of legend. In an age of affordable beauty, there was something heraldic about his lack of it. The antique arm whined as he reached for another mug. It was a Russian military prosthesis, a seven-function force-feedback manipulator cased in grubby pink plastic. "'You are too much the artiste, Haircase,' Ratz grunted. The sound served him as laughter. He scratched his overhang of white-shirted belly with the pink claw. "'You are the artiste of the slightly funny deal.' "'Sure,' Case said and sipped his beer. "'Somebody's gotta be funny around here. Sure the fuck isn't you?' The whore's giggle went up an octave. "'Isn't you either, sister. So you vanish, okay? "'Zone? He's a close personal friend of mine.' She looked Case in the eye and made the softest possible spitting sound, her lips barely moving. But she left.
Tags:
Non-Fiction Narration
Script:
Character Arc and Series Characters Series heroes and heroines are a different animal than stand-alone heroes and heroines. One theory of this is that readers who are devoted to a series character really want to see the same person over and over again. I think it's a little more complicated than that. I think a lot of the classic series characters, especially series detectives and of course James Bond and his sexier modern incarnation Jack Reacher do spring immediately to mind, are really examples of the Mysterious Stranger archetype. And Mysterious Stranger stories have their own story structure. Mary Poppins is the classic Mysterious Stranger. She pops in, get it, fixes the family, and pops out, while remaining herself practically perfect in every way. Shane is a great film with the Mysterious Stranger structure, although Shane is a much more wounded stranger than Mary Poppins. He's very imperfect, unable to change, and therefore unable to integrate into society in the end, but he does fix the town's problem and the wound in the family that temporarily takes him in. James Bond and Jack Reacher are also perfect characters in their own ways, although from a female POV, perfectly infuriating. Rob is right, we don't want them to change. The trick to the Mysterious Stranger structure is that it's the other characters who have the big character arcs in the story. Although in some Mysterious Stranger stories, the stranger does have an arc as well. Emma Thompson had some fun with that, as the screenwriter and actress in the recent film Nanny McPhee, based on the books by Christiana Brand. And of course, not all series detectives are perfect Mysterious Strangers either. I myself am partial to the flawed ones, like Tess Gerritsen's surly Jane Rizzoli. This all goes to emphasize an important point. Different genres have very different story structures, and you need to study and understand the classic tricks and expectations of your own genre. That's why I so adamantly advocate creating your own story structure workbook, as I've talked about.
Tags:
Fiction
1st Person Narrator
Script:
First time I saw her, she was stepping on my action. I was okay with it though, cause she was hot. Strolled through the door in spikes and a skirt, little grey sweatshirt hanging off a shoulder, nothing but a bikini top under it. Oh yeah, and holding the heater. Fucking gun was as big as she was. Walks in, shoots the guy behind the counter, points it at me. I tried to play it cool, wasn't the first time I stared down a barrel, but my hard-on didn't help things. Fuck she was hot, popping a chewing gum too. That shit gets me every time. You supposed to put your hands up and scream, honey. Nah, not my style. That's right, straight cool, hands at my side. She wagged the gun at me. Give me whatever you got, I might let you live. Snap, pop. Sugar, you're either gonna shoot me or not. You want what I got. That's right, dig that innuendo. Then you can come over here and take it whether I'm breathing or not. Took a breath, studied her. So, do you want it? She smiled, a little. Got that right. Pop, snap. What's your name, tough guy? Hell yeah. Kesey, Mike Kesey, I lied. You? A glance at my crotch. Don't look like you much care. Another smile, bigger. Time to take a shot of my own. Okay sugar, I'll call you whatever you want, but right now I need to know what you're gonna do, cause I just got out a couple of months back and I don't feel like getting caught with you just cause you're gonna fucking stand there. She took a damn time deciding. Finally lowered that big smith and wesson, gave me a sly grin. Snap, pop. What, you wanna get in on this? I lifted my jacket and back, pulled my glock. Grinned myself. Planning to rob this place anyway, sugar. I startled her when I showed my piece, but she recovered well. Snap, smile and wink, pop. You got a car here? I shrugged, looked at the pool of blood creeping around the side of the counter. No, but I bet he does. Grin, pop. She got his keys, I got the register and pulled the surveillance tape. She stopped me on the way out the back, grabbed a box of jimmies and winked again. Fuck yeah. The clerk's car was a shitty little blue Ford Escort. Pretty sure it was older than sugar. I smeared some mud on the plate and we were off.