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A Writer’s Guide to Allies

June 9, 2016 Follow Up, Genres, Story and Plot

On Scriptnotes, we often talk about heroes and villains. In [episode 252](http://johnaugust.com/2016/an-alliance-with-house-mazin), we discussed allies, and the different types of relationships between two characters.

What is the point of an ally in narrative?

  1. Characters advance their interests through allies.
  2. Characters learn about themselves through allies.
  3. Characters suffer pain for the wrong rewards.
  4. Allies define the incorrectness of a character’s starting point, and the correctness of their arrival point.
  5. Allies are more subtle and universal than enemies.

In real life, few people have villains that must be vanquished to save the day. But everyone has friends — and friends can be tricky, tricky things.

Allies should theoretically be capable of being heroes — except in feature films, they can’t. Rather —

  1. They need to illuminate the hero without pulling focus.
  2. They need to challenge the hero without becoming the villain.
  3. They serve as a proxy for the audience, asking our questions, sharing our fears.

There’s not much to learn from “we have to stop the evil genius before he blows up the world.” But drama, both in the real world and in fiction, comes from interaction with characters who are theoretically on our side.

Craig had a bunch of examples from Game of Thrones, some of which we didn’t have time to explore on the show. So here’s his complete list.

**Marriage of convenience**
We don’t like each other, but we need each other

**Buddies**
Jon Snow and Tormund

**Unrequited love**
Jorah Mormont and his Khaleesi

**Misplaced faith**
Cersei and the High Sparrow
Sansa and Joffrey

**Parent/child**
The Three-Eyed Raven and Bran
Tywin and Tyrion

**Codependency**
Jamie and Cersei Lannister

**Disciple and prophet**
The Faceless Man and Arya Stark

**Manipulator and Manipulated**
Littlefinger and Lysa Aryn

**Sparring Partner**
Tyrion and Varys

**Animal loyalty**
Hodor and Bran

**Bad for each other**
Jon Snow and Ygritte

**Alpha and Beta**
Jon Snow and Sam
Yara and Theon

**Oedipal**
Robb and Catelyn Stark

**Master and slave**
Ramsay Bolton and Reek

**Bound by honor**
Brienne and Sansa

You could argue with any of these categorizations. The point is that characters can be related in many ways other than the simple hero/villain paradigm.

Five jokes, considered

February 1, 2016 Film Industry, Genres, Words on the page

Jesse David Fox assembled a list of 100 [jokes that shaped modern comedy](http://www.vulture.com/2016/01/100-jokes-shaped-modern-comedy-c-v-r.html).

I don’t necessarily agree with many of his choices, but it’s a good excuse to look at a few jokes and appreciate why they work.

> “What’s the difference between a pickpocket and peeping tom? A pickpocket snatches watches.”
> – Redd Foxx

It begins with a classic joke setup, but instead of a punchline, it relies on the audience doing the work of parsing “watching snatches.” It’s naughty rather than dirty, and better for it. This kind of joke would be difficult to fit into a movie, because it relies on that pause while the audience figures out the second part.

> “Turn right here? [Pause.] Well, now that was my fault again. You see I meant the next street. Not this man’s lawn.”
> – Bob Newhart

Newhart’s comedy goes hand-in-hand with his too-obliging persona, but the setup here is solid: he creates the expectation of a car turning right at an intersection, and then defeats it with a surprise visual gag.

In the movie version of this joke, the punchline would happen before the car turned. (“Turn right here. (beat) No, not this man’s lawn.”) Alternately, the car drives onto the lawn, likely during the initial pause.

> “I was raped by a doctor…which is so bittersweet for a Jewish girl.”
> – Sarah Silverman

I was in the audience for the taping of Silverman’s Jesus is Magic special, and laughed so much it hurt the next day. Like many of her best jokes, it relies on a premise of “I’m a terrible person for saying this but…”

As dialogue, this kind of joke is easy to give to the right character. The same hold true for this one:

> “The other kid we have, she’s a girl, and she’s 4, and she’s also a fucking asshole.”
> – Louis C.K.

This line from the Girls pilot also walks that line of knowing you’re saying something insufferable:

> “I think I may be the voice of my generation. Or at least a voice. Of a generation.”
> – Hannah (Lena Dunham)

I don’t have reason to write many jokes. Most of the projects I work on are either dramas or premise-funny rather than punchline-funny. But I always admire well-crafted jokes. They’re tiny works of magic.

Ocean’s 77

Episode - 233

Go to Archive

January 19, 2016 Awards, Follow Up, Genres, News, Pitches, QandA, Scriptnotes, Story and Plot, Transcribed

Craig and John play “How Would This Be a Movie?” looking at three articles in the news.

A band of pensioners pull off an audacious jewel heist — but is it a Working Title comedy, or something darker? Where does the story begin and end? What’s the MacGuffin?

A researcher investigates sleep paralysis and visions of an Italian witch. Is the movie a straightforward horror thriller, and if so, how do you make the audience care about your hero?

A revenge porn king is confronted by his victims. But would the movie version be an investigation (like Spotlight), or a tale of personal justice (like Taken)?

We also need your suggestions for finding a non-coffeeshop place to write when sharing a studio apartment.

Links:

* [10 Cloverfield Lane trailer](https://www.youtube.com/watch?v=yQy-ANhnUpE)
* Rachel Bloom at the [Golden Globes](http://www.vulture.com/2016/01/rachel-bloom-golden-globes-speech.html), and on [Scriptnotes, 175](http://johnaugust.com/2014/twelve-days-of-scriptnotes)
* [Kvell](http://www.merriam-webster.com/dictionary/kvell) at Merriam-Webster
* Andrea Berloff on [Scriptnotes, 144](http://johnaugust.com/2014/the-summer-superhero-spectacular) and the [Bonus Straight Outta Compton](http://scriptnotes.net/bonus-straight-outta-compton) episode, and the [Bonus Drew Goddard](http://scriptnotes.net/drew-goddard-the-origin-story) episode
* [Tickets are now available](https://www.wgfoundation.org/screenwriting-events/beyond-words-2016/) to see John talk to Andrea, Drew and more at the Writers Guild Foundation Beyond Words panel on February 4
* [Get your tickets now for Scriptnotes, Live on January 25](http://hollywoodheart.org/upcoming/) with [Jason Bateman](https://en.wikipedia.org/wiki/Jason_Bateman) and [Lawrence Kasdan](https://en.wikipedia.org/wiki/Lawrence_Kasdan), a benefit for [Hollywood HEART](http://hollywoodheart.org)
* On February 13, [John will receive the WGA’s 2016 Valentine Davies Award](http://www.wga.org/content/default.aspx?id=6133)
* [Creative Spark: Aline Brosh McKenna](https://www.youtube.com/watch?v=aE_BekA3GWE)
* [7 British Men Guilty Of Massive Easter Gem Heist](http://www.npr.org/sections/thetwo-way/2016/01/14/463081162/seven-british-men-guilty-of-massive-easter-gem-heist) on NPR
* [Eddie the Eagle](https://www.youtube.com/watch?v=hyzQjVUmIxk) trailer
* [The Imposter](https://en.wikipedia.org/wiki/The_Imposter_(2012_film)) on Wikipedia
* [The Demon Vanquisher](http://vanwinkles.com/the-demon-vanquisher) by Theresa Fisher, on sleep paralysis
* [Dream Warriors](https://www.youtube.com/watch?v=JDveKxl7Ohs) by Dokken
* [Patrick](http://www.imdb.com/title/tt0078067/) on IMDb
* [At Home with a Revenge Porn Mogul](http://fusion.net/video/252712/complaints-bureau-revenge-porn-mogul/), from Fusion
* [Do I Sound Gay?](http://www.doisoundgay.com/)
* Priceonomics on [How Mickey Mouse Evades the Public Domain](http://priceonomics.com/how-mickey-mouse-evades-the-public-domain/)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) submitted by Martine Charnow ([send us yours!](http://johnaugust.com/2014/outros-needed))

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_233.m4a) | [mp3](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_233.mp3).

**UPDATE 1-22-16:** The transcript of this episode can be found [here](http://johnaugust.com/2016/scriptnotes-ep-233-oceans-77-transcript).

Only haters hate rom-coms

November 24, 2015 Follow Up, Genres, QandA, Scriptnotes, Story and Plot, Transcribed

John and Craig talk romantic comedies with screenwriter Tess Morris, whose film Man Up is unapologetically part of the genre.

We discuss what distinguishes rom-coms from other comedies, and why they get singled out for disdain and death-of articles.

Also this week: Amazon Storywriter, overused dicks, and follow-up on Whiplash.

Links:

* [Buy your tickets now for the 2015 Scriptnotes Holiday Show on December 9th](https://www.wgfoundation.org/screenwriting-events/scriptnotes-holiday-live-show-with-john-august-and-craig-mazin) with guests [Riki Lindhome, Natasha Leggero](http://www.cc.com/shows/another-period) and [Malcolm Spellman](http://johnaugust.com/2015/malcolm-spellman-a-study-in-heat)
* [Jon Bon Jovi](https://en.wikipedia.org/wiki/Jon_Bon_Jovi) on Wikipedia
* [Amazon Storywriter](https://storywriter.amazon.com/) and [Fountain](http://fountain.io/)
* Scriptnotes, 224: [Whiplash, on paper and on screen](http://johnaugust.com/2015/whiplash-on-paper-and-on-screen)
* Tess Morris on [IMDb](http://www.imdb.com/name/nm2208729/) and [Twitter](https://twitter.com/TheTessMorris), and [Man Up](http://www.manupfilm.co.uk/) on [Wikipedia](https://en.wikipedia.org/wiki/Man_Up_(film)) and [Rotten Tomatoes](http://www.rottentomatoes.com/m/man_up_2015/)
* [Why Are Romantic Comedies So Bad?](http://www.theatlantic.com/magazine/archive/2013/03/why-are-romantic-comedies-so-bad/309236/) by Christopher Orr
* CinemaBlend’s [30 Best Romantic Comedies Of All-Time](http://www.cinemablend.com/new/30-Best-Romantic-Comedies-All-Time-43134.html)
* The New Yorker on [Nick Bostrom](http://www.newyorker.com/magazine/2015/11/23/doomsday-invention-artificial-intelligence-nick-bostrom)
* Wait But Why on [The Fermi Paradox](http://waitbutwhy.com/2014/05/fermi-paradox.html)
* [Fallout 4](https://www.fallout4.com/age-gate), and [on Amazon](http://www.amazon.com/dp/B016E70408/?tag=johnaugustcom-20)
* [The Vista Theatre](http://www.vintagecinemas.com/vista/)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Jon Spurney ([send us yours!](http://johnaugust.com/2014/outros-needed))

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_225.m4a) | [mp3](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_225.mp3).

**UPDATE 11-27-15:** The transcript of this episode can be found [here](http://johnaugust.com/2015/scriptnotes-ep-225-only-haters-hate-rom-coms-transcript).

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