Book Signing - Evermore: Call of the Nocturne - Chapters Rideau

Hi everyone. We're hosting our second book signing event for my debut novel, Evermore: Call of the Nocturne at the Chapters downtown on Rideau Street on Saturday, April 27, 2019 from 12 to 3 PM. Tell as many people as you can and come join us to celebrate and maybe even buy a book for yourself. Best come early though as last time the books sold fast. Looking forward to seeing you all there. #ChaptersRideau

Website Transfer

Sorry for the long delay in between posts but I've spend a lot of time transferring my website from the US side of my service provider to the Canadian side. If you're seeing this email, then it was successful.

The Canvasser Script Has Been Completed

The title says it all. The final draft of The Canvasser has finally been completed. When I started on this project, I thought that it would take me a month to get all of my ideas together and organized into a script. Instead, it took almost seven months. Despite that delay, I am very happy with the final product though as it is something we can film while still being entertaining for an audience.My next step is development and pre-production as I try to piece enough volunteers together to make a go of turning this script into a film. This will take a while and we will have to take one step at a time but I believe that we are working on something special. I will continue to provide updates as the project moves forward so I hope to have more good news for you very soon.In the meantime, I might upload the script to the black list to get some feedback and advice. Thank you again for all of your support. I look forward to getting this project off the ground.

Plot Structure Analysis - Marvel's The Avengers

With the release of Marvel's The Avengers: Age of Ultron tonight (I see it tomorrow), I thought that it would be the perfect time to conduct an analysis of the plot structure of it's predecessor: 2012's critically-acclaimed, perfect popcorn movie, Marvel's The Avengers. I had recently picked up a copy of the blue-ray package and went through the entire movie with the time stamp while I took notes (Yay iTunes!). I'm also watching it right now in a tiny box to get me into the mood for this article. The movie is that good.In this article, I'm not going into too much detail. Instead, I'm going to look at the broad structure, break the story down into acts and try to analyze why the structure worked so well in this movie. I'm basing my analysis on the great work the FilmCriticHulk has done in challenging the traditional consensus that movies must have a three-act structure. This is not a review of the screenplay (I leave that for wiser folks than I) but how the story appears in the final product on screen. Almost please note that all time stamps cited in this article are approximate. I hope you enjoy it.Prologue (00:00 - 01:15)The move starts with a short expositional prologue that introduces the Tesseract, the Chitauri, introduces a mysterious villain behind the scenes and summarizes Loki's general plan that "burdens him with glorious purpose". Now I want to introduce a word here "exposition" that you're going to hear a LOT in this article. It simply means a scene or sequence of scenes whose primary purpose is the explain something to the audience.Truth to be told. This prologue is really unnecessary. Nothing is included here that is not better explained later on in the movie. I suppose that the filmmakers were concerned that viewers who hadn't seen the earlier Marvel movies would be confused. In retrospect, I don't that would've been a concern.Act 1: Setting up the MacGuffin (01:15 -11:41)Wow. This ten minutes carries a lot of weight. It mixes the introduction of the MacGuffin (the Tesseract), several major characters including Fury, Hill, Coulson, Selznik, Hawkeye and of course Loki; a ticking-time bomb, Loki's sceptre, Loki's theme of "freedom from freedom", a fun chase scene and a massive explosion that everyone barely escapes. All of this right in the introduction. It is extraordinary who much these ten minutes has to do. The act is primarily expositional. It has to explain to the viewer almost everything they need to know for the rest of the movie. The fact that Whedon was able to mix all of this exposition while keeping everything fast-paced and fun is an extraordinary achievement. This will be a common refrain during this article.Act 2: Avengers Introduced (11:50 - 36:06)The purpose of this section is to introduce the Avengers, set up their internal conflicts and major relationships and bring them to the Helicarrier. Now the delineation of this act was challenging as it doesn't include the introduction of Thor, which I believe should be grouped in Act 3. Once again, this act is dominated by exposition. In short order, we are introduced-

• Introduced to Black Widow, her unique skills in interrogation, and her understandable fear of the Hulk.

• Introduced to the Hulk, his need to help people, how his affliction works, establish the running joke about he controls "the other guy", exposition regarding the Tesseract and why they need Dr. Banner (it emits gamma radiation).

• The strained relationship between the Shield and Fury, the rational behind the Avengers, and the mystery that is "Phase 2".

• Introduce Captain America, his conflict as a man out of time, more exposition of the Tesseract and its connection to Cap's old nemesis "Hydra".

• Introduce Iron Man through a clever transition, re-establish his relationship with Pepper and provide more exposition regarding the Avengers Initiative.

Following a brief interlude which provides more exposition of Loki's deal with the devil (which establishes the high stakes for Loki and drives his motivation), the Act concludes with all of the Avengers (minus Hawkeye and Thor) on the Helicarrier as they watch in amazement as it takes off into the air.Once again, this act of nearly thirty minutes in length is almost purely expositional. But it's so well put together that you don't notice and you don't care.Act 3 - Avengers Dissassembled (36:06 - 1:28:02)If Act 2 was about bringing the Avengers together, then Act 3 is about ripping them apart. This is also the place where the plot really starts to get moving. We start with an expositional scene (again) between Loki and his brainwashed henchmen explaining what they need (Iridium), how they have to get it (scientist's eyeball) and where they have to go (Stuttgart). This scene also foreshadows the assault on the helicarrier.The Avengers apprehend Loki in Stuttgart but not before he has re-established his theme (Freedom from Freedom), had his team steal the Iridium and laid a beating on Captain America that has him questioning his place in this time. In Loki's defeat, we also establish a conflict between playboy Iron Man and straight-laced Captain America that will be resolved much later.The Avengers transport of Loki is interrupted by Thor who takes Loki away to the Black Forest for some family time. This scene gives the movie the chance to provide more exposition regarding Thor and Loki's relationship ("shadow living in the shadow of your greatness", provide context to Loki's motivation and again provide opportunity for Loki to expand on his "Freedom from freedom" theme.But don't worry. After all of this exposition, we get a fight. This fight establishes the parameters of their powers (remember Thor's lightning) and gives Cap an opportunity to establish his leadership position that grows during the movie while building respect from the other Avengers (in this case, Thor especially).Following his capture, Loki is brought back to the Helicarrier where he is imprisoned. Despite Loki's helplessness, the Avengers began to fall apart due to their internal conflicts and mistrust. We establish that with Loki's presence, Banner doesn't quite feel right, we get more exposition of the Chitauri, the purpose of the stolen Iridium (stabilize the portal), explain the portal and what it's to be used for (bring the Chitauri army to earth), all the while showing the heroes growing more distrustful of each other and SHIELD. The Act comes to a head when the Avengers learn about Phase 2, leading to an argument that, mixed with the assault on the helicarrier, the unleashing of the Hulk, the death of Coulson, the reveal regarding the location of the Tesseract, and the disabling of the helicarrier pulls the Avengers apart and leaves them at their lowest points.Again, we got a lot of exposition but it's worth it to finally see the Hulk in action and see how terrifying he truly is. Things to watch out for are the surprising but perfectly suited friendship between Banner and Stark, Black Widow's interrogation of Loki, and Cap's belief that Stark is selfish and not capable of making the sacrifice play. It's also interesting that both Cap and Stark are right. Stark is right to not trust SHIELD while Cap is right that Loki is trying to play them. Well done Mr. Whedon.We also get the joy of watching Black Widow run from the Hulk, the Hulk and Thor fight, Iron Man and Captain America forced to work together, Thor and Loki argue, Coulson's death, Black Widow and Hawkeye fight, and finally Loki's escape.When the movie was released, the only major criticism of the story was there didn't seem to be a reason for Loki to allow himself to get captured. In short, the assault on the Helicarrier didn't make any sense. In watching the movie again, it is suggested that Loki, under Hawkeye's, felt the need to disable the only identifiable threat to his plan. So I think it's acceptable. Besides, who cares? Did you not see the summary above. This Act is awesome!Act 4 - Avengers Reassembled (1:37:27 - 2:08:46)In the beginning of this act, we find our heroes broken. It takes a manipulation by Fury (Coulson's cards) to push them back into action, not before we get more exposition regarding the Tesseract, the Avengers Initiative, Hulk's reflection, the deprogramming of Hawkeye and the realization that Loki will use Stark Tower as the portal.Reinvigorated, the Avengers reassemble just in time to take on the invasion of the Chitauri. At this point, the exposition that has dominated the movie up until this point takes a back seat to the action. It still jumps in to explain what the heroes have to do to beat the Chitauri and close the portal but it's a supplement to the action, not the major driver of the story. This act is more about the action and closing a lot of the loops that it has opened throughout the preceding 100 minutes such as Hulk's secret ("I'm always angry), Cap's ascension to leadership and finding his place in this world, and Stark's choice to sacrifice himself to save New York City from being destroyed by a nuclear blast.Act 5 - Resolution (2:08:46 - 2:13:09)With Loki vanquished, all of the story threads are closed in relatively short order. Loki is arrested and taken back to Asgard (at least until Thor: The Dark World), the Tesseract is taken out of reach, the heroes disperse back to their "regular" lives and Fury confronts the council. This final act also gives the audience an audience to enjoy our heroes success and say their goodbyes (at least until the next Marvel movie).ConclusionIn short, that's the plot breakdown of Marvel's The Avengers. I admit that my article is a little on the wordy side but there is so much in this movie to talk about. The biggest surprise for me in writing this article was the realization over how much exposition was in this movie. When I say it the first couple of times, I didn't even notice. Typically, writers try to avoid exposition because it's usually boring. However, what is remarkable in this movie is how Joss Whedon is able to make it work and make it fun. He mixes in so many jokes, character moments, conflicts, and other clever tools that you don't even notice. It is a massive accomplishment that he was able to make this work so seamlessly.So to close, if you're a writer and you have to write an exposition scene, watch Marvel's The Avenger and see how you can make it fun. As for the rest of us, we'll be at the multiplexes watching Age of Ultron.

The Canvasser: The Protagonists

In this week's post about the development of my screenplay, The Canvasser, I wanted to take a moment to discuss the two most characters in the story: the candidate Devon Shire and his campaign manager Marie Bellechance (names subject to change) and their roles in the screenplay.Devon Shire, protagonist and titular character, starts the movies as an earnest yet slow-witted political canvasser who dreams of working in the Parliament of Canada. Despite spending seven years of his life volunteering for the party, his dreams are blocked by a lack of connections and a Parliamentary culture focused on prestige. Underemployed and with his savings nearly drained, Devon is faced with a ticking clock until he forced to go on welfare. A chance encounter convinces him to take a long-shot run for Ottawa City Council.As the protagonist in a comedy, Devon has to be likeable, has to be someone that the audience can laugh at and be enough of an underdog to win the audiences sympathy. If all of these elements are done well, then the audience will laugh at his failures, cheer on his small victories and general want to see him succeed against overwhelming odds.Why does likability matter? It the audience doesn't like Devon, then the movie won't work. The audience won't care about his dire situation, his dreams or his long-shot campaign. While you can have a main character that isn't likeable, like an anti-hero, it's much more difficult to pull off and it has be part of their personal journey towards becoming a better person. In the case of The Canvasser, I tried to make Devon someone that audiences could get behind right from the beginning. Devon is polite, works hard and constantly looks on the bright side of life. He has small dreams but pursues them with passion no matter what obstacles are thrown his way. I also work to endear him to the audience by throwing obstacles at him that are clearly unfair. I keep him underemployed, prevent him from getting the job of his dreams for reasons of dubious merit, and give him "friends" that certainly don't have his interests at heart. These are all things that we've experienced in their own lives and so the hope is that the audience sees a little bit of themselves in Devon's plight.In almost every story, the protagonist needs to have a personality flaw that holds them back in some way, shape or form. This flaw creates tension early on and provides momentum to the story as the character has to learn how resolve or overcome his flaw. The process of resolving this tension provides the character with a character arc that drives the story forward and shows his personal growth. In the case of The Canvasser, Devon's flaw is that he lacks self-respect. He has spent his life giving his time to candidates and parties that have no use for him. His friends use him at their leisure and life keeps kicking him down. His long-shot campaign isn't really about winning or losing, it's about learning to believe in himself and see himself and his life as worthwhile. When he succeeds in this goal, he gains pride in himself the respect of those around him. While he loses the campaign, he does find a job and get his career started. Thus when the movie ends, the audience is satisfied that Devon's in much better place than when he started.The second major character and almost a co-protagonist in the story is Marie Bellechance, a highly sought after political organizer who cut her teeth in the Assembly of First Nations. By this point in her life, Marie is disillusioned, cynical about politics and is ready to move to the private sector and cash in. Her flaw is her lack of faith in politics and it's potential to bring forth positive and needed change. Based on her experience on her knowledge of the history of colonialism, she has come to the conclusion that politics is simply about two things: money and winning and usually in that order. This makes her a perfect foil to Devon and provides loads of opportunities for both conflict and comedy.When I wrote the original draft, my focus was on Devon but when I went back and edited it, I found I was more and more interested in Marie and her personal story. I liked that she was a strong and active character with her own needs and internal conflicts. She is not there simply to support Devon but has her own goals and dreams, all of which are challenged by Devon's optimism. So I went back and furthered developed her story so that she would go through an arc where she moves from a cynic looking to cash in to an inspirational leader who takes charge of her and the country's future, based heavily on her experiences with Devon's campaign. Likewise, once Devon completes his arc and gains respect for himself, he steps aside and supports Marie as she steps up and fulfills her potential. I attempted to create a story where two characters have their personal character arcs of equal importance and mutually reinforcing. At this point, I'm not sure it's there yet but it's certainly come a long way.The major challenge with having two protagonists in as screenplay is length. Currently, the last draft was about 136 pages which is far too long. Based on the advice of some friends, I hope to get it down to about 115-120 pages at a maximum. Hopefully, I won't have to cut any of the character development scenes of these two characters as I feel they're the heart and soul of the story.That's all for now. Hopefully, I'll have some exciting news for you soon.

Updating the Web Site

Some of you may have noticed that the website has gone through a significant update. I had grown tired of the "all black, all the time" look of my previous website design and I wanted to brighten it up. I also wanted to focus more on selling books and less on my infrequently updated blog.To that end, I've switched to the lighter blue design with a slider bar on top and the last three blog entries group together just below. The slider bar contains links to my books on Lulu and Amazon and it works well. It just might be a little too big.My next step will be the increase my promotional activities and try to sell more books this year. I hope that I can convince you all to take a chance on me.Other than that, work on the Canvasser is going well. The challenge with a screenplay is that you only have 120 pages to write but you put a lot more effort into those pages as everything has to be laser-focused. It's been a good experience and I'm hoping to wrap it up soon. TTYL.

The Canvasser: Clean Cut Humour - A Blast from the Past

Following up on my prior post, the next project that I've been working on is the Canvasser, a screenplay about an earnest but overmatched volunteer who decides to make a long-shot run for city council before he has to go on welfare. Today, I want to go into some details about the type of humour I tried to emulate.Over the past twenty years, film comedies have tended to become more raunchy, violent and predicated on shock value to generate humour. This trend appeared to start with Ace Ventura: Pet Detective, continued in There's Something About Mary and reached its zenith with The Hangover trilogy. The growing success of this type of comedy has influenced the spec screenplay market to produce more extreme or shocking comedy stories in order to stand out from the crowd, make their first sell and get their start in the industry. Please see the excellent screenplay review website, ScriptShadow, for more details on the trends in the spec screenplay market.However, I did not feel comfortable a comedy in that vein. First, I don't think I would good at it. Two, I'm a public servant, a job I love and respect. I would not want to write anything that would reflect poorly on my employer and the Canadian public at large. It may be a day job, but it's a day job that I enjoy and want to keep doing. Third and finally, I think the type of market for that type of comedy has become extremely saturated. Audiences have seen this same type of comedy over and over again and have seen the enveloper pushed further and further. I'm not sure that there's much left to mine in shock gaps and gross-old comedy. Furthermore, I believe that it's hindered innovation and creativity in the comedic film genre in the North American market. Comedy has become formulaic and quite frankly dull. In the last few years, I've become more interested in the British style of comedies as pioneered by Edgar Wright and his compatriots Simon Pegg and Nick Frost. Their Cornetto Trilogy films Shaun of the Death, Hot Fuzz (ESPECIALLY Hot Fuzz!) and The World's End, used smart  writing, clever composition, innovative cuts and shots to create humour in ways that we hadn't seen before. Hot Fuzz is so full of clever ideas that you don't notice some of them on first viewing. One of my favourite jokes is when Nicholas Angel meets the Sandford Police Service and we cut to a shot of Sgt. Tony Fisher, played by Kevin Eldon, looking up. Behind Sgt. Fisher is a easel pad with numerous negative traits like disloyal, rudy and unfit encircling Sgt. Fisher's head.These three movies are full of smart jokes like this that take advantage of the unique advantages of cinema. This seemed like to meet a far more promising source of inspiration then the latest gross-out comedy.In terms of political comedies, most films approach the subject of politics from a cynical perspective, presenting politicians as self-interested narcissists, voters as apathetic and stupid and the system as fundamentally broken. While some of these critiques are valid, it is not the image of politics that I have seen over my experiences volunteering on numerous politicians and interacting with voters for over a decade. Political campaigns are driven by thousands of people who sacrifice their free time with no or little expectation of reward or comparisons because they care about their home and how it is run. Voters care greatly at politics, they just don't like the options, or lack thereof, that they're presented with. In my municipal campaign, I was blown away by the technical expertise and intelligence held by many citizens about some very complex subjects. I saw hundreds of people work hard for free to shape their communities for generations to come. Unlike most political comedies, my experiences have given me a hopeful and optimistic view of politics in Canada and I wanted to translate that hope and optimism to a comedy.Based on the above reasons, I tried to establish a number of rules that I tried to follow when writing the first draft:

• Don't insult voters, they fully deserve our respect;
• Keep it clean, there are enough gross-out comedies, we don't need another one;
• Be innovative, try to use the strengths of cinema to create jokes and gags that haven't been seen before.
• Be positive, there's a solid heart of hope and optimism inherent in our politics, try to capture that as best I can.

I tried to follow these rules as best I can during the first draft and I'll try to reinforce it during the subsequent drafts.That's enough for today. In subsequent posts, I'll go into detail about the two main characters, their flaws and their motivations; and then general five act structure that I wanted to follow in writing the screenplay.