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06/21/2008: On a Dime


Some of the hardest work in writing a scene can be the transition from one topic to another. I'm sure you've all observed this. You know that both Jenny's divorce and the impending home-repairs have to both be discussed in the scene, but you're wasting the majority of the lines on trying to find some natural way for the topic to turn from one subject to the other. You're starting to think that your only option is some desperate reach like "Wow, that sounds like a bad custody situation. Speaking of disasters, did you see the mess the roofers made yesterday?"

Well, every now and then you can avoid this problem just by avoiding this problem. If a character changes topics without any transition, it can have an interesting effect. Generally, it suggests that the new topic has been on their mind the whole time and that it finally, gracelessly bubbled to the surface because he couldn't keep it in anymore. That can be very powerful. Without wasting a single line, you've given the readers/viewers a peek into your character's thoughts. The other effect it can have is to link the two subjects. If talk of someone else's divorce leads this character to think of their own crumbling home -- well, they don't have to say "speaking of disasters" to give the impression that they are in fact, speaking of disasters which they have linked in their own minds. Another powerful hint at their thoughts for the audiences.

There is one more thing you need to do to make a topic transition without any transition. Mark it. I would put in a quick stage direction like so:

DAVID
I just hope he gets the kids. Man, what a screwed-up situation.

ROSE
It is. I feel bad for both of them.

Without transition:

DAVID
They told me the roof is in bad shape. Earlier, I mean. They didn't even want us stay here tonight...

Just drop in that little "Without transition" or "He changes topics without warning," or you can do with a parenthetical on his line, something like (out of the blue). This lets the reader know that you're doing this on purpose. Without an actor there to make your intention clear, it's possible that a reader might miss what you're doing and simply think you omitted a transition. By calling attention to it, you avoid that misreading, and make it clear you're in command of the script.

Note that this technique is not adaptable to all situations, but if something is simmering in a character's thoughts, it can emerge without warning, and when it does, it creates a wonderful, script-dense moment, with no time and space wasted on turning a topic.

Also today, an update to a previous entry. I keep forgetting to mention that I've also been told that Blazing Saddles is another source for the "state your name" joke we were discussing earlier. It occurs to me that whole joke is really just "Say goodnight, Gracie," with an option for group participation. Classic, indeed.

Lunch: Did you know that you can ask Baskin-Robbins to put three different flavors in a malt? I went for Cherries Jubilee, Peanut-Butter Chocolate and Rocky Road. And make sure it's a malt, not a milkshake. The difference is malt powder and it's crucial.