Every story needs an antagonist, and every writer needs to learn how to write them well. This is no easy task, as the point of the hero’s journey is usually to uphold your view of the world, and the antagonist – it should go without out saying – threatens that world view. Back in the day, you could just write good guy/bad guy scenarios where the lines between good and evil were clearly defined, and good always prevailed, but let’s face it: people are bored with that! No, no. What today’s audiences want, and frankly, what we as writers want too, is for movies to be living testaments to the human experience. Let’s take a lesson from the Impressionist painters and realize that black and white do not exist in nature: only shades of grey. Let us think then, if this is our pallet, what can we paint with it?

If our audiences are bored with good prevails over evil, then let’s begin with these two concepts. Good. Not that tricky. That’s what makes this dreary, drab, dull place called Earth seem tolerable. Evil. Also not that tricky. It is that which makes this glorious, euphoric, orgasmic place called Earth seem dreary, drab, and dull in the first place. Now how to take those things and turn them into unique and engaging characters?

It’s actually not that difficult. All you have to do in order to get into the mind of your antagonist is remember that there is no such thing as evil; rather that there is a dangerous propensity within the human mind for rationalizing even the most inhumane and illogical thoughts. Be it from he- said-she-said, to Nazi’s killing Jews, life is simply absurd.

Just like this is absurd. Funny only because that cat is harmless. I will point out to that the cat’s stash is just part of his nature. While environment and circumstances to play a huge role in shaping real people & fictional characters, NEVER FORGET that “born this way” is a real thing. The nervous system, taste buds, other senses, brain chemistry, genetic coding, pheromones…all that plays a huge part in making a person who they are.

So yeah, life is absurd, but there is some order amid all the chaos. Realize it. Recognize it. Write about it. The more sense you try to make out of your characters, the better, especially when it comes to your antagonists. In some respects, they should be more fleshed out that your antagonists since they come into the story on the losing side. “The losing side of what?” you might ask. Popular opinion, that’s what. That includes your audience’s opinion and your own. The problem then boils down to an issue of respect, and before you set pen to paper in the effort to describe them you must ask yourself, “Do I respect this character?” And to that effect, “Are they a force to be reckoned with?” The two are mutually exclusive: for your antagonist to be a worthy opponent, he or she must be powerful, and the concept of power – as we all know – is relative to our own weaknesses. As the documentors of these living testaments to the human experience that we call films, we need to ask ourselves these questions.

There will be times in your life of writing when the character that’s screaming their story in your ear is the type of person whose ideological beliefs differ from yours, and whose moral compass points in a direction you’ve never even heard of, or that you have, at least, tried to steer clear of. Take heart, for the question you should be asking yourself is not, “Should I write this character?” but rather, “How should I tell their story?” Villainous, devious, malcontent; these have been the cornerstones of some of cinema’s greatest protagonists since D.W. Griffith (not so much a nice guy himself) paved the way for gangster films with “The Musketeers of Pig Alley.” And it’s only natural. There is no light without the darkness after all, right?

Ever find yourself at a loss for words in an interview? If you’re a writer, this is an especially embarrassing occurrence as we are supposed to be great communicators. The following are a few tips on how to carry an organic conversation appropriate for the interview setting. As you read each suggestion, remember that the film business is all about connections, and making connections is all about being open and honest. The simplest way to go about presenting yourself in a way that will attract others, and entice them to connect with you is to learn the art of conversation. Just think “topics.” Start with where you grew up, where you went to school, what you studied, your hobbies, etc. etc. These are great icebreakers for a first conversation. If the conversation goes well, say with a producer or an agent, and they ask you more about yourself, do yourself a favor and tell an anecdote or two. As a writer you should have a few dozen anecdotes readily available in your mind’s back pocket. Here’s a list of the Top 10 Interview Anecdote Topics.

10. Tell ’em one thing that you have done or accomplished that most people haven’t. Have several accomplishments in mind, and pick the one you feel most appropriate to share based on context.

For example, if I were interviewing for a writing job geared towards women’s issues, I might take that opportunity to mention that I overcame anorexia and other eating disorders when I was a teenager. Furthermore, I’d give an example of how those experiences affected certain subject matter found in my writing. It may sound too personal for an interview, but trust me, it’s better to come off as flawed but interesting, than perfect but boring.

9. Tell ’em something about yourself that might surprise them (in a good way).

For example, I might segue away from eating disorders into a lighter topic by telling a joke in the guise of a little secret. “Shhh, don’t tell anyone,  but, I wear socks with sandals!” I don’t actually do that, and in all likelihood  I’d end up revealing that I’m a huge Trekkie just because I seem to always find a way to relate whatever I’m talking about to Start Trek. No lie.

8. Tell ’em the story about how you got into writing in the first place.

In my case, I would tell them about the life changing thought I had upon completion of my very first screenplay, which was, “I could do this every day for the rest of my life.” It was revolutionary. And it stuck. Luckily, I had a brilliant mentor, Fred Strype (pictured above), who guided me toward finding my voice, as well as helping me hone my art and my craft. I still hear him standing over my shoulder as I stare off into space, my mind a blank canvass. He says, “Cut the shit and do the thing!” and I jump into action.

7. Tell ’em one thing you’ll bring to the table that other cannot or will not.

You’re probably looking at this photo thinking, “what anecdote could Holly be about to tell?” It’s this: brand yourself! Okay, that’s not a story, but it’s a good image to start with. Let’s break it down. First of all, I’m a smart, ambitious, and talented woman. But I’m also really nice, a bit kooky, but most importantly, very nurturing (see the little panda baby? I like panda babies). It’s good to use descriptive words, but even better to paint a picture of how you are to work with (what you like, dislike, experience you’ve had in the past, hopes and dreams for your future, and what you consider the ideal work scenario to be). If you can give specific examples of times when you have displayed those qualities, now is the time to speak up about it.

6. Tell ’em what the most satisfying compliment you ever received was.

Now is a great time to direct the conversation back to how great you are as a person in general (like questions 1 and 2), but with a greater emphasis on your humility. How can a a compliment that someone else gave you show humility? Well, do you think Ayn Rand (whom I’m actually kind of a fan of) cared about compliments? No, and the point is that you’re showing that you value the opinions of others. What was the best compliment I ever got? It was when the most brilliant, talented and ambitious person that I know called and asked for my advice. Priceless.

5. Tell ’em one specific passion that drives you.

Chipping away at what’s between me and the Truth. ‘Nuff said.

4. Tell ’em one way in which you distinguish yourself in the marketplace.

You all know how much I love Jennifer Lawrence, and this is in part because she knows what she’s doing when it comes to positioning herself in the marketplace as a serious actress looking for longevity of career. Think of ways in which you are going to brand yourself. Remember to walk and talk the part.

3. Tell ’em about your experience – slash – credibility; what you’ve done and with whom.

If the conversation has gone on this long, you’re more than likely at the level of intimacy where you can name drop without coming off like a total twat. But still – proceed with caution, and do not try to ride on another person’s fame or glory. As always you should stick to things you are proud of and really worked hard for. This shows potential financiers that you, well, work hard, but also that you’ve been paying your dues. They like to see that in the biz. In my case, I interned 40 hours a week at Reeling: Chicago’s 30th Lesbian & Gay International Film Festival last summer. There I worked with Brenda Webb, a truly delightful woman who I would love to have the opportunity to work with again, as well as the other staff at Chicago Filmmakers. What I mainly did was curate the short film program, which was basically the best job ever. Watch movies all day, pick the best ones, color-coordinate my notes, and group like things together? Love it.  (Notice here that I stay positive throughout the conversation and NEVER EVER say anything negative about anyone else. EVER.)

2. Tell ’em how you think someone who really admired you would introduce you to a stranger at a networking event.

Remember that this is you as a writer, not as a person, but try to use descriptive words that apply to the “you” in both senses. If you’re unsure of how people admire think of you, try asking said people, or pulling from letters of recommendation. In the case of moi, it has been said I am “fearless,” have a “distinctive writer’s voice” and that my “ability at presenting the details of life while characterizing the broader themes of the human condition reminds one of that ability in the writing of F.S. Fitzgerald.” Nice. It had also been said, by an entirely different person, that my writing “seems at first to fluctuate between the wacky and the excruciatingly lowbrow…” – just wait, it gets better – but “…her excruciatingly lowbrow is always artfully commenting on how the ordinary can have such a powerful over us.” Ergo, I’m like sugar water that tastes like red, and a vintage ruby engagement ring coexisting interestingly together. Or something.

1. Tell ’em who you’re going to thank most of all when you win your first Oscar.

Yous guys will def get a shout out, but ain’t no’ne getten more’n Mom. (Oh what? You didn’t know I’m from Jersey? Cape May, hun.)

There’s no denying it. If you get through all these topic points and you’ve still got their interest, you’re probably a shoo-in. If I were you, I would copy these prompts and jot down a sentence or two for each one, or key words and phrases to help you come up with and remember your anecdotes, or “talking points” as we like to say in the parlance of our times.

Happy connection making!

Normally, in screenwriting the gurus say that story begins with character or possibly structure, but what I learned today in my nifty fiction workshop is that novels begin with setting, and that location begets character not the other way around. Whodduh thunk it? Now, in the land of common sense this might seem to be obvious. You can’t have a person existing in a vacuum, and thus it would be a logical assumption to make that they have to have ground under their feet before you can plunk them down and set them off running on their journey. But somehow I missed that.

On the bright side, my background as both a screenwriter and a visual artist puts me in a good position to come up with proper settings for characters as fast as you can say…

Cracker Jack.

So, I’m working on my first novel, and surprise surprise, I’m basing it on an idea that was originally for a screenplay. The thing is, I know all the secondary locations, but not where the meat of the story will be set. Worse still is that all I can think about is this 7 ft. mixed media installation that I did a few years back during my undergrad days at Sarah Lawrence. It looked like this…

Yeah, get a load of that one.

The most interesting thing about this piece, which you can’t see from here, is that in the very far right corner, right where the tunnel meets the plaster outcropping is a faint but distinct silhouette of a man in a tuxedo offering a woman in a Victorian bustle a rose. Well, that, and that this piece came to represent what my brain must look like when I’m suffering writer’s block. As I was telling a friend earlier this evening, I’m not sure how or when it was that I began to conflate the issue of true love with my work as an artist, but there it is. Plain as day for all to see.

Okay, okay, in typical Holly fashion this may all seem very tangential, but I actually have a point to make. I think. The point being that the novel I’m writing is about Cupid, the god of Love, and a young female demi-god who is coming in with the aim to restructure Love as it have been done through the ages (very much an “Up In the Air” knock-off). So what I’m thinking is… do Cupid and the demi-god need to spend the majority of their journey in a desolate limbo place like my brain on writer’s block? Obvi, they spend some time on Olympus, and some time on Earth, but as far as each one of them going through a self-as-artist self-discovery journey, do they need to be in a place that only exists within the human soul? Because, if the story is about Love, where else could it be set without it being about love in, say, New York City, or Bangladesh? This story is not about Love in a place, it’s about Love within the human condition. So that makes sense.

But. But. Okay, so there’s this fantastical place that may or may not exist within ourselves. The next task is how do I ground that in sights and sounds and smells and tastes and PLACES that are familiar to us all? This is where I ask ya’ll for your help. If you have an inner-life what does it look like? Or does it not matter? Should I just write what my inner-life looks like and assume that people will be able to relate because anyone who would pick up a copy of my book will have a rich inner-life and can just imagine what it would be like for them?

While you think about that, here’s a beautiful video to watch. It’s by William Kentridge, and is a stop-motion video of him erasing and drawing over the same images. Words cannot describe.

Click the link below.

http://www.youtube.com/watch?v=IJ-c4N2njwg

P.S. I swear by next week I will be offering more information rather than asking a bunch of unanswerable questions. In the meantime, enjoy the video.