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Conflict is the very heart and soul of drama, and Smith's latest work explores character conflict and the various ways to portray it both in scripts and on the stage.
- Sales Rank: #1129893 in Books
- Brand: Brand: Michael Wiese Productions
- Published on: 2008-05-01
- Original language: English
- Number of items: 1
- Dimensions: 8.92" h x .62" w x 6.18" l, .95 pounds
- Binding: Paperback
- 242 pages
- Used Book in Good Condition
About the Author
Pamela Jaye Smith is an international speaker, consultant, writer, award-winning producer-director, and founder of MYTHWORKS.
Most helpful customer reviews
43 of 44 people found the following review helpful.
Very Disappointing
By Voiceguy
I bought this book with high hopes after reading all the breathlessly enthusiastic reviews that appear here. As soon as it arrived, I set aside some serious time to read it and profit from all the promised help. I started at the beginning and pressed on, looking for all the helpful guidance that other reviewers had mentioned.
By the time I got to page 37, I discovered ... there is no "there" there. Or at least, not for me. Further delving into the book did not improve things.
I honestly have no idea what Pamela Jaye Smith is getting at in this book. It is a catalog of very brief observations of the most superficial nature on a bewilderingly wide array of topics from comparing American foreign policy in Bosnia versus Darfur in one section to discussing arcane aspects of Eastern medicine in another. I would concede that it is a fairly thorough collection (in breadth) of just about anything conceivably touching on the idea of "bad" or "evil" in the world, but it's like opening a Sears catalog without knowing what one wants to buy, and with only the briefest descriptions of the merchandise.
It could be that someone who read all of the entries and mentally digested them might somehow be inspired to pick one particular kind of approach to use -- but what an incredible amount of work to get to that point. And once a specific approach was picked, that person would discover that the book offered only fairly shallow and self-evident suggestions on what to do with that approach.
I prefer books that offer a practical approach that doesn't require learning how to build a complete watch from scratch when I just want to tell the time. For a working writer who is looking for help in making their creative process move ahead more smoothly, this book is not a good candidate, because whatever value there may be in it is just too hard to extract.
58 of 61 people found the following review helpful.
Unexplained Terms & Too Referential
By Tara E. Browne
Not my favorite writing reference ever.
1) The author relies heavily on strings of movie names in support of her points, then fails to explain how those movies demonstrate the point in question. The examples provided are useless unless you have seen the movies in question.
2) The book continually references "chakra" terminology (described as "inner drive / center of motivation"), but nowhere does the author offer an overview of the chakra system for the uninitiated.
3) The book meanders off topic. As often as not, the author is discusses how "good guys" display and/or respond to the "dark side" traits, rather than focusing on how to develop really strong villains that will drive a story forward.
4) Finally, one does wish her writing would be less sloppy. Sentence fragments, misplaced modifiers and other symptoms of lazy writing pepper the entire manuscript, and add to the overall impression that the work was not well planned or edited.
23 of 26 people found the following review helpful.
Take a journey to the Dark Side - you won't be disappointed
By Matthew Terry
Someone once said that "All art comes from within your soul." At least I think someone said it. Someone SHOULD have said it. Okay, I've said it. Let's move on.
If art comes from the soul, YOUR soul, how do you justify or relate to those characters that are dark and, well, possibly evil? Where DO these people/creatures/characters come from? Your soul?
Through all my years of teaching and reading and writing, a common theme has floated to the surface: To have a good protagonist, you must have a great ANTAGONIST. If there's no Darth Vader, what of Luke? If there's no Goldfinger, what of Bond? If there's no Witch, what of Dorothy? If there's no Scut Farkus, what of Ralphie?
The problem with most books and classes, etc. is that they have a tendency to focus on the "sweetness and light" - the journey of your hero. And then they do a mediocre nod to the villain. I know that I do. It's so much fun to place your hero on their journey but who wants to deal with the evil one, the Sauron to Frodo?
Pamela Jaye Smith is the one who wants to deal with "the evil one." The Antagonist. The villain upon which our hero must stand against.
But who are your villains? Are they easily recognizable? Ms. Smith does a great job defining all sorts of villains from the evil witch to the corrupt politician. From the dictator to the teenage clique. If you haven't even begun to think of your villain (and their underlings or toadies) then this book is for you. If you've got a villain but the worst thing they do is rip the tags off of mattresses, then this book is for you. Ms. Smith takes you there, to the dark side, in a very readable way.
Is your story "technology gone awry?" Is it "average Joe" against the "establishment." Is it "you" versus "the world?" In all these scenarios you will need a villain or, most likely, villains. Even if that villain is yourself (and, yes, she writes about self destruction, too).
But just when you think this is a book all about those to whom your character cannot win - she also writes about the tools your hero needs TO win.
She also includes an excellent bibliography, list of websites and a glossary to help you delve a little deeper.
My only real issue with the book is that, though she gives hundreds of little examples through all sorts of genres, I would have liked a step-by-step focus on one particular film and how the hero (or heroes) battles and overcomes the villain (or villains). "The Lord of the Rings" trilogy would have been an excellent example as it deals with all sorts of villains (from Sauron to Saruman, to Frodo's inner voice craving the power of the ring, to Gollem the "Hobbit gone bad") and heroes (Gandalf, Aragorn, Boromir, etc. and their own internal and external struggles).
Years ago I was reading a student's script. He had a very strong protagonist but nothing resembling an antagonist. When a crisis happened later in the script I casually suggested to him that maybe the hero was the one who actually instigated the crisis. He would not hear it at all. His protagonist had to be pure and wonderful and beautiful - he did not want shades of gray. The script suffered because of it.
Pamela Jaye Smith's great book helps you find those shades of gray and, if you're looking for it, the deep darkness, too.
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