Writing as a Naturalist, Or Letting Characters Breathe on Their Own

Its no secret that I'm not a naturalist. Quite the contrary. However, I've been mulling over something that I feel could be of some interest. I'm writing a screenplay (well, several screenplays at the moment) that I've begun with no small feat. I, as a Christian Theist, am writing this -- as the title suggests -- from a more naturalistic point of view.

There are several reasons as to why I've chosen to write this way.

One, I believe it honors the exploration of truth, especially within the context of worldview determination. I don't want to give away spoilers (I'm known to be quite bad about that), so I won't divulge much, but if you know me personally, I came up with the idea in my Advanced Screenwriting Class while at Biola University, and finished the draft in two weeks. I got an A, obviously. Being the teacher's pet helps.

But in this way, I've begun a major rewrite with naturalism in mind. Its been enlightening to create a character who is (possibly undergoing a gender switch from male to female; this isn't part of the story, just wrestling with the idea of making the protagonist a women) a pure naturalist. There is nothing out there save for the wind in my eyes and the blood under my nails. The realism sans super (or extra) natural is the driving heart of the story. Exploring this idea is not only new to me, but also very interesting.

Two, I believe its a unique mental and spiritual exercise. This is a sub-section of point 1. Partially, I believe I want to honor my good friends and colleagues (mostly in film) who differ with me. What better way to do so by accurately representing a point of view I don't subscribe to? Partially, I think the more pressing point is that I was once a naturalist and in some way, it is a helpful reconstruction of a part of my life that I don't entirely recall. Either way, its a marvelous exercise to write about characters with whom are living and capable of writing themselves.

Three and finally, because I think it is the best way to tell this kind of story. This is not to suggest that I don't write Christian characters with happiness, but that if one can construct a world and a character who speaks on their own to the point of disagreeing with the narrator, well, then you've done something unique and helpful. Let the characters and the world breathe on their own. Step back. Engage and just copy down where they go.

This is by no means exhaustive, or even entirely coherent. Its simply an exercise for me, and hopefully an experiment that someday makes it (legally or illegally) to the small screen.

Thanks for reading this mild musing.

--Nick

A (Fictional?) Meta Conversation Between an Atheist and a Christian

              ATHEIST
     So tell me about God.

              CHRISTIAN
     You already know who He is.

              ATHEIST
     Did you just capitalize -- never mind.
       (Beat)
     So read my mind and tell me what I already know.

              CHRISTIAN
     Well, He’s the best you could ever hope to have.

              ATHEIST
     So He is a thing?

              CHRISTIAN
     No silly! He’s a person. Well, three of them. 

              ATHEIST
     So are we talking Norman Bates or something else.

              CHRISTIAN
       (Sigh)
     Sigh.
       (Beat)
     Do you accept what you already know?

               ATHEIST
     I don’t know what I know, how would I know what --

               CHRISTIAN
     So is that a no?

Beat.

               ATHEIST
     Yes?

               CHRISTIAN
     Don’t worry. You’ll still be handsome in hell.

               ATHEIST
     Is that supposed to scare me?

               CHRISTIAN
     Yes. Bet you feel hot right now.

               ATHEIST
     Well I do feel something ...

In case it wasn't obvious, I wrote portions of this down when I heard it in the coffee shop. I tweaked some parts and added a clarifying line here and there. Largely true.

As someone who identifies as a Christian, this is hard to stomach.

--Nick

Writing as Therapy

For some, they write because it brings them great job. For others like myself, I write because I can't afford therapy.

Seriously.

Its a quip that manages to get a few people to chuckle, but the odd truth is that without writing, I would probably be far more screwed up than I am currently. In my life, I tend to have a metal block when it comes to processing stressful or life changing situations. More often than not, I end up even more stressed because I quite frankly don't know how to approach the situation.

When something bothers me theologically or philosophically, I tend to call up my girlfriend and vent for about 20 minutes. It usually helps, but there is something to said for channeling intense feelings and experiences into something that someone else can fully understand.

Narrative has a way of bringing out the best and worst of our minds for someone else to understand and grapple along with us. It is not only therapeutic, it's also much cheaper than visiting Dr. Melfi. 

On my part, dealing with tough personal issues is often manifested in characters that simply speak my thoughts. In some odd way, it is a form of journaling, except I hope to sell my journals, have them remade into something not really worth anyone's time and completely weep into my $5,000 throw rug.

Or, just continue writing so the mental rust doesn't rupture a sprocket or something.

--Nick

Meta-Celestial Music Playlist

I'm currently (trying) to write a science fiction trilogy, and these are the tracks that have been lending inspiration to me. Check them out. There are all on Spotify.

• "A Holy Measure" by Wovenhand

• "Get Up" by Korn

• "Beyond the Horizon" by Insomnium

• "Off the Edge" by Rhema Soul

• "Lateralus" by Tool

• "Wretched" by Nine Inch Nails

• "Truth" by Wovenhand

• "Equivalence" by Insomnium

• "Envy" by Chevelle

• "Chaos Lives in Everything" by Korn

• "Vox Populi" by 30 Seconds to Mars

• "Two Words" by Disturbed

--Nick

"Meta-Celestial" Trilogy, some more brief thoughts

I've been thinking more about how to engage with the practical side of my writing. Many other writers tend to incorporate themes and motifs that are not only personal to them, but also practical in ways of narrative exposition. The Grey is a prime example of a worldview perfectly examined and shown, but also the practical side of how one lives such a life as fatalism will allow.

From this, I've begun to really ponder how to really work everything I've been struck by in these past few years. Thinking not only personally but nationally and even cosmically is a challenge for a worldview, and I do wonder if we as Christians, or broadly as humans, are often consumed with thinking about perception as it only applies to us.

An example: it is easier to oppose affirmative action if one hasn't been involved in the inner city. One may have great reasons to not affirm affirmative action, but it is often conceptual reasoning apart from experience.

Our experiences affirm our journey, and our journey practically writes itself for us. I cannot tell you how often I've simply sat down, outlined an entire story down to the  screws in the foundation, and dissolved the whole thing because I couldn't see how to practically show a meta-concept.

To tie this all together, I think Christianity and the writing process both need a jump start once again. In this, we need to experience the very concepts we affirm, and be willing to not only be challenged by opposing forces but to always be reforming our journeys. In our writing, we need to be ready to push our views into greater scope and we ought not be afraid to do the same with our theology.

Unless we are able and willing to experience the natural outline of the journey, I'm not certain growth is possible. But, of course, I'm writing off the cuff and simply thinking.

Pax.

--Nick

"Meta-Celestial" Trilogy, some brief opening thoughts

Usually, I don't outline. This is a very bad habit for a writer. I remember times where I didn't need to outline a feature at all, relying solely on the over the shoulder approach to writer: throw my protagonist into the fire and just follow him.

Like The Wrestler, so to speak.

Well, that doesn't work too well if one is writing science fiction. Or a trilogy. Or considering about how to implement a detailed (and untested) method of theological narrative. For the trilogy, I'm calling it the "Meta-Celestial" Trilogy. In writing this trilogy, I will be exploring how a view that affects all creatures (human, humanoid, robotic, alien, etc) within a narrative can be cohesively resolved.

The idea of rebirth being applied to all intelligent life forms within the context of an expanding universe strikes me as something that hasn't been done before. Or, if it is has been done, I'm ignorant of the existence of it. Which helps nicely.

Back to outlining.

I generally write character bios and let that be my outline, writing around the character's experience and emotions and the like. I think that implementing that into a detailed outline about plot points and cool ideas for sequences (involving zero point and battle suits and space ships) could very well help ease some of the tension within my writing process.

More to come as I explore these thoughts.

--Nick

ScriptShadow; Productivity of Writing with a Deadline

Recently, Carson over at ScriptShadow put on a pitch contest on twitter, where with 134 characters, aspiring writers had a chance to pitch their logline. Ours is number 78 on the link above. As you can see, we barely made it in. But we did. After getting a lot of feedback from other writers in the industry (thanks to those who gave us a fair reading), we trimmed scenes and even added a little bit to get us at the ten page submission mark.

Now the worst part of writing comes: waiting for the hammer of doom or the wand of liberation.

What this taught me:

1) Communication. Kris (my partner in crime on this excursion) and I essentially were roommates, dealing with each other's opinions. Not in the sense of who takes out the trash or left the seat down, but who gets the final say in the "finished" product.

In a sense, we acted in a completely egalitarian way, deferring to whomever had the better reasons for putting/removing something from the script. This taught compromise.

2) Humor. Realizing that what I find funny isn't always funny. Being open to other forms of humor and pathos was somewhat liberating.

3) Studios. Keeping the studios and various hurdles in mind as we wrote. Do we go the R-rated route or keep a PG-13 rating in mind? We ultimately decided to go for broke, but it was a great discussion in figuring it out.

Overall, a great experience. Now we wait for Carson's confirmation to the staff of liberation.

--Nick