I like a good twisty well-woven plot.
I recently watched a film noir movie, The Crooked Web, which was all plot, with all the twists I could ask for. And it was awful.
[SPOILERS]
There’s a Restaurant Guy, a Plucky Waitress who loves him, and her Brother. 15 minutes in, switcheroo, they are now Restaurant Guy, Plucky Con Artist out to cheat him, and her Lover. Ten minutes later, switcheroo 2, they are now Murdering Restaurant Guy, Plucky Undercover Cop 1, and her Lover Cop.
I was fine with that. I was fine. Then the plot became Get a Confession Out of Murdering Restaurant Guy, and evidently for that you go from Chicago to Germany, where there is a treasure planted in a cemetery, and a guy who casts gold stuff and paints it with lead so you can smuggle it, and that was fine, but then the cemetery becomes a US base, and they can’t get back in so they have to enlist, and at that point you start thinking, “Confession? Just beat this guy up, keep him awake, this is all unnecessary.” And the last five minutes were essentially “I can’t enlist, see, I shot this military guy once,” then hello German police, The End.
I mean I was very pro police violence by then, and wondering how I can avoid such a fate with my book. From my research about The Crooked Web I find that a) one should not write a movie as the movie is being filmed, that was evidently the problem here, just like with Gilda, and b) have a story as well as a plot. The story is evidently the internal motivation that drives the characters to dance through the plot, and there was none of that.
There is currently none of that in my book either, so that means 18 revisions, not 17.
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