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The Beauty of Realism:

My Attempt at “Pseudo-Fiction”

03_01_19

Readers of the blog will have now been informed of two masterful examples of pseudo-fiction, one in text and the other in film. Now, the more pressing matter at hand is how I will implement this strategy into my own story-telling, as well as the goal I will be attempting to accomplish. Because of the limited budget and production capabilities, a story centered around real-life circumstances is the most feasible. This certainly fits in well with my idea of pseudo-fiction, ensuring that the fictional world in which my story will exist must be very similar to that of the viewer. I want to form a connection with the viewer, one founded not on the premise of entertainment, rather the idea of relatability. I want the protagonist to tap into a part of every viewer watching, embodying a very real piece of humanity. Given that I only have two minutes to engage an audience, I figure there are three very simple things I am looking to accomplish: establish the setting, establish the plot, and give the viewer a reason to keep watching.

The first two seem fairly simple, but the last item on my list tends to be the most difficult. A reason to keep watching can come from many different sources: an interesting plot line, a jarring cliff-hanger, a mystery ready to be uncovered. In my case, the viewers will keep watching because of the protagonist. I want to create a real main character, one the audience can identify with and root for. One with human emotions and thoughts. One with authentic triumphs and obstacles. Watching Marvel movies can be fun, but after a little while, seeing another superhero on the screen gets tiring. My main character will just be a dude. But, in a good way.

An example that I recall of a hook based on the main character is in the film “Silver Linings Playbook.” The film opens with Bradley Cooper’s character leaving a psychiatric ward and returning back to his life. The film builds the narrative world around Cooper, and his resurgence. Later, he is pictured “A Farewell to Arms,” by Ernest Hemingway. He quickly flips through the book, and upon finishing it, he chucks it out of the window. Cooper is upset with the ending, and to cope, he wakes up his parents, lambasting Hemingway and the novel. He describes how the world is tough enough, and all he wanted was to watch the main characters be happy, and Hemingway had to mess that up.

As an audience member, I remember enjoying the comedy of the situation, but understanding the desperate yearning for a source of positivity. I understood his frustration, especially in the situation he’d been put in, and because of that, his character became more personable,

I’m not exactly sure how I want to go about it, but I want to make a connection. I want the viewers to watch my film and see a piece of themselves within it. So, to bring an end to this epic trilogy on pseudo-fiction, I have an overall goal.

I want to create a real character, one with real struggles, and I want my piece to be focused around them, and their character arch.

Thanks for reading.

-f.s