Directing and storyboarding an animation

How does a film director relate to the animator?

In stop motion animation the director and the animator are often the same person in which case it's vital to differentiate between the two roles. 

Director of the animation:

• A clear vision
• oversees the creative process
• casts the characters
• chooses the location of the set
• decides on lighting, camera position
• Directs the characters
• Sets a mood for each scene
• Chooses a shot list

Animator

• creates characters for close-up, mid-shot and long shot, side profile, head-on
• transforms the characters eg in an explosion
• designs animated backgrounds
• creates props 
• develops transitions between shots
• creates contrast between character and background
• offers ways for characters and background to interact

Between them, the director and animator agree on a storyboard. Story telling involves introducing characters which the audience can relate to, setting a challenge for the main character which leads to conflict which reaches some kind of resolution by the end of the film. 

In animation, characters are few and all are generally introduced in the opening frames. This offers the viewer forewarning so they can anticipate what may unfold and part of the fun of watching film is to be surprised at an unexpected turn of events.

Viewers expect a film to refer back to films seen in the past: borrowing, parody, adaptation, and modernisation are central film-making and lead to recognised genres with styles and typical storylines such as gothic, realist and anime.

Once the storyboard is agreed, 

An animatic is helpful in translating the storyboard into an animation. An animatic is a series of clips or stills using the characters which is played out in real time to test for timing and clarity. 

The animatic may be shown to a naive audience in order to judge its effect. Once the animatic is adapted, the shot list is next. This is a list of all the planned shots in the film, which helps in deciding in what order to shoot the scenes. Usually this is completely different to the final sequence as the opening and closing scenes oftren closely resemble each other, with crucial differences. This saves time in building sets and animating the characters. In craft animation there have to be reserve copies of the characters as the process of filming can damage armatures or models. The shot list may indicate essential shots and optional extra shots.  But in practice, some shots work better than others.

Filming throws up all kinds of practical problems. Lack of time, change in lighting, weather and incidental factors may all prevent the non-essential shots being taken. 

So what happens next? 

Directing involves ditching shots which fail to come across and developing new shots which explain the story better. It may be necessary to make new models of central characters and to change the set to reach internal consistency. When the clips are joined together, some scenes may stand out as inconsistent and need to be thoroughly reworked.

Throughout filming, the director is asking: 

How does this shot develop the story? 

In animation this especially involves transformation and transitions which are impossible in live filming. After each day's filming, the question is: what worked best today and how can filming tomorrow take in these lessons?

The secret of Wicked's success

The Musical 'Wicked' is a massive transatlantic success. 

What's the secret of Wicked's success?

1. Wicked champions the outsider, Elphaba is picked on for her colour and refusal to conform. We see many redeeming qualities in Elphaba: she sticks up for her teacher when he loses his voice and he falls into disrepute because he's not human. Opening scenes often feature arrival at school or college but Wicked pulls it off with humour, poking fun at the apparently sincere good witch, Glinda. But later on, the wicked witch Elphaba releases flying monkeys which cause havoc.

2. Wicked has style: strong female leads, an emerald and black colour scheme, brilliant lighting and stage effects  clocks to rival Harry Potter and Philip Pullman's Dark Materials and a cross between Victorian steampunk and 1930's American costumes. There are enjoyable touches of irony and parody. The Wizard sings a song in 1920's style reminiscent of King Herod's song in Jesus Christ Superstar 'Try it and See'.

3. It even begins with a disabled character, NessaRose whose relationship with her sister Elphaba promises an emotionally intelligent sub-plot

For all its style and popularity, the plot chunters off into nowhere land with arrests, escapes, re-arrests. The most glaring travesty of Elphaba's feisty nature comes in a stick fight with Glinda over Fiyero, the self-confessed shallow male lead.

Sadly Tessa Rose is portrayed as a mistake resulting from her parents' desire to avoid having a second daughter like Elphaba. "She's my fault," says Elphaba. The disabled sister and daughter is a millstone for all to carry. [as in Sleepovers by Jacqueline Wilson] Thus reinforcing widespread perceptions.

In one powerful scene, Tessa is cured by Elphaba's spell and stands for the first time. It must be hard for anyone in a wheelchair to witness this escapist denial of the meaning of chronic illness which harks back to sanitised fairy tales. 

Tessa Rose's fate is sealed off-stage when she is later crushed by a falling windmill and we are left to imagine that her recovery may have been temporary so she was unable to get out of the way in a sudden malevolently stirred-up storm.

The victory of style over contemporary resonance is complete.

How to keep readers reading

Best advice for novel writers: READ MORE

It's vital that writers to understand the conventions that readers are familiar with, in order to avoid cliche or worse: incoherence. 

Breaking the rules invites ambiguity

So what are the rules about keeping readers motivated to read on?

Plot comes first. However convoluted the plot, it can fit into one sentence. 
Tell your friends no more than that one sentence and remind yourself of it every day.
Keeping the plot sentence in mind helps writers write a continuous story and also helps agents and readers decide whether to buy. Knowing the plot keeps you away from sub-plots and irrelevant episodes.

Beware any changes in plot after your first draft; every change will have consequences on each page which will be tiresome to correct. By all means change the characters' names, gender, dialogue as much as you like but plot is sacred from the start.
Plot provides the motivation for your main character and it changes in a special way through the story. and yes, keep to one main charcater and maintain their point of view throughout.
[established writers ignore this but for first novels a rambling point of view puts people off] 

So what is a plot?

Stories open with stasis: the kingdom is in neglect, doom-laden, or everything seems fine but the king is ageing, rumours of dragons abound. Whether you start with action or dialogue, your novel informs the reader of the characters, the place and time and underlying this: the genre [thriller, mystery, horror, historical, romance] Concentrate on your favourite examples of your favourite genre and you will have a repertoire of clever plot twists. 
You can introduce the rules of your fictional world through action, narration or dialogue. If there is magic or paranormal events they are bound by certain rules such as: having a wand made of a particular wood, or having telepathy only with those you love.
Then comes the trigger, the call to action for our hero or heroine. A significant event brings the character to life [eg a beautiful princess is entranced and sleeps for a hundred years]
Ther character sets out on a quest. The object of his quest is often a symbol rather than anything especially valuable. Readers are asked to suspend disbelief, the wrtiter and the character believe that only this one object will bring happiness, relief, safety or survival.
Surprises happen. 
A good writer constantly reaffirms and contradicts readers' expectations. Stories that are entirely predicatable are boring so plan a surprise for every chapter ending. A surprise is an unexpected plausible obstacle or help to the character's quest. She meets antagonists and protagonists, a wise woman or a cruel tyrant.
Then she is faced with a critical choice which demonstartes free will. Things could go either way. She decides to follow a path which is fraught with danger.
This leads to the climax in which she confronts her greatest adversary: time, dragons, a torturer or an arranged marriage and a tense conflict plays out resulting in a reversal: now the character has changed in some way, become more resourceful or lost the battle and accepts defeat. Finally we have the resolution: the new stasis in which the world of the novel is altered following the climax.
So what has kept the reader turning each page?

Surprises and rising stakes. As the story proceeds the character rsks more and more until she stakes her whole life on the outcome. 

I haven't made these rules up, if they sound dogmatic, they can be traced in most films and books and talked about in plot advice to authors since the time of the Greeks. 

In my view, plot awareness is the author's best friend.

S a new book looking like a library book

Books that weren't meant to be read.

A new book that appears to be a library book with annotations on it.

It's a piece of dissembling but could it be a trend?

S  reviewed by Mark Lawson in the Guardian here

Maybe this is a reaction to the ebook revolution, which has done away with the hard copy of a book and created a double for practically any book you can buy and hold.People have said that the packaging of books will become more startling as a response to all this cyber-reality.

Mark Lawson refers to AS Bayatt's Possession, for which the author made up poetry that purports to have been written by a poet who is being researched by one of the characters.  
What other documents could be released which are ambiguous about their origins?

• A book marked TOP SECRET that appears to have been smuggled out of GCHQ.  Perhaps we have that already.
• A coach's notes on every member of a cricket team with strategies about how to exploit the weaknesses of each player [of interest to enthusiasts, probably sadistic]
• A book of texts, [yes, it's been done]

Laurence Stern's Tristram Shandy is perhaps the best example of this genre, a rambling comic novel which reveals much while interrupting itself repeatedly and dispensing almost entirely with plot.

     Feigned invitations and letters are an regular part of the realist novel and are used in  Gothic novels to set the scene before wandering off into more fantastical realms.  Mary Shelley employs this technique,  switching between narrators: the creature, Dr Frankenstein and a sea captain.

   There is a whole genre of epistolic novels which include non fiction titles such as Priscilla Wakefield's An Introduction to Botany from the 1830's in which Felicia guides her sister through the orders of plants in a series of letters.  A modern equivalent is Lionel Shriver's We need to talk about Kevin which is constructed entirely of fictitious letters.

    It all goes to show that dissimulation is at the centre of the writer's art.

Rules about Gothic novels

Setting aside the fact that there are no rules, here are some more rules for novelists.  In a chapter in The Realist Novel, Richard Allen  explores the concept of the Gothic novel using Mary Shelley's Frankenstein as an example.  Notice the way one story nestles within another, in this case Captain Walton's letters to his sister are interrupted by the first person account of a stranger he rescues from the sea ice, Dr Frankenstein.  In chapter 11, the creature takes over as narrator.

   Although genres overlap, the Gothic novel has some quite distinct qualities which differentiate it from contemporary realist novels. Eve Kosovsky Sedgewick brought these criteria together in her book The Coherence of Gothic Conventions [1986].  These criteria go back a long way and can be seen in the novels of Ann Radcliffe from the 1790's:

1. The setting will include an 'oppressive ruin' in a wild landscape in a European country which is 'a Catholic or feudal society'.
2. One central character will be a heroine with 'trembling sensitivity' and her impetuous lover.
3. There will be a tyrannical older man who will have 'a piercing gaze' who will try to rape, imprison or murder the lovers.
4. The narrative will be interrupted by contrasting voices and letters allowing changes in point of view.
5. Common sub-themes include taking religious vows and monastic orders, altered consciousness similar to sleep or death, underground scenes, live burial and discovery of remote family ties.
6. Incest is hinted at, unnatural echoes or silences occur and the poisonous effects of guilt and shame recur.
7. Unintelligible writing is discovered, often described as unspeakable.

If you see a relation to Charles Dickens, Bram Stoker, Richard O'Brien and JK Rowling, it is clear how deeply the Gothic novel seeks to explore archetypes that scare us in all their forms, especially the territory which is just beyond the known daytime world.

    Notice how Dr Frankenstein's account begins in a realist frame [cf the Dursley's suburban residence of Harry Potter] and shifts into the irrational: fearful obsessions, unspeakable obsessions and isolation.  Frankenstein seems driven by his unconscious in a half waking state.  This adds to the impact of the novel by suggesting an 'unreliable narrator'. We recognise that we are entering the subjective adrenaline-fuelled experience of the character so that we can more easily overlook the fantastical elements.

   In relation to incest, Frankenstein has a strong bond with his cousin Elizabeth ['you are my children,' his mother tells them].  Jealousy plays a part in the  way the creature disrupts Frankenstein's marriage to Elizabeth.