The Grey Line of Complexity - Writing Story and Screenwriting.

Too Much versus Not Enough.

There is a grey line in story on every level. In a title, there is the problem of too much information or not enough. A Title like "Few" would not have enough. A few what? And then there are Titles that have too much. Like "Convincing Ascended Alien Ghosts to Love."

Both titles are bad but they also don't have that balance. Ghost Ascension would work better. Then we take that to the next level of logline.

I've recently struggled with a new concept I have because it's on the borderline of having too much. It's war and love and life and trained to convince to etc etc. I realized that I can't pump the story full of stuff in the structure stage because the concept stage almost has too much material as it is.

In the outlining stage I started brainstorming heaps of twists and mysteries and stuff that would keep the audience interested but upon doing this, I realized it was watering down what was already there. Granted if it was a simple story, I would have crammed the structure full of twists and mystery.

So when you look at part of your story, is the scene outline complicated or simple? Is it, "The 3 main characters arc and warp into new beings with individual powers." Obviously that's already crammed chock full of stuff.

Yes brainstorming some parts that are perfect for that scene would be great like a twist where they are betrayed and realize it and maybe some subtext lying between them all about what's really going on before they realize how wrong they are and maybe some mislead reveal making us think they are all dying but them boom they are reborn with abilities. But stuffing much more than that in there will start destroying the scene with clutter and complexity.

Similarly, a car chase scene. Obviously this scene is ultra straight forward and simple. Problem is it has very little. So one would need to brainstorm much more into this to make it shine. So incongruent dialogue to action, or complimentary. Some twist reveals. Subtext in the dialogue to an extreme with misleads and reveals in the action like the chasing car rolling and crashing into a tunnel, just to punch out of the building beside them almost smashing them. So on the scene detail level, this will be a place where it needs to be crammed full to balance it out. But not overboard. You don't want them kissing while fighting while driving while delivering exposition about the mechanics of spiritual ascending.

The Grey Line. I have a concept that is ultra complex. The Concept pours massive amounts of subtext, interest, conflict betrayal, and character into the story. It needs to play out what it is. Trying to stuff too much into it destroyed the outlined version, watering down the inherent power that was already ingrained at every level, overflowing from the concept into every nick and cranny of the story.

So look at the outline of the section you are working on. Check your grey line balance on your components. Are you pouring too much in? Or are you lacking content and needing to brainstorm a mass of possibilities to stuff in there?

Do you know where your grey line is?