Thread:Mesektet/@comment-3581997-20160615160106/@comment-3581997-20160628173034

The first issue is easy enough. Use modular design. This is a concept of doing the bare minimum of what you need. work out the mechanics of the plot and how it has to unfold. Who are the characters, what are their motivations, what would that cause them to do. What are the road signs of those antics, adventures, scenarios, so on. What is needed to be gone through in this tale. From there you can add blood and violence on top. You will already have a solid story structure that way and the parts when gore and human darkness can be added at the natural intervals.

Here is an example. In the movie Kill Bill, Quentin Tarantino set out who The Bride was, what her background was, and the bullet points of where she would go. He knew she had to get out of the hospital, take a trip to China to get a sword from and old master, go to Japan to face one of the people who tried to kill her and evntually kill her before moving on. That is it. That is the starting structure. Anything he added from that point would be only so much addition. Naturally he worked on the dialog and greater points of those areas first. But once he was done he had a lot of extra room. Like, "wouldn't it make sense to give Rin Ishi in addition to a bunch of thugs like an elite squad of eccentric weirdos?" "Wouldn't it be fun if in-between awakening that old sword master's unfinished business if he had some smart-alec assistant who treated him just like some jerk boss as part of his public life." "Hey wouldn't it be a great action beat if the lights go out and the thugs keep fighting, but  wouldn't that become funny and humanizing again if the the lights came back on and The Bride saw of one of the random thugs was like some in over his head 15 year old with a sword who was pissing himself?" "What if The Bride takes him over her knee and spanks him instead of killing him then tells him to go home to his mother?"

Tarantino has the base story, works on the important scenes figures out later all the things that could realistic happen in-between those bullet points and be interesting to an audience, and then has total fun with them. Try that. What needs to be there? Fine tone those scenes, figure out what scenes can happen along the way to have fun with, and then just go all out. That way the story stays structured and true to itself but still has the potential to go completely nuts/dark.