  Drama
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| I have already discussed one component of Vietname War films: accuracy. To me, accuracy is a quality for which every writer should strive. However, in that process, a facet of reality called agenda can rear its head, thwarting research and ultimately altering the direction of the story. Given that an agenda cannot be totally eradicated, we should look at what forces are at play in creating an agenda and how writers can handle his or her lurking agenda when writing a piece. |
| ASIN: B000FC0SIM |
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Amazon's Price: $ 12.99
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So, what is an agenda? That is definitely a question to ponder when reading or writing a piece. Let's refresh our dictionary definitions first.
1 : a list or outline of things to be considered or done
2 : an underlying often ideological plan or program
(from Merriam-Webster.com)
For the sake of writing, the second definition will come into play more. Along with that, though, we should also include the definition for a hidden agenda (an ulterior motive, which seems obvious but should be clarified at the outset). Agendas tend to skew writings in a malevolent manner. That's not to say all agendas have ill intentions. The writers that decide to weave their agendas in to their writings often believe that their works will be at least somewhat didactic. Sometimes they are successful, but the key to this is not making the agendas heavy handed, especially in pieces meant for entertainment. That said, it can be more difficult to accomplish this in a war drama.
Perhaps the greatest reason for this is historical perspective, a topic I have explored in detail in previous issues. To summarize, perspective in this case is memories and how they are formed. Since a lot of details derived from any real life experience are rooted in memory, perspective is, to some extent, unavoidable. The key is how much memory plays a role in each stage of writing. I have not found a formula that dictates how much memory influences each stage of writing. Even if there was one, it would be heavily disputed, as memories differ from writer to writer. The other issue to consider with memory is when a person starts to write a piece that concerns a particular historic event. Gustav Hasford laid the foundation for The Short Timers during the Vietnam Era. Ron Kovic, meanwhile, had his autobiography published three years after the United States forces left Vietnam.
In line with memory is involvement in an event. This particular element makes all the difference in war films, specifically those concerning Vietnam. If you take a look at the three names associated with some of the most well known Vietnam-set films (Oliver Stone, Stanley Kubrick and Francis Ford Coppola), you will find three very different life experiences during the Vietnam Era. Of the three, only Oliver Stone actually served in Vietnam. Meanwhile, Kubrick was living in England and Coppola had set up a production company with George Lucas (American Zoetrope, for those of you who are curious). Though it's hard to accurately state their individual perspectives on the war itself, their experiences lead them to examine the different effects it had on those directly involved. It also contributed to them choosing different source material to serves as bases for their silver screen projects. Stone ended up working with Kovic, and Kubrick snagged Hasford's novel. I think the plotline for Apocalypse Now is pretty obvious, but if you're a little lost, I'll give you a big hint: Joseph Conrad.
The final thing to consider when looking at perspective and memory is when the piece is written. When looking at Vietnam films, you actually have to look at two writings (as the screenwriters like to adapt previously written material for such films). The first is the source material, and there are different ways of looking at it. The 21st century cynical outlook might state that the books were released soon after the war to capitalize on lingering memories of the conflict (and possibly any lingering anti-war sentiments). On the other hand, releasing it soon after may just be a reflection of the writer wanting to committ his memories to writing before they deteriorated. The key is the works were released soon after the war, with the intent to inform people of what happened to the soldiers who went out and fought. The movies, meanwhile, came about at different times. By basing his story on a work that had been around for decades before, Coppola was able to get his Vietnam film released around the same time as some of these books. This method gave him a couple opportunities that make Apocalypse Now unique (and sometimes hated by historians). First, he was telling an essentially fictitious story, allowing him to establish an allegory about war. Second, with his timing, he could tap into still lurking hard feelings and an aversion to war that didn't fade away until the early 1990s. More films were released in the 1980s, as rights were secured for adaptations and studios became less reluctant to finance Vietnam War films. Films of the 1980s focused more on the "war is hell" theme, exploring the savagery that rendered the mind riddled for decades to come. Such films appeared in the mid to late 80s, when Reagan's second term was winding down, and military spending had been on the rise. While no evidence from the filmmakers themselves suggest apprehension about this spending, a wariness of war lingered as filmmakers continued to strip war of its glory.
Now why did I just spend several paragraphs discussing perspective in regards to Vietnam War films? Well, these films have taught me something about writing an objectivity, namely that such a pairing is contradictory. However, allowing an agenda or particular thematic point to dominate the piece is one surefire way to alienate readers/viewers. If several reviewers say something along the lines of they feel like a given idea is being hammered into their heads, you might want to tone it down. After all, I don't know too many people that like a good preaching when reading something, especially a war piece. So where is the line drawn? Only you can truly decide that. The following questions can help you make that decision.
 How much time has passed between the event and now?
Is the conflict still going on?
Does the dialogue/narration contain many words/phrases that seem particularly forceful?
Are there any scenes that you wrote solely to deliver a certain point yet have no bearing on the plot or character development?
Do the characters really support the opinion that dominates the piece, or are you projecting onto the characters? (Note: You may need someone that knows you fairly well to help make this distinction.)
While this is not an exhaustive list of questions to ask when looking to tone down a theme, these can help you pinpoint a problem or engage in a dialogue with a reviewer willing to offer more detailed advice. They also highlight some of the biggest culprits when it comes to overemphasizing a given theme. If the answers to these questions lead to major revisions, don't fret. Odds are you'll be much happier with the piece down the road if you try to revise it. Having looked at pieces written when I was younger and more concerned about developing a theme, the unrevised stories make me cringe. Likewise, overdone themes in films make me cringe no matter when the story takes place. If a theme is hinted at but not thrown in your face, you'll be more inclined to think about the work and examine it rather than grip your head in pain and lament the overly didactic nature of the piece. This could explain why I prefer the much more scaled back Full Metal Jacket to the heavy handed Born on the Fourth of July.
No matter what happens, remember that agendas of all sorts will influence your writing in some way, especially if you take on a controversial topic. Acknowledge what motivated you to write this piece; then you will figure out exactly what your agenda is. When you understand the impact an agenda can have, it is important to know how much is too much in a writing. Try to address this in the revision process, and be sure to talk to people if you're told the theme overpowers the rest of the story. Otherwise, all you will do is alienate, not communicate, which is not the reason you wrote the item in the first place.
Until next time,
(sig by rose_shadow) |
I'm going to shake things up a little bit here. First, some more Vietnam-specific pieces.
| |  | She Wept (18+)
The first chapters of a Vietnam-era, anti-war story.
#1372789 by Bobf  |
| |  | Invalid Item
This item number is not valid.
#1041713 by Not Available. |
Second, some general war-related pieces.
| | | Invalid Item
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#1408126 by Not Available. |
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This item number is not valid.
#436010 by Not Available. |
And for kicks and giggles, a few drama items for your perusal.
| | | Invalid Item
This item number is not valid.
#1368309 by Not Available. |
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This item number is not valid.
#1429956 by Not Available. |
| | | Invalid Item
This item number is not valid.
#1005537 by Not Available. |
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Have an opinion on what you've read here today? Then send the Editor feedback! Find an item that you think would be perfect for showcasing here? Submit it for consideration in the newsletter!
https://www.Writing.Com/go/nl_form
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*shakes mailbox* Wow. It's pretty empty. I can understand if you decided to take advantage of the summery weather. Perhaps you might have been waiting for this issue to arrive before saying anything. All the same, the comments are my favorite part when it comes to writing newsletters. So send them in! Remember, you also get portfolio exposure out of it. 
From fleckgirl: Another really good Drama NL Elisa! I have to say, that I was surprised to learn of the Oliver Stone faux pas & now I'll have to look a little closer when I watch historical movies & I'll have to rent that one since I've never seen it.
Well, Fleck, that particular faux pas really struck me as surprising, given that not one of but two Vietnam vets messed up the continuity there. My family was not personally touched by the Vietnam War (no one in my father's family was a citizen at the time, and my mother had no brothers). All the same, my dad's family happened to live in Kent during the early 1970s. That said, I do notice if that particular event in history is written/mentioned erroneously (deliberately or by accident). And if you rent that movie, you might not want to let your kids see it. Without giving away details, it gets gross in spots (not to mention it's long, which works against short attention spans).
From charlesthec: This was a great newsletter. One of the very best war short stories I've ever read (item:1408126} [sic] was submitted to my Short Story Dramatic Contest. It was so good, I gave it a special award.
I can understand why. On top of the fact that it contained visceral imagery without slinging it in the reader's face, it's so rare to find a story that takes place during World War I. What little I've found happens to be engaging and well constructed. I just find it a little sad that it's not a more common era in which to base a story, given that it completely revolutionized warfare in the 20th century. Thanks for giving me the heads up on this piece!
Are you ready for some angst? Well, that's what I have on tap for next month. I know some of the younger members will pelt me with sno-cones for what I'd like to discuss, but I'm open to all comments on the subject. What comes to mind when you think of angst? When do you expect it? Do you like it or loathe it? One thing is for sure. It's not as simplistic as you might think, and it's definitely worth exploring.
And if you happen to miss or misplace a newsletter, feel free to stop by "The Drama Box" [13+]. |
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Product Type: Kindle Store
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Amazon's Price: $ 4.99
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Drama: June 11, 2008 Issue [#2441]
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