A wheel is a wheel.

This story won't stop changing. It's like an awkward twelve  year old going through a growth spurt, constantly outgrowing itself. Maybe it's a sign of being a bad writer, or an easily manipulated one, because these characters have suckered me into letting them run amok. I was plagued with the thought of "this is too boring, there are too many scenes that are filled with these really profound statements being said dramatically by someone going through an awkward revelation." The next thing I knew I had a frumpy character with a receding hairline standing in a dark alley with a gun shoved in his hand, and another character who I had assumed dead, instead being in a horrible car crash (their fault), killing someone in the process, becoming paralyzed and rotting the rest of their life away. And since they're sort of inadvertently orchestrating the whole thing by the discovery of a bunch of stuff they filmed years prior to the main action (is this making sense to anyone other than myself?), it is the discovering of the footage, of the car crash that leads Gwen, the closest thing to a main character, to a series of awkward and profound revelations. Essentially, its the same thing as it was, but with enough action to jar someone awake if the rather peculiar and probably too lofty for its own good, dialogue was lulling anyone into a slumber. The whole thing ends up sort of coiling around itself and blurring time and the role of one character in relation to another. Its also a bit of a caricature. It's about a family and the typical absurities of one (ugh, I'm writing one of those scripts), but its taken to these crazy extremes, hopefully without screaming "this is another quirky story about a dysfunctional family!" The themes in here, comming of age, love, lust, the pressures of society, strained relationships that people don't let go of, all of that has been done a million times. I'm trying to say something new about each of those things, express something that, while inherantly part of those themes, is not often championed or discusssed in literature. A lot of the story is told from these unexpected points of view, someone talking directly to a camera, or a third party filming something, or silently through a surevilance camera, or an email chain mediums where just get to witness a snippet of a situtaion or dynamic. My hope is that by altering the forms of various parts of the story, certain aspects of the situations or dynamics will be stressed in a subtle way. I came up with this philosophy the other day; there's only so many ways to reinvent the wheel. A wheel is a wheel. There is, however, an infinite number of points from which to view that wheel from, and with each of those vantages comes six new ways to express something about the wheel-ness of the wheel. That is, essentially, the heart of this screenplay I'm writing.

PS. I have discovered that I write like a mediocre Samuel Beckett imposter.