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CUT TO THE CHASE
Do you write chase scenes? Not just car chases, but foot chases, cat and mouse, or any time one character is trying to escape another, and in any number of genres.
It sounds easy. I even wrote one time, "A chase ensues."
But is it really?
Oh, fuck no!
1/13
Do you write chase scenes? Not just car chases, but foot chases, cat and mouse, or any time one character is trying to escape another, and in any number of genres.
It sounds easy. I even wrote one time, "A chase ensues."
But is it really?
Oh, fuck no!
1/13
There are 4 elements you need to keep in mind when writing a chase.
1. Geography. Is it on a straight highway or a winding road? Through the woods or on the city streets? On the ground, on the water, or in the sky?
Geography is important because it orients the reader.
2/13
1. Geography. Is it on a straight highway or a winding road? Through the woods or on the city streets? On the ground, on the water, or in the sky?
Geography is important because it orients the reader.
2/13
Geography also determines the nature of the chase and its pacing. Straight road? Quick. Woods? Slow.
The pacing is where you're going to draw out the tension. Fast? Hyper. Slow? Excruciating.
So choose the write geography.
3/13
The pacing is where you're going to draw out the tension. Fast? Hyper. Slow? Excruciating.
So choose the write geography.
3/13
2. Spacial orientation.
How close are the participants. Does one have a head start? Or is one on the protagonist's tail?
In scenes with multiple participants, specifically a car chase, you have to know where everyone is in relation to each other and the geography.
4/13
How close are the participants. Does one have a head start? Or is one on the protagonist's tail?
In scenes with multiple participants, specifically a car chase, you have to know where everyone is in relation to each other and the geography.
4/13
Also in car chases, where are the characters in relation to each other, as well as where are the vehicles in relation to each other? This part works for horses, too.
It's important to define the geography clearly, then tell the reader where everyone is within it.
5/13
It's important to define the geography clearly, then tell the reader where everyone is within it.
5/13
3. Direction.
Which way is the chase headed? Not necessarily cardinal directions, but which direction on the screen? Left, right? Away from us, towards us?
How do you show this? Tell us what part of the car we see. Are we looking through the windshield or at tail lights?
6/13
Which way is the chase headed? Not necessarily cardinal directions, but which direction on the screen? Left, right? Away from us, towards us?
How do you show this? Tell us what part of the car we see. Are we looking through the windshield or at tail lights?
6/13
Are we on the passenger or driver's side? Pick one.
The common theme thus far is orientation. When you have strong directional cues, you can play camera with your keyboard and guide us back and forth between the participants while painting a clear picture.
7/13
The common theme thus far is orientation. When you have strong directional cues, you can play camera with your keyboard and guide us back and forth between the participants while painting a clear picture.
7/13
If a character climbs a hill, write when they crest the hill.
That way it won't feel awkward when they're running up in one part of the scene then suddenly running down the other part.
Show us what the person aiming the gun sees, then cut to that person/monster/whatever.
8/13
That way it won't feel awkward when they're running up in one part of the scene then suddenly running down the other part.
Show us what the person aiming the gun sees, then cut to that person/monster/whatever.
8/13
4. SLUG LINES are your best friend.
Everything I've talked about can be handled by slug lines so you don't have to keep typing INT./EXT., etc.
Set the over all scene (geography). Then move within that (spacial orientation).
9/13
Everything I've talked about can be handled by slug lines so you don't have to keep typing INT./EXT., etc.
Set the over all scene (geography). Then move within that (spacial orientation).
9/13
EXT. HIGHWAY - DAY
Car B chases Car A.
OUTSIDE CAR A
Rubber burns on the pavement. The engine gives its all.
OUTSIDE CAR B
The engine rumbles as it tries to keep up.
INSIDE CAR A
Hero drives with Heroine.
DIALOGUE
INSIDE CAR B
Gangster drives gangster.
Etc.
10/13
Car B chases Car A.
OUTSIDE CAR A
Rubber burns on the pavement. The engine gives its all.
OUTSIDE CAR B
The engine rumbles as it tries to keep up.
INSIDE CAR A
Hero drives with Heroine.
DIALOGUE
INSIDE CAR B
Gangster drives gangster.
Etc.
10/13
Which works better?
A. He sees a woman hanging out the window in the car ahead. A bullet breaks his skull.
B. She leans out the window, rifle in hand. Peering down the barrel at...
CAR B DRIVER sees the windshield explode just before the bullet passes through his skull.
11/13
A. He sees a woman hanging out the window in the car ahead. A bullet breaks his skull.
B. She leans out the window, rifle in hand. Peering down the barrel at...
CAR B DRIVER sees the windshield explode just before the bullet passes through his skull.
11/13
Use direction to build tension. Because...
OUTSIDE CAR A
She sits on the passenger window ledge, aims her rifle. Car B runs straight into the bullet. The car skids and crashes.
...is cool, and all, but there's no buildup.
12/13
OUTSIDE CAR A
She sits on the passenger window ledge, aims her rifle. Car B runs straight into the bullet. The car skids and crashes.
...is cool, and all, but there's no buildup.
12/13
That's only 4 elements, but see how complex it gets? And that's just the beginning. Read scripts that have chases and see how other writers do it.
Chases aren't really easy to write. There's a lot to think about and a lot to build before you can...
CUT TO THE CHASE
13/13
Chases aren't really easy to write. There's a lot to think about and a lot to build before you can...
CUT TO THE CHASE
13/13
