Been working on a screenplay for a while, and I've started to realize that the plot is a bit too confusing/convoluted to really have the impact that I want to make. The plot can be complex, but if it requires some huge exposition to be explained, it's probably too confusing. So, I've decided to try something different. Obviously, people say ideas are worthless, and I agree if it's not accompanied by great writing, but you still need a good idea, lol. Anyways, on to the idea... My story would follow an ex-police officer, Doug, fresh out of jail for killing an unarmed black man in an unjustified shooting after being framed by his partner for it. In secret, the mayor of the city, as part of his gubernatorial aspirations, has been working with the city's beloved superhero, Iron Owl, to orchestrate crimes across the city in order to sow distrust of/make people lose confidence in the police, and take out his political opponents. Doug was just one of their victims. It's a mutually-beneficial arrangement, as Iron Owl gets to have people think he's a hero for stopping these crimes that he's orchestrating, and the mayor gets to further his political ambitions. Doug is recruited by a secretive government organization to become a superhero (no powers, but an excellent marksman and boxer) to help stop an imminent doomsday attack that threatens to level half the city -- the city that hates him, nonetheless. Throughout the story, we find out about the mayor's and Iron Owl's plans, and learn that the doomsday attack has been planned by them, for the purpose of cementing Iron Owl as the greatest superhero of all-time when he apprehends the man responsible for the attack, and for the mayor to take out a large opposing voting bloc in the attack to secure his gubernatorial win (especially with the endorsement of the greatest superhero of all-time). So, this is also Doug's opportunity to clear his name, and prove that he's not the killer everyone thinks he is. ------- That probably also sounds convoluted, but just wondering what you guys think. Basically, if I could condense it down to a logline, it'd be: In order to repair his reputation, an ex-cop framed for killing an unarmed black man must become a superhero, and save the city that hates him from an imminent doomsday attack. ---- Basically, just trying to ascertain whether I have a complex plot, or a convoluted one. The main plot will follow Doug as he becomes a "super"hero, and tries to save the city that hates him. He initially joins to stay out of prison (he gets into a bar fight early in the screenplay that sees him being charged with aggravated assault [which would violate his probation, and have him serve out the rest of a life sentence]), but as him and the team investigate the theft of the doomsday device, he learns that his partner that framed him was just one small cog in a much larger machine, and that there were more victims like him -- like the wife of the guy who recruited him (which is why he recruited Doug -- he knew their interests aligned, and that he could trust Doug). So, despite only being there out of necessity at first to stay out of prison, he now sees it as an opportunity to clear his name, and stop others from being victimized like him. Of course, there'd also be tons of commentary on political issues, like police brutality and defunding them and such.
Do you have a character arc in mind for him? I think that could help keep ideas organized. I don't think you have too much going on, as long as each sequence of events happens in its own section and helps support the overall 'spine' of the plot/idea. It's good that you boiled it down to a logline, and it seems to be a pretty good one (but many people know log lines a lot better than I do). That alone will help you stay on track. But I think a character arc will also help. Who does he begin as, in what kind of emotional state? And who does he end as? That's as important as the plot—probably more so depending on how you write. To me character is of primary importance and plot issues from it and its transformation. Another thing to keep in mind is his goal. Think about what he wants and what he needs (which are often two very different things). He'll be going after what he wants (what he thinks he needs) at the beginning, and gradually or suddenly become aware of what he really needs. I offer these suggestions all as ways to keep your material organized so it doesn't get off track in the writing.
It doesn't have to be either. Plots are only as complex as the author makes them. It's like describing a car to an alien. You can say this pedal makes go, this pedal makes slow, this round thing makes turn, this button makes start. Or you can explain every little wire, gear, gizmo, or moving part, which really isn't necessary for anyone's comprehension. And if you're writing a superhero movie, it ain't exactly Faulkner. A few visuals, a couple of short convos, and you're done with exposition. The audience isn't likely to care much so long as the superhero expectations are met.
I just wonder if him becoming a superhero is really way too out there. I mean, sure, it'd make sense for him to want to mask up to conceal his identity, but will audiences just wave it off and accept it? @Homer Potvin And that is a great point. I understand that superhero movies -- and hell, screenplays in general -- don't really need to explain everything, but still trying to make a story that can seamlessly mix comedy and drama. I feel like I'm just scared that each tweak I make pushes this more to the side of drama, but definitely not wanting that. I have an exact tone in mind, and it's pretty much the same tone as Peacemaker, wherein it's mainly a drama, but still mixed with tons of comedy. I guess if I establish the cop as a goofy, dumb guy from the start, I won't have as many issues turning him into that guy by making him a goofy, dumb superhero. But I really want to have a good reason for him becoming a superhero, as opposed to just a regular dude helping them.
You can take comfort in that the actual writen screenplay contributes only the bare bones of the movie. The actors and cinematography will set the mood, tone, and themes. What you put into words is dialogue, stage direction, and basic scenery only. Not that those aren't important but there's a reason why the script is often commissioned long after the project has been conceptualized and green lit.
I don't like convoluted plots too much. A few twists are fine for unpredictability, but I prefer things to be simple and straightforward otherwise.
Oh, of course. Though, this is a spec script, so I'm writing it before any of that stuff. Of course, set design, wardrobe, music, all that stuff isn't up to the screenwriter, but I moreso meant through dialogue and action. I want to do what Peacemaker did, wherein you had a good story with genuine drama and sadness, but it was also funny and goofy. Likewise, I want this ex-cop to be a big, dumb, goofy dude with toxic masculinity and maturity issues.
I used to agree for a long while until I saw Dirk Gently, and saw how awesome and funny complex plots can be. I generally prefer to write comedy, and chaos and confusion is the perfect breeding ground for good comedy. However, I think, in this thread, I've been overthinking things, and I'm way overcomplicating what my plot actually is. Essentially, Iron Owl, a superhero, and Mayor Scott, the, er...mayor, lol, scratch each other's back. Mayor Scott has political aspirations for the governorship, so he enlists the help of Iron Owl to assassinate his political opponents and other enemies. In return, the Mayor helps destabilize the police, through defunding them and publicly siding against them, in order to help sow distrust of them and make Iron Owl the only crime-fighting game in town. Meanwhile, Iron Owl also forces Raines, a police officer, to frame people for his assassinations, oftentimes framing police for bad shooting and drug deals gone bad and such. Doug just happened to be the patsy, making it look like he shot an unarmed black dude.
I wouldn't call the plot convoluted or complex. It does seem a bit derivative though, as it's similar in concept to Spiderman: Far from Home. Apart from that, I think there may be some things you'll want to digger into a bit more. For starters, how does Doug's partner frame him? I assume this is relatively modern times, so modern investigative techniques will apply. What evidence do they have against Doug? If Doug is going to clear his name, you'll need to know how he's going to prove his innocence, and that will require knowing how he was framed. The mayor's plan does seem more complicated than it needs to be. If the political system is similar to ours, then there is probably only 1, maybe 2, other candidates who have a legitimate shot at winning the race for governor. Why not go after them more directly? Find dirt on them, or frame them. With every "fake" crime that Iron Owl foils, they are involving more people in their plan, people who might reveal the truth.
