THICK AS THIEVES is an engaging action-heist script. The script offers a very likable protagonist in the character of Lamb aka The Prowler. The goal is clear and the stakes are high. The script poses the question if someone can really change or if once a thief, always a thief.
There are definite strengths to the storytelling and a lot to like about the characters and the plot, but at the same time the script would benefit from more development in the area of structure, especially the pace. There are some story choices that are also worth discussing.
First, the opening does an engaging job of establishing the ordinary world of Lamb. It’s a lot of fun to watch him break into the penthouse, talk to the dog, and almost get caught. The action is skillfully crafted. There’s good anticipation and suspense. The audience is hooked.
The idea of stealing the diamonds is the inciting event and the catalyst that changes Lamb’s world. The idea that he wants this to be their “last” job is a bit cliché. This type of plot beat has been done before.
Also, the structure’s pace should be enhanced. Lamb should be locked into the mission by the end of the first act. He seems to get locked in only after he watches the flash drive around page 36. Thus, try to move this up. Once he’s locked in, the second act should be driven by their plan of action to break into the bank while overcoming obstacles.
The attack on Lamb and Owen comes late in the structure too. It comes around page 72. Consider moving this up to the midpoint. Remember, action is about strong pace. Scenes and dialogue need to be trimmed. Dialogue actually slows the pace. For example, the conversation that Lamb has with Ruby about her rescue group feels too long and over emphasized....
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...try with Lamb.
While dialogue is consistent to the characters, the overall script is heavily dialogued. Avoid question and answer type of scenes (page 60). Avoid clichés, “I don’t know what you’re talking about.” Avoid repeating dialogue or jokes about Lamb having to jump off the balcony/building (in the opening). However, there’s room to elevate some witty one-liners for both Owen and Lamb.
The overall tension has room to be intensified with the killing of Owen, more police pressure on Lamb (he’s a suspect, but they aren’t very proactive) and in the climax.
The script is professionally formatted. It does get a bit confusing when last names of the characters are used in the character heading, but the characters call them by their first name (page 28 – calls him Gabe).
In summary, the script is worth considering, but as suggested, also consider some revisions.
...fter reading the story and watching it, I still have difficulty interrupting it. Yet, by looking at the ambiguities, gaps and strategically placed metaphors I can understand it better. Cunningham does a good job of tying these three stories together into a novel about reading a book. I would highly recommend this book to the advanced reader.
The first scene is very prompt in the way that it is put across to the
Note: I have tried to make the style of writing alike to Mr. Stevenson’s as much as possible.
While these are certainly solid themes, the story would benefit from more focus. The script feels too ambition and tries to tell too much. In its attempts to tell too many stories, the script becomes fragmented.
Chapter 1 is full of questions and strange issues, not only does this make the reader wants to read on to find out the answers but builds up the tension.
Also, there were many plot holes such as like when did the affair between Offred and Nick start? All that we know is that Serena Joy mentions that Offred should do it since Serena wants a baby so badly. Then, we also don't know why the Commander is playing all of these games. This is just a very good book but the only downfall is that it has so many holes in it. It's like the author was only trying to make drama happen to excite readers. There was no stopping and explaining it was just mention something then a bunch of drama that doesn't have anything to do with what the author just mentioned and then thirty pages later she finally talks about what she had mentioned a bunch of pages earlier. This book just seemed very rushed. The readers understand that it is in the point of view has the main character but we still do not get that much background. Also, the author jumps back and forth between the present and past without any type of warning. It's just a bit
Overall, I enjoyed this play. Even with the dull ending, I found it to be entertaining and a good use of my time. The cast was great and they made good use of a decent
I thought that this book was confusing. It was confusing because there were too many characters. Some of the characters would be in the book for just one chapter. Sometimes they would leave then come back later in the story. Over all I did not like the
I feel that the movie has no weaknesses. This is because even though I had a few things I didn’t like such as the anonymity given, I realised that there was a reason for this which I explained in my strengths of the movie below.
In conclusion, the elements of foreshadowing in the story are so similar to the last few exhilarating pages in the book that they effectively give away the ending of the novel. Overall the novel benefits from these elements used and is entertaining to read.
There are several scenes in the film that stand out to me as important. The scene that caught me the most off-guard occurred when Makhmalbaf and young Makhmalbaf went to the director’s cousin’s home to try to enlist her daughter to play the roll her mother had played in real life. For just a moment the daughter and young Makhmalbaf step out of themselves and become the characters that they are playing. They make plans to meet the next day for the incident with the policeman, both look nervous, Makhmalbaf returns and they resume their roles as if the exchange had never occurred. This glimpse into what and how the incident was planned gives the audience a look into the type of people that Makhmalbaf and his cousin were as young adults, scared but sure in their purpose. The scene also allows us to step out of the knowledge that this is staged and shows us the characters as people, not actors.
Plot Structure – I felt that most of the exposition took place in the beginning of the first page. For the rest of the story there was mostly rising action. Then, I felt that the climax came when Julian sees his mother crumple to the ground. The falling action and resolution are packaged together in the last couple paragraphs.
main character as is Brad Pitt but we also learn that this is a crime
At the beginning, the movie appears to be very dark and gloomy. This is shown from the riot at the bakery and the young revolutionist running away from authorities. There was so much trouble that the family went through to eat, and survive. The tension increases so smoothly yet it drives the nerves of the watcher during the family argument scene (which proves to be very effective).
To take things one aspect at a time, and to begin with the narrative structure. Whilst not exactly a key issue' of the story, the narrative structure can often inŸuence how those issues are revealed and detailed to readers, so still holds some relevance to the essay title. Chapter Six' overall structure is very similar to that of the story as a whole. It begins quietly, after the climax at the end of the previous chapter (as with the main part of The Turn of the Screw after the prologue, which creates a great deal of anticipation) and begins to increase in tension slowly throughout, with a slight lull in the middle, where the narrative becomes very reŸective and introspective, with the Governess writing her thoughts seemingly as they enter her head, creating a somewhat rambling, dense prose. Finally, when readers are least expecting it, the plot suddenly leaps into view once again, creating an exciting žnale ("Then I again shifted my eyes - I faced what I had to face.•) which leaves many plot threads open to inter...