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There’s a Richard Stark book, The Outfit, where thieves put together a getaway car. In the first Mission Impossible movie, Ethan Hunt is suspended above a floor he can’t touch, and he catches that drop of sweat. What separates a heist from a straight-up steal? What elevates something from a crime to a caper?
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Imagine an Ocean’s movie from the victim’s perspective, especially if the victim is presented to us as a decent person.Īny way you work it out, even if it comes down to a small thing, if we don’t care about the thieves or the mark, we won’t care how things pan out. One way to switch it up, give us a reason to side against the crooks, and that can raise the tension as we watch the hapless victim struggle to stop something in progress. A modern twist on this is to set up the theft as a sort of small revenge for larger societal ills. You can make the mark very unlikable, in which case we don’t really care WHAT happens to them. There are some different methods to make this work. When it works, we almost completely forget that what they’re doing is wrong. Most heists give us a good reason to be on the side of the crooks. When someone pulling a heist has something to prove, I want to see whether or not they’re right. When a heist is also about a point of pride, I want to hear more. But when a heist has the added bonus of hurting someone, that’s a little more intriguing. That’s the easiest path to take, it’s been done, and it’s boring. When you make the motive “Little Billy needs this money for a heart transplant,” you lose me. Please, do me a favor and don’t go crazy here.
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His motive starts with cash, but about halfway through the series we start to see there’s more going on there, and it’s not about the money or the baby or whatever. Or, consider Walter White in Breaking Bad (not a heist story exactly, but it features a cash-motivated character).
For example, Parker, the main dude in The Hunter, can be kind of a blank slate, but because he’s doing something irrational on principal, we learn a little bit about him. It’s about what the money represents.Ī heist can happen purely for cash, but if it happens for something more than cash, the audience will give a shit, and we’ll learn something about the characters. But that’s the thing, it’s not really about the money. It’s almost a joke throughout the book that Parker goes to such lengths, risks infuriating bigtime players in organized crime, just to get back a relative pittance. In The Hunter, the Richard Stark classic you HAVE to read if you care a lick about heists, our main character goes after the man who screwed him out of a small amount of money. Characters become more real when they have different relationships with each other. You know how you have those two friends, both nice people, but they’re just oil and water? Do some of that. Person A shouldn’t relate to Person B, C, and D the same way. One tip: Vary the relationships the different players have with each other.
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They say everyone likes to see a plan come together, but better than a table full of blueprints and elevator schematics is seeing people come together. They should be spread out during the planning, the execution, and the escape. Hiccups are what make the heist story come alive in the moment, rather than having it be a constant acting out of the plan as if the plan were stage directions.ĭo yourself a favor, don’t concentrate your hiccups all in one phase of the story. How interesting is the story of a flawlessly-planned wedding that goes exactly as planned? How interested are you in a horror story where a bunch of kids go to a cabin in the woods and get there and they have a pleasant weekend? If your heist goes off exactly as planned, without a hitch, it’s not much of a story, is it? Apply this thinking to any other type of story. I spent an entire story with these characters, which means I care about what happens to them after the dust settles. Give your escape a little more time, just 10% more than you think you need. The escape is probably the one most often neglected because it’s the hardest to pull off, but it’s what separates the smash and grab from the true heist tale.
They can be in different proportions, but if your story is missing one of the three, it won’t pass muster. What are the needed elements? Which 8 things should you make sure to have? And how can you use those elements to write something original?Ī good heist has a planning stage, execution stage, and an escape. Regardless, with the opening of Ocean’s 8, I got to thinking about what makes for a good heist story. It’s maybe less a romp than some others, but if we’re talking firsts, let’s put all the cards on the table. if we ignore 1996’s Set It Off, which is a pretty good heist movie. This week Ocean’s 8 brings us the first all-female heist film!