Monthly Archives: May 2023

Why have our stories grown stale?

Banish the stale! Follow Chinatown’s example. — Banish the stale. Follow Chinatown’s example.

Much of our viewing consumption, whether at the cinema or through streaming services, has grown stale. There is a repetitiveness to the story structure, genre, theme, and the subliminal messaging. Superhero stories predominate, and what’s worse, the sequel-generating machine has diminished the spark that may have existed in the original. The disconnected and visually numbing Ant-Man and the Wasp: Quantumania, is a case in point.

What’s the reason for this? I’d venture a lack of originality and character authenticity which the presence of the brand alone can’t compensate for. Then there’s the easy access to tons of tv series and films on streaming services which has educated audiences about the tricks that go into a story. Formulas are exposed for being just that—formulas. Add the avalanche of cardboard characters and limp story lines and you get the picture.

So, what’s the remedy? My instinct is to go back to creating strong, authentic characters driven by credible goals, hopes and ambitions—characters who harbour wounds and secrets, and who are immersed in situations, albeit fantastical on occasion, that we find believable.

“We should banish what is stale in our stories by getting back to the basics, by concentrating on originality and verisimilitude.”

One of the things that makes Chinatown a great story is the power of the wounds and secrets that Evelyn Malwray harbours. These drive the entire story—wounds and secrets whose consequences affect the characters, generate subtext, and create story questions. And what a staggering reveal late in the story when Evelyn finally comes clean to Jake Gittes!

Citizen Kane too is an enduring classic in no small part because Kane has a painful secret that the audience is dying to know. Indeed the whole film is predicated upon unraveling the meaning of the word ‘Rosebud’ uttered by Kane on his deathbed. The theme that is encoded in that word—that the value of family outweighs material wealth and fame, also lends the story a transcendent meaning that elevates it and keeps it resonant and fresh. If only we could inject such verisimilitude into the current parade of stories.

Summary

Many stories have fallen prey to stale, repetitive formulas, plots, and shallow characters swimming in the sludge of endless franchises of dubious worth.

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Story beats and archetypes in the Hero’s Journey

During one of my lecturers on the Hero’s Journey based on Christopher Vogler’s The Writer’s Journey, a student asked me about the nature of the relationship that exists between the eight archetypes and the twelve beats that comprise a tale of this sort. Before answering the question let me remind everyone of the Archetypes and story beats.

The Archetypes are: 1. Hero, 2. Mentor, 3. Threshold Guardian, 4. Herald, 5. Shapeshifter, 6. Shadow, 7. Ally, 8. Trickster.

The story beats are: 1. The Ordinary World, 2. The Call to Adventure, 3. Refusal of the call, 4. Meeting with the Mentor, 5. Crossing of the First Threshold, 6. Tests, Enemies and Allies, 7. Approach to the inmost Cave, 8. The Ordeal, 9. The Reward, 10. The Road Back, 11. The Resurrection, 12. Return with the Elixir.

“Story beats and archetypal characters are two sides of the same story coin .”

One of the most essential relationships between story beats and archetypes is their proximity to each other—archetypal characters tend to be evoked at specific points in the story: The introduction to the Ordinary World, for example, entails that we meet the Hero in the context of his or her world. The Call to Adventure demands that we throw the Herald into the mix. The Meeting with the Mentor means that the mentor has to persuade the hero, who has previously Refused the Call, to take it on. The Crossing of the First Threshold necessitates that the Threshold Guardian makes an appearance to defend his threshold. Tests, Allies and Enemies means that these characters interact with the hero (and to us), to aid or block his path towards his quest.

The point is that the archetypal characters are embedded in the hero’s journey—they are two sides of the same coin. Together, they tell of how a character, the hero, rises to the challenge to subdue outer threats, which necessitates integrating the warring energies within himself or herself represented by the very archetypes.

Summary

Archetypal characters appear at specific points in the hero’s journey, so much so that several of these story beats contain their very name.

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The catalyst scene(s)

Solving of the math problem in Good Will Hunting is a fine catalyst. — Solving of the math problem in *Good Will Hunting* is a fine example of a catalyst scene.

Linda Seger describes the catalyst scene as one that sets the story in motion. Some refer to this scene as the inciting incident, but this may be a little confusing if not positioned early, as I shall explain below.

The first catalyst, or inciting incident as some may say, occurs within the first ten or fifteen minutes in a film. Seger gives us the following examples: The death of the gladiator’s wife in Gladiator, the quitting of the job in American Beauty, the solving of the math problem in Good Will Hunting or the shooting in Saving Private Ryan.

Seger makes the point that strong catalysts ought to emerge through actions and events rather than unfold through long verbal exchanges. Although a catalyst most commonly occurs in the first half of Act One they may occur throughout the script. For this reason I prefer not to refer to the catalyst as the inciting incident.

“A catalyst scene is a call to action.”

Seger provides further examples: Let’s say two people meet at the first turning point in Act One, and as a result fall in love. Or, say, in Act Two a detective uncovers an additional clue which leads him to change his approach to an investigation. Or, perhaps, at the midpoint a protagonist learns about a new drug which might cure her of her cancer. All these bits of information serve as catalysts which initiate subsequent actions that propel the story forward.

Summary

The catalyst scene is a spur to action initiating a series of cause-and-affect events in a story.

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The Character Triad

What is the Realisation-Decision-Action character triad and how does it help you write your characters?

The triad focuses on character development, and while, dialogue and plot are important in helping to conjure up the magic in a story, it is convincing character action that keeps the tale moving. That’s where the realisation-decision-action triad comes in. It is a game-changer for creating memorable and believable characters. Here’s how it works.

At its core, the triad reveals how a character responds to a problem or event in a story. First, the character has a realisation – they identify the problem and gain insight on how to solve it. Then, they make a decision about how to act on that realisation. Finally, they take action.

“The character triad combines a realisation and a decision of how to solve a problem with the action itself, rendering the action authentic and convincing.

Let’s take a look at how this works in one of the greatest TV shows of all time – Breaking Bad. In episode 6 season 3 Walter learns that Hank is close to discovering Walter’s link to Jesse by locating the RV meth lab. Here’s how the triad plays out:

Realisation – Walter realises that Hank is on his trail and is about to uncover his identity.

Decision – Walter decides to have the RV destroyed before Hank can find it and connect it to him.

Action – Walter rushes to Clovis’s lot where the RV is located and decides to have it pulverized in a nearby junkyard.

But of course, it’s never that simple. Jesse learns/realises that Walter is about to destroy the RV and decides to try and prevent this. He rushes to the junkyard, leading Hank, who has been following him, straight to the RV and to Walter.

Unable to get away without being spotted, Walter and Jesse lock themselves inside the RV in a blind panic.

What happens next? You’ll have to watch the episode to find out!

So, there you have it – the realisation-decision-action character triad on a roll!

Summary

The function of the character triad is to establish a cause-and-effect relationship between the characters’ thoughts, decisions and actions.

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