Category Archives: On Character

The Unreliable Narrator

Today, we’re going to explore one of the most intriguing storytelling techniques: the unreliable narrator. And what better way to do so than by examining a masterpiece of in deception—The Usual Suspects. By the end of this video, you’ll not only understand how to craft an unreliable narrator, but you’ll also be ready to weave a narrative so compelling, it might just be a smash hit.

1. Establish Credibility with the Audience

One of the key reasons the unreliable narrator in The Usual Suspects works so well is because of how the film establishes Verbal Kint’s credibility early on. The audience sees him as a harmless, physically weak con-man—someone who seems incapable of orchestrating the elaborate crimes described. His seemingly honest, unassuming demeanour lowers our incredulity, making us more susceptible to his lies.

For example, when Verbal relates the events of the heist and the mysterious figure of Keyser Söze, it is with a sense of awe and apprehension that seems genuine. He’s not trying to convince the police or the audience of his insight; rather, he presents himself as a survivor of a terrifying experience. This makes him relatable and trustworthy, a vital component for an unreliable narrator. Without this initial credibility, the final twist wouldn’t have nearly the same impact.

2. Use Misdirection

An unreliable narrator thrives on misdirection, guiding the audience to focus on details that seem important, but ultimately obscure the truth. The Usual Suspects succeeds because it peppers the narrative with red herrings, creating a complex web of lies that only fully unravels at the end.

Consider how Verbal introduces the idea of Keyser Söze. The story of this somewhat mythical figure is filled with enough detail to make it seem real. Yet, those details are so outrageous and dramatic that they divert suspicion away from the possibility that Verbal himself could be Söze. The audience is so busy trying to piece together the puzzle of Söze’s identity that it overlooks the inconsistencies in Verbal’s story. This misdirection is the key to keeping the audience engaged and off-balance.

“Deception in stories lies at the heart of crafting an unreliable narrator.”

3. Use the Narrator’s Perspective to Shape Reality

An unreliable narrator doesn’t simply tell a story; he or she shapes the reality within the story. This is where The Usual Suspects shines—Verbal’s narration controls what the audience sees and understands, crafting a version of reality that aligns with his deception.

Throughout the film, the scenes we witness are directly tied to Verbal’s narration. We see what he describes, but these scenes are not objective truths; they are coloured by his perspective. For example, the detailed flashbacks to the heist and the events leading up to it are presented as facts, yet these are merely fabrications designed to construct a believable narrative. The film’s cinematography supports this, blending Verbal’s words with visual cues that make his lies feel real. The audience is drawn into this constructed reality, which is essential if the final twist is to pack a punch.

4. The Power of Consistent Inconsistencies

A convincing unreliable narrator can get away with telling outrageous lies if those lies are consistent within the story’s framework. Verbal’s story contains inconsistencies, but they are subtle enough to be overlooked or explained away by the complexity of the tale.

Verbal makes seemingly insignificant mistakes like misremembering details or offering somewhat conflicting accounts of the same event. These inconsistencies are blamed on the stress or the trauma of the events he’s recounting. For instance, the coffee cup moment where Agent Kujan suddenly realises that many of the details in Verbal’s story were lifted from objects in the room is indeed a revelation. But because those inconsistencies are minor and seem unimportant, they are dismissed by Kujan and the audience. This technique keeps us hooked while also planting the seeds for the eventual twist.

5. The Climactic Revelation

The most crucial aspect of an unreliable narrator is properly managing the final revelation—the moment when the truth is unveiled, and the audience realises it has been deceived. This revelation needs to be shocking yet believable in hindsight, a feat The Usual Suspects pulls off flawlessly.

The climax, when Verbal Kint walks out of the police station, his limp disappearing, and the pieces of his deception falling into place, is a stroke of genius. The montage of the items in the office that Verbal used to fabricate his story—Kobayashi’s name, the details of the story, unfolds in quick succession, leaving both Agent Kujan and the audience stunned. This revelation is powerful because it is earned. It is the culmination of every lie, every misdirection, and every deception that came before it. We are left feeling off-balance, not just because we have been deceived, but because how brilliantly this has been done.

Summary

To write a brilliant unreliable narrator, establish his or her credibility from the start, master misdirection, use perspective to shape reality, maintain consistent inconsistencies, and deliver a climactic revelation that ties it all together.

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Crisis and Climax

Let’s talk about one of the most important ingredients in storytelling – the link between the crisis and the climax. The climax of your story is the moment everything has been leading up to, but without a well-crafted crisis, that climax might fall flat, ruining your story. In this article, we’ll explore four characteristics that will help you write the crisis and climax of your story as a unit. To illustrate, we’ll be using a popular episode from The Umbrella Academy.

1. The Ultimate Challenge

The first principle is that the crisis ought to be the ultimate challenge that your characters face. It’s the moment when they’re backed into a corner, forced to confront their deepest fears or greatest obstacles. In The Umbrella Academy, Season 2, Episode 10, The End of Something, the crisis occurs when the Hargreeves siblings face off against The Handler and the agents of the Commission. Vanya, who has struggled with controlling her powers throughout the series, is now the key to stopping the apocalypse. The crisis here is not just about fighting external enemies but also about Vanya overcoming her own inner turmoil. The ultimate challenge is clear: Can they stop the apocalypse, and can Vanya control her powers without losing herself? This crisis sets the stage for the explosive climax that follows.

2. Escalate the Stakes

The second principle is that the crisis should escalate the stakes to their highest level. Everything in the story has been building toward this moment, and the crisis is where the full weight of those stakes comes crashing down. In the same episode of The Umbrella Academy, the stakes are high indeed—if the siblings fail, the world ends. But it’s not just about saving the world; it’s also about saving each other. The crisis forces siblings to confront their own personal stakes—whether it’s Klaus grappling with his fear of leadership, or Five dealing with the consequences of his time travelling escapades. The escalation of stakes manifest in the crisis makes the subsequent climax not only necessary, but also deeply satisfying for the audience.

3. Reveal Character(s)

The third principle is that the crisis ought to reveal who your characters truly are. In moments of extreme pressure, true character is revealed. The crisis, therefore, should force your characters to make choices that show their growth—or lack of it. In The Umbrella Academy, Vanya’s decision to embrace her powers and trust her siblings is a pivotal moment of character revelation. Throughout the series, Vanya has struggled with feelings of alienation and fear of her abilities. The crisis forces her to choose: Will she continue to fear herself, or will she accept who she is and use her powers to help save the world? Her decision not only drives the climax but also completes her character arc, making the climax more impactful.

4. The Crisis and Climax should be Inseparable

The final principle ensures that the crisis and climax are so interdependent that they cannot exist without each other. The crisis catapults the story directly into the climax, with no room or time for the tension to dissipate. In The End of Something, the struggle against The Handler and the Commission flows seamlessly into the climax—Vanya’s unleashing of her full power to stop the apocalypse. The crisis and climax are inseparable; the crisis arising from whether Vanya can control her power leads directly into the climax of her having to use that power to save the world. This connection between crisis and climax keeps the audience on the edge of their seats and ensures that the climax delivers maximum emotional impact.

Summary

A good crisis leads to a great climax. Write a crisis that challenges your characters, escalates the stakes, reveals their true selves, and flows seamlessly into the climax to create a story that resonates with your audience. The Umbrella Academy shows mastery of this dynamic, with a crisis that leads to an unforgettable climax.

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Writing Dramatic Irony

Today we’re exploring one of the most powerful tools in storytelling: dramatic irony. This narrative device has been used for centuries to create tension, evoke emotion, and deepen the audience’s immersion in the story. To illustrate how we can effectively use dramatic irony in our own writing, we’ll be analysing the film The Truman Show. This 1998 classic, directed by Peter Weir, and starring Jim Carrey, offers deep insights into how to create dramatic irony in narratives. To that end, we’ll identify five crucial principles to help us achieve this.

1. Establish the Deception

The first step in creating dramatic irony is to establish the deception or misunderstanding within the story. In The Truman Show, the entire premise rests on deception. Truman Burbank, the protagonist, lives his life unaware that his entire existence is a reality TV show, broadcast to millions around the world. The audience, however, is in on the secret from the start. This disparity in knowledge is the foundation of the dramatic irony. As a writer, it’s crucial to show the reader or viewer what the protagonist does not know. Whether the deception is deliberate, like in The Truman Show, or accidental, the key is to make the audience aware of the truth, setting the stage for the dramatic irony to unfold.

2. Immerse the Protagonist in the Deception

Once you’ve established the deception, the next step is to place the protagonist squarely within this misleading situation, keeping him or her oblivious to the truth. Truman is surrounded by actors who play the roles of his family, friends, and neighbors, all of whom work to maintain the illusion of his false reality. Despite various clues that something isn’t quite right, Truman remains largely unaware of the true nature of his world. This creates a sense of tension and anticipation, as the audience knows the truth and watches Truman navigate a life built on lies. The more deeply the protagonist is immersed in the deception, the more intense the dramatic irony becomes. In your writing, consider how you can immerse your protagonist in a situation where he is the only one who is in the dark, heightening the stakes and drawing your audience further into the story.

3. Let the Audience Witness the Consequences

Dramatic irony truly shines when the audience is allowed to witness the consequences of the protagonist’s ignorance. In The Truman Show, we see Truman’s life unfold in a way that’s both heartbreaking and darkly humorous. He suffers the consequences of actions and events orchestrated by the show’s producers, all while believing he’s living a normal life. The audience is aware of the manipulation, and this knowledge creates a powerful emotional response. We feel a mix of sympathy, frustration, and even dread as Truman unknowingly walks into situations that could unravel his world. In your own stories, think about how you can play out scenes where the protagonist’s misunderstanding or lack of knowledge leads to significant consequences. This not only engages the audience but also deepens their emotional investment in the story.

4. Use Dramatic Irony to Build Toward a Revelation

One of the most satisfying aspects of dramatic irony is the eventual revelation, where the protagonist finally learns the truth. In The Truman Show, this moment is a powerful climax. After years of living in ignorance, Truman begins to piece together the reality of his situation. The tension that has been building throughout the film reaches its peak as Truman’s suspicions grow, leading to the unforgettable moment when he discovers the edge of his fabricated world. As a writer, you can use dramatic irony to build toward this kind of revelation, carefully layering clues and escalating the tension until the truth is revealed. This creates a cathartic experience for both the protagonist and the audience, making the story’s resolution all the more impactful.

5. Exploit Dramatic Irony to Explore Deeper Themes

Finally, dramatic irony can be a powerful tool for exploring deeper themes within your story. InThe Truman Show, the dramatic irony not only serves to entertain but also to comment on issues of privacy, reality, and free will. Truman’s journey from ignorance to awareness mirrors our own struggles with these themes in the real world. By using dramatic irony, you can add layers of meaning to your story, prompting your audience to think more critically about the issues at play. Whether you’re writing about societal norms, personal relationships, or existential questions, dramatic irony can help you delve into these topics in a way that is both engaging and thought-provoking.

Summary

Five crucial points, then, on how to use dramatic irony in your writing, illustrated through the lens of The Truman Show. By establishing deception, immersing your protagonist in it, letting the audience witness the consequences, building toward a revelation, and leveraging the irony to explore deeper themes, you can create stories that are not only compelling but also resonate on a deeper level.

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The Central Speech

Today we’re exploring a fascinating storytelling technique – the central speech that reveals who a character, whether its the protagonist or antagonist, truly is. This isn’t just any speech—it’s a moment that drills down to the core of your character, not only through the words spoken but also through the subtext, the gaps, and the delivery. And to illustrate this, let’s look at one of the most iconic speeches in film history: Colonel Jessup’s ‘You can’t handle the truth!’ from A Few Good Men.

The film is a courtroom drama that builds up to a climactic moment where Tom Cruise’s character, Lt. Daniel Kaffee, confronts Colonel Nathan Jessup, played by Jack Nicholson. Kaffee’s been trying to uncover the truth behind the death of a Marine, and Jessup’s testimony is crucial. In a high-tension exchange, Jessup explodes with the now-famous line, ‘You can’t handle the truth!’ But this outburst is more than just a memorable quote—it’s a window into Jessup’s character and the film’s central themes. So let’s break down what this speech reveals and how it uses camouflaged exposition to do so.

1. The Words Reveal the Character’s Philosophy

Firstly, let’s talk about the obvious: the words themselves. Jessup’s speech lays bare his worldview—a harsh, unapologetic belief in the necessity of tough decisions to maintain order. He believes in a clear, almost brutal hierarchy where the ends justify the means. When he says, ‘You can’t handle the truth,’ he’s not just addressing Kaffee, but the entire system that he feels doesn’t understand the brutal realities of the world he operates in. Jessup sees himself as the protector of a fragile society, doing what others can’t or won’t do. Through his words, the audience gets a direct insight into his moral code, which, while twisted, is internally consistent. This is crucial for any central speech—use it to reveal the protagonist’s, or in this case, the antagonist’s, core beliefs.

2. Subtext: What’s Left Unsaid

But a powerful speech isn’t just about what’s said—it’s also about what’s left unsaid. Jessup’s speech is full of subtext. He talks about defending the country, but there’s an undercurrent of disdain for those who question his methods. His words suggest that he feels underappreciated, even persecuted, for the sacrifices he believes he’s made. The subtext here is a mix of arrogance and resentment, emotions that are only hinted at but never fully expressed. This is a great example of camouflaged exposition—where the true feelings of a character are conveyed between the lines. When writing your own central speech, think about what your character might be holding back. What emotions or thoughts are they struggling to keep under control? That tension adds depth and intrigue.

”The truth? You can’t handle the truth!”

3. Delivery and Demeanour

Now, let’s talk about the delivery. Jessup’s words are powerful, but it’s Nicholson’s performance that makes them unforgettable. His calm, almost condescending tone at the start contrasts sharply with the explosive anger that follows. His demeanor is a mix of controlled authority and barely-contained fury. This change in tone reflects the internal conflict within Jessup—he’s a man who believes in his own righteousness but is also deeply frustrated by those who challenge him. The way characters deliver their speech reveals the hidden layers of personality—are they calm and collected, or do they crack under pressure? Are they confident, or is their bravado a cover for insecurity? In your own writing, consider how the manner in which a speech is delivered can convey more about what is meant rather than what the words denote on the surface.

4. The Reaction of Others

Lastly, let’s not stress the importance of the other characters’ reactions. In A Few Good Men, the reactions of the courtroom—especially Kaffee—are crucial to understanding Jessup’s speech. Kaffee’s shock and determination show that he’s not cowed by Jessup’s tirade, but instead, he’s motivated to dig even deeper. The audience sees Jessup as powerful, but also as someone who’s finally been cornered. The reactions of others in the scene help to highlight the true nature of the protagonist—whether it’s the protagonist themselves delivering the speech, or someone else reacting to it. When you’re writing a central speech in your story, think about how other characters will respond. Their reactions can reinforce or contradict what the protagonist is saying, adding another layer of complexity to the scene.

Summary

So, there you have it, four key points on how a central speech can reveal who your character really is. Remember: it’s not just about the words, but also about their subtext, their delivery, and the reactions of those around them.

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Does your writing jump off the page?

Superlative writing in The Spire. — Superlative writing in *The Spire*.

How do we express our stories in language that is powerful, evocative, and captivating? How do we come up with those turns of phrase, descriptions, dialogue, and insights that readers will remember long after the story has ended?

So much goes into crafting a memorable story. Some aspects are initially hidden from view and only emerge as the story progresses—solid structure, vibrant characters, theme, setting, pace, voice, mood, and insight.

Others, such as striking physical and psychological descriptions, memorable smilies and metaphors, and word choice, however, are immediately apparent.

A good writer knows when to dazzle us with exotic and colourful words and when to use a more subtle vocabulary in order to let something else shine through. A gifted writer is like a gifted conductor, painter or sculptor—colouring and molding every detail to a greater purpose—now drawing our attention to one aspect, now to another.

Today I want to point to what is perhaps the easiest skill to spot—the accomplished use of language.

Examples in stories are as innumerable as they are varied, so my brief selection is personal.

Here is the opening paragraph of The Spire by William Golding, a story about how a man’s obsession leads to destruction. Dean Jocelyn, the Dean of his cathedral, is obsessed with building a four hundred foot tall spire. The result is that he bankrupts his church, alienates his brethren and pressures the master builder to continue the folly, with devastating consequences. But the start of it all seems bright and auspicious:

“He was laughing, chin up, and shaking his head. God the Father was exploding in his face with a glory of sunlight through painted glass, a glory that moved with his movements to consume and exalt Abraham and Isaac and then God again. The tears of laughter in his eyes made additional spokes and wheels and rainbows.”

Words such as ‘laughing, chin up’, ‘God…exploding in his face…glory of sunlight…’ exhibit Jocelyn’s almost maniacal joy stemming from his impossible project. The last line of the paragraph, however, hints at the hallucinatory, deluded nature of his vision: ‘The tears of laughter in his eyes made additional spokes and wheels and rainbows.’ Jocelyn sees the world, in other words, through the subjective prism of his obsession, and this distorts his judgment. This distortion is hinted at by the line: ‘… adding additional spokes and wheels and rainbows’ to his vision.

”You should strive to achieve writing that jumps of the page.”

Next, here are some arresting lines from Paul Harding’s first novel, Tinkers, which won the Pulitzer for literature in 2010. There is something magical about Harding’s use of language that transcends space and time and makes it truly universal. He starts his book with the lines:

“GEORGE WASHINGTON CROSBY BEGAN TO hallucinate eight days before he died. From the rented hospital bed, placed in the middle of his own living room, he saw insects running in and out of imaginary cracks in the ceiling plaster.”

A little later, Harding gives us this surreal description of Gorge’s world tearing open, as he prepares for death.

“The roof collapsed, sending down a fresh avalanche of wood and nails, tar paper and shingles and insulation. There was the sky, filled with flat-topped clouds, cruising like a fleet of anvils across the blue. George had the watery, raw feeling of being outdoors when you are sick. The clouds halted, paused for an instant, and plummeted onto his head. The very blue of the sky followed, draining from the heights into that cluttered concrete socket. Next fell the stars, tinkling about him like the ornaments of heaven shaken loose. Finally, the black vastation itself came untacked and draped over the entire heap, covering George’s confused obliteration.”

This language, dealing with the characters approaching death, is evocative, poetic, almost hallucinatory, yet concrete. How can we not want to know more?

In my own novella, The Nostalgia of Time Travel, the protagonist, a physicist, named Benjamin Vlahos, agonises over his failure to travel back in time in order to correct an error he committed that cost his wife her life. His pained state of mind is conveyed to the reader through metaphors and concrete language:

“Sometimes, I wonder what it must be like to be a subatomic particle existing for the briefest of moments; all the joy and pain of birth and death compressed between the two staccato ticks of that relentless hand. At other times I imagine a scaled-down version of myself, living on the surface of the watch, fighting against the perpetual ticking of that fearsome engine. I imagine gripping the watch’s hands in my bleeding fists, my arms extended, my body and head thrust forward, my legs bent and wide apart, until I stop the hands from ticking, and force them back, back to that moment on the Sydney pier when I stopped to buy my last pack of cigarettes, while Miranda stood on the pavement smiling brightly back at me.”

Words such as ‘joy and pain’, ’fearsome engine’, ’bleeding fists’, and ‘body and head thrust forward’, and ‘bleeding’ paint an almost heroic struggle against the effects of time. Ultimately, Benjamin, despite being a theoretical physicist, opts for art, not science, to come to terms with his pain, guilt and loss. This realisation is compressed into a series of simple questions:

“Isn’t everything worth knowing squeezed inside the kernel of a story? All that’s ever been written, sang and spoken, pressed into a single pearl? The story is our raft when old age casts us out to sea; the logs are the memories, the ropes are the love and kindness we have shared. Can my equations ever be that?”

Here, the significance of the stories we tell ourselves to make sense of our lives, is suggested as being something precious, like a pearl. But like a pearl, which grows from a grain of sand in the flesh of the oyster, wisdom grows through effort and pain—caused by a life which has cast us out to sea.

Despite our competing narratives and cultures, our disagreements over who is right and who is wrong, the story is our raft, our only hope for survival as a species—if only we could let love and kindness bind us all together. We are, after all, a resilient species that keeps trying to get things right, despite our failures.

I’ll end with this hopeful, last paragraph from Scott Fitzgerald’s The Great Gatsby:

“Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter — tomorrow we will run faster, stretch out our arms farther… And one fine morning — So we beat on, boats against the current, borne back ceaselessly into the past.”

Summary
Use evocative, memorable language in your writing, including apt figures of speech to convey the powerful insights and wisdom in your stories. Your writing will be better for it.

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How to Write the Character Flaw.

Unfettered ambition - the flaw that ruins Macbeth — Unfettered ambition – the flaw that ruins Macbeth

What is a character flaw, and how do we write it?

One way to think of it is as a glitch in our character’s internal makeup that affects his/her interaction with the world. In trying to hide or suppress this glitch, the character engages in an inner and outer struggle, which drives the story forward.

A character flaw may be born out of an internal cause, such as an emotional scar from the past, or an external one, such as an illness or a physical defect (which, in turn, creates a psychological response). It can manifest as an inability to trust others, a need to control or manipulate others, or a particular prejudice.

Flaws that generate internal and external conflict make for interesting stories that resonate with readers and audiences.

Some of the best stories have revolved around the protagonist’s desire to conceal or overcome a flaw. In Shakespeare’s Macbeth, the Thane’s latent desire to be king is brought to the surface by various external forces, such as the three witches and his manipulating and ambitious wife, while in Othello, the Moor’s insane jealousy and distrust of his innocent spouse, Desdemona, results in his murdering her.

“A flaw creates inner conflict in the protagonist, which causes as outer conflict. Additionally, it is a powerful generator of subtext in a story.”

A flaw generates questions about the story: What lies and obfuscations has the character created to conceal his flaw? How has the flaw shaped the fears, aspirations, and foibles of this character? And, crucially, what influence does the flaw exert over each of the major decision/action points in the story—the inciting incident, the first and second turning point, as well as the mid-point, and climax?

Above all, a well-designed flaw allows for the synching up of the internal and external aspects of the Hero’s journey through the link of cause and effect, and as such, is one of the most useful techniques to master. It is often the “why” to the story’s “what”.

In The Matrix Neo’s inner journey is to accept his role as The One. His outer goal is to defeat Agent Smith and the machine world, something that can only occur when he achieves the inner goal of moving from a lack of self-belief (flaw) to one of belief.

This inner journey defines Neo’s character arc, influencing each major action in the story. It helps to shape the narrative as a whole. Additionally, it ties into the notion of want vs. need that I examined in an earlier post, by contrasting the external (want), to the internal (need).

Summary

A character flaw filters a protagonist’s responses. It helps to explain the true psychological motivation behind the character’s actions.

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Dialogue Techniques: Question-and-Answer & Repetition.

Today, we’re continuing to explore a crucial aspect of storytelling: dialogue. This narrative component is such an important part of storytelling that it has given rise to countless of books and courses on how to master it. Specifically, we’ll explore what Dwight V. Swain calls dialogue continuity in his book, Film Scriptwriting – A Practical Manual.

Swain affirms that one of the markers of good dialogue is continuity flowing from a question-and-answer format, and the repetition of words. That is, lines of dialogue which acknowledge the ones preceding them. There are several ways to do this. Let’s focus on two of the most common techniques: the question/answer structure and repetition.

Repetition couched in a questions and answers.

Repetition, embedded in a question-and-answer format, can be a powerful tool in creating continuity and mounting tension. By repeating a word or phrase from one line to the next, and demanding answers to questions, writers create a flow that keeps the conversation cohesive and engaging.

A good example of this technique can be seen in the Better Call Saul episode, Chicanery. There is a courtroom scene where Jimmy (Saul) McGill cross-examines his brother Chuck McGill, a brilliant lawyer himself. Chuck claims to suffer from a mystery illness which makes him sensitive to electrical currents. The courtroom lights, except for the Exit sign, have been switched off, and all electrical devices such as cellphones and watches, removed from the courtroom.

Chuck is accusing his brother Jimmy of unlawful practices and wants to have him stripped of his law licence. Jimmy’s only defence is to have his brother appear so mentally challenged by his phobias so as to render his testimony against him unreliable. This scene masterfully uses the question-and-answer format, as well as some repetition of words to build mounting tension, only to have it released at the end, showcasing Jimmy’s mastery of the set-up.

Example from Better Call Saul, Season 3, Episode 5: Chicanery:

Chuck: The further away it is, the stronger the source has to be to have an effect.
Jimmy: Got it. Got it. So If I had a small battery, say from a watch or something, and I got it close to you, close to your skin, you’d know.
Chuck: I would feel it, yes.
Jimmy: Can you feel more current from any particular direction right now? From that back wall? Or from over there? Or up through the floor? Can you tell us where the nearest source is, right now?
Chuck: (Growing suspicious). Jimmy, do you have something in your pocket?
Jimmy: Yes, I do, as a matter of fact. (Takes out a cellphone from his pocket). My cellphone. From this distance you should feel it, and you don’t, do you?
Judge: Mr. McGill. You were warned to leave your electronics outside.
Chuck: It’s alright. It’s alright. May I? (Takes the cellphone from, Jimmy). Just as I thought. There’s no battery in here. You removed the battery. That’s a sorry little trick, isn’t it?
Jimmy: Yea. You got me Chuck. Dead to rights. I removed the battery…

”Expertly written dialogue contains questions & answers, and the repetition of specific words.”

Chuck: God Jimmy. Don’t you know by now, this is real. I feel this? It’s a physical response to stimuli. Not a quirk. What do we have to do to prove it to you?
Jimmy: I don’t know, Chuck. Could you reach into your breast pocket and tell me what’s there?
Chuck: What now? (Chuck fumbles in his pocket and removes the cellphone battery that Jimmy has had one of his employees placed there surreptitiously. Chuck throws the battery on the floor).
Jimmy: Can you tell the court what that was?
Chuck: A battery. (Realising he’s been tricked.)

Jimmy explains to the court that he had one of his men, Huell Babineaux, plant the fully charged battery on Chuck when he bumped into him in the passage an hour and forty three minutes ago, disproving Chuck’s claim that electric currents make him feel ill, and undermining his testimony against Jimmy. The question-and-answer format, the repetition of the word battery have all served the flow and continuity of the scene, and have helped to bring it to a crescendo.

Embedding the repetition of words into a question-and-answer format, then, is an effective way of creating mounting tension while maintaining continuity. The technique keeps the conversation focused and dynamic, ensuring that each new line flows naturally from the previous one.

Other Techniques

While repetition and the question/answer format are powerful tools, there are other ways to enhance your dialogue, too, such as extended pauses, misdirection, a change of subject, and subtext which can add layers and depth to the dialogue. Regardless of the technique, however, the key is to ensure that your dialogue flows.

Summary

Repeating words embedded in a question-and-answer format is an effective way to create mounting tension and dialogue continuity in your novels and screenplays.

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The Art of the Hook: Crafting Compelling Stories!

How The Boys uses the hook — How *The Boys* uses the hook

Today, we’re learning about how to hook readers and audiences into stories, drawing from episodes from The Boys.

1: Immediate Intrigue

A strong hook doesn’t just grab attention; it sets the stage for the entire story. It grabs the audience’s attention from the very beginning, leaving them eager for more. In Season 1, Episode 1 the shocking death of Robin sets the tone for The Boys, instantly hooking viewers with its unexpected and tragic twist.

2: Unexpected Events

But it’s not just what happens in your story; it’s who it happens to that truly captivates your audience. Introduce unexpected events or revelations that challenge viewers’ expectations and drive curiosity. In Season 1, Episode 4 the revelation of the Nazi origins of Compound V, the Superhero juice, flips the superhero genre on its head, injecting fresh intrigue into the narrative and prompting viewers to question everything they thought they knew.

3: Character Introduction

Introduce compelling characters that resonate with audiences and compel them to invest in their journey. In Season 1, Episode 1 Hughie’s relatable struggle and tragic loss immediately draws viewers into his world, setting the emotional foundation for the series.

”A compelling hook pulls readers and audiences into your stories and keeps them captive.”

4: Tension Building

Tension is the lifeblood of storytelling, driving the narrative forward and keeping the audience engaged. Build tension early by establishing conflicts and obstacles that hint at larger confrontations to come. In Season 2, Episode 1 the escalating tensions between The Boys and The Seven create a palpable sense of anticipation, keeping viewers on the edge of their seats.

5: Moral Confusion

Incorporating moral complexity adds depth to your story, elevating it from mere entertainment to thought-provoking commentary. Explore the moral ambiguity and complexity in your own characters to challenge viewers’ perceptions and provoke thought. In Season 2, Episode 6 the revelation of Stormfront’s true nature forces viewers to confront uncomfortable truths about power and privilege, adding depth to the story and its characters.

6: Foreshadowing

Foreshadowing hints at future events and developments, enticing viewers to stick around for what’s to come. In Season 1, Episode 6 the disappearance of Butcher’s wife foreshadows a larger conspiracy at play, teasing viewers with the promise of future revelations and twists.

Summary

Crafting compelling hooks is the key to drawing your audience into your story and keeping them invested until the very end.

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Who Speaks for the Superhero Genre?

Today, we’re looking into the world of the superhero, but not the kind of superhero we’re used to. I’m talking about The Boys, a series that has taken the genre by storm, unveiling a fresh and gritty take on the classic set of tropes.

Deconstructing Superhero Tropes
The Boys TV series succeeds where others fail partly because it intelligently deconstructs the stale superhero narratives we have grown bored with. At its core, the series examines the consequences of unfettered corporate and individual power protected by a relentless media campaign. It highlights the collateral damage that can be inflicted on society by powerful individuals who are driven by self-interest and narcissism, even to the point of murder: When the speedster hero A-Train accidentally kills Robin, Hughie’s girlfriend, it sets off a chain of events that exposes the art of the cover-up, the dark side of Vought International, and its pursuit of power at all costs.
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Complex Characters
Unlike the one-dimensional heroes often portrayed in the stale superhero genre, the characters in The Boys are multi-layered and morally ambiguous. Take Homelander, the most powerful of all the Supes who leads the Seven, a select band of super beings created by Vaught International. Homelander presents himself as the epitome of American virtue hiding behind a winning smile, but in reality he harbours a fractured psyche, dark secrets, and a murderous streak. His shocking destruction of the Mayor of Baltimore’s private jet at the end of the first episode to stop the Mayor from exposing the truth behind Compound V, Vought International’s Supe-juice, sets the tone for the entire series. Homelander will stop at nothing to protect Vought and himself. Vought’s attempt to silence Hughie after the death of his girlfriend is further proof of that.
Real-world Parallels
But The Boys also resonates with audiences because of its exploration, through the lens of superhero fiction, of real-world issues. The Corporate influence on society is exposed early in the series through Vought International’s lack of sincerity, and its criminal attempts to protect its brand at all costs. This points to how huge corporations may prioritise profit over ethics in the real world.
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Emotional Depth
While the series is filled with action-packed sequences, it is the emotional depth of the characters that truly sets it apart: Hughie’s grief and anger over Robin’s death, motivates him to seek justice against the corrupt superheroes. His journey to become one of The Boys is driving force behind the series, grounded in his relatable emotions and struggles.
Satire and Dark Humour as Self-Critique
The Boys doesn’t shy away from satirising the superhero genre, and pop-culture as a whole. We see this through the character of the Deep. His aquatic powers are no match for Homelander’s bullying, and his deviant, sexual infatuation with Timothy the octopus is an added source of embarrassment and ridicule.

Homelander’s complete dominance over the Deep is established early on, when he learns that he found scorch marks on the engine of the crashed plane and tells Stillwell. Homelander easily intimidates the Deep into silence.

Grey Morality
Finally, The Boys challenges the notion of a black-and-white morality often associated with the superhero genre. Indeed, the series as a whole explores the spectrum of moral dilemmas faced by supposedly good characters like Hughie and Butcher as they seek revenge against the Seven. Their actions blur the line between heroism and villainy, forcing us to question the traditional definition of good and evil.

The series has been renewed for a fourth season, and continues to subvert expectations to offer a darker, more nuanced take on the superhero genre. As a result The Boys has garnered a world-wide following which shows no sign of slowing down.

Summary
The Boys differs from the conventional superhero fare due to its intelligent deconstruction of old tropes, its use of complex characters, its real-world parallels, its emotional depth, its self-critique through dark humour and satire, and its mature exploration of moral ambiguity.

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The Blockbuster and the Hero’s Journey

Today, we will study the Hero’s Journey drawing from Christopher Vogler’s book, The Writers Journey, showing how the modern blockbuster exemplifies this timeless story structure. And what better way to do so than a recent box-office heavyweight champion, Avengers: Endgame.

The Ordinary World

Our heroes begin in their ‘ordinary’ lives. In Endgame, this is the aftermath of the ‘Infinity War,’ where the remaining Avengers struggle with loss and failure. Indeed, Endgame kicks off weeks after Thanos’s devastation of the world. Our heroes, exist in an altered world. A World, of loss grief and despair.

In the Hero’s Journey, The Ordinary World, the first of Vogler’s’ twelve story beats, serves as the baseline, grounding the audience in the characters’ relatable struggles. In this modern blockbuster with its ensemble cast, the Hero’s traits and story beats are shared amongst several characters. For example, although The Refusal of the Call, and later, The Sacrifice belong to Tony Stark’s Iron Man, the idea of The Resurrection is symbolically rendered through Captain America’s passing his shield to Falcon at the end. And so on.

”The modern blockbuster utilises the classical hero’s journey, drawing on story beats and character traits that make stories universal.’

The Call to Adventure

We know from the very start of the film that a huge disturbance has impacted the heroes’ lives. This challenges them to embark on a life-changing quest. This call is made explicit when Scott Lang (Ant-Man) escapes the Quantum Realm, proposing a solution to undo Thanos’ devastation.

Refusal of the Call

Next comes doubt and hesitation. Tony Stark initially rejects the call, fearing the consequences to his family and the world. He vehemently argues against attempting time-travel. His reluctance adds depth, showcasing the inner struggle that heroes face.

Meeting With The Mentor

Every hero needs guidance, and in Endgame, Tony Stark and Professor Hulk double up on their roles as the team’s mentors. Tony decides to accept the call to adventure after all, and devises the time travel concept, while Professor Hulk provides emotional support. The mentor’s role in a story is crucial, steering our heroes towards their destiny.

Crossing the Threshold(s)

Here, the hero, or in this case, heroes, step into the unknown. In Endgame, this is symbolised by the quantum realm suits as the heroes prepare to venture into uncharted terrains, facing the mind-boggling risks of time travel. Crossing the Threshold represents leaving the comfort zone of the-world-as-they-know it behind.

Tests, Allies, and Enemies

As the story progresses trials, alliances, and adversaries come to the fore. The time-heist comprises the central this part of the story. Each hero confronts personal challenges during his or her time-travelling endeavors. It’s important to remember that the tests are not just physical but also emotional, all of which serves to deepen the journey.

Approach to the Inmost Cave

As the heroes approach their ultimate goal they prepare to face Thanos in the final battle. The Inmost Cave is in this case the destroyed Avengers HQ, setting the stage for the climax.

The Ordeal

During the ordeal our heroes engage in their biggest test, resulting in the climactic battle with their enemy. Sacrifices are made, and some fall, but ultimately they triumph. The Ordeal is the crucible that forces heroes to reach beyond themselves in order to overcome the challenge they face.

The Reward

The heroes reap the rewards of their journey. In Endgame, it’s the restoration of the fallen. The world is saved, and the remaining heroes find closure. The Reward is both triumphant and poignant, marking the end of the hero’s quest.

The Road Back

The Road Back is a moment of reflection and transition, setting the stage for the final acts.

Resurrection

Here, heroes undergo a final transformation. Captain America embodies this story beat, passing his shield to Falcon signifying the transferring of the mantle—itself a symbolic rebirth. The Resurrection symbolises the heroic group’s final evolution, in this case, the closing of the narrative loop.

Return with the Elixir

Our heroes take up life in their ordinary world, bearing the lessons and changes earned through their journey. In Endgame, the elixir is the gift of a new era, represented, in part, by Falcon having taken up Captain America’s shield. The Elixir is the prize granted to the whole of humanity—the changed world gained through great effort and sacrifice.

Summary

The modern blockbuster draws its inspiration from the classical hero’s journey, effecting minor adaptations where necessary.

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