Category Archives: Story Structure

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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The where and when of your story

Where and when in The Orient Express — Where and when in *Murder On The Orient Express*

Today we’re examining a pivotal aspect of storytelling: Where and when should you start your story? This decision can make or break a narrative, but lacks a single, one-size-fits-all answer. This is because it largely depends on the genre you’re working in. Let’s examine how different genres dictate the starting point of a story and how you can use this knowledge to help you write compelling openings.

1. Mystery/Thriller

In mystery and thriller genres, the start of your story often hinges on creating immediate tension and intrigue.

Take Agatha Christie’s Murder on the Orient Express. Christie begins with the protagonist, Hercule Poirot, already on a journey. We meet him in the middle of an ongoing investigation, with the mystery beginning to unfold almost immediately. The crime, the murder, is presented right at the start, and Poirot’s investigation kicks off right from the get-go. This approach ensures that readers are hooked by the central conflict and compelled to uncover the truth alongside the detective.

In David Fincher’s film Se7en, the story begins with a grungy, tense atmosphere and a murder investigation in progress. The opening scene’s stark, disturbing imagery sets a dark tone and immediately immerses viewers into the disturbing world of the film. By starting with a grim crime scene, the audience is thrust into the narrative’s central conflict and themes of morality and justice.

2. Science Fiction

Science fiction often benefits from world-building, so starting the story in a way that introduces the audience to a unique, speculative universe is important.

Frank Herbert’s Dune begins with Paul Atreides arriving on the desert planet Arrakis. The story immerses the reader in the complex socio-political landscape and the planet’s harsh environment from the outset. This setup is crucial because the setting is integral to the plot and the conflicts that follow.

”Where and when does your story start? And how does genre affect these choices? You need to know.”

In Ridley Scott’s film Blade Runner, the story begins with a visually stunning depiction of a dystopian future, setting the tone and establishing the world’s rules and norms. This method helps viewers quickly adapt to the futuristic setting and understand the high stakes and underlying issues of the story.

3. Fantasy

Fantasy genres often begin with a prologue or an inciting incident that introduces the reader to an expansive, imaginative world.

J.R.R. Tolkien’s The Hobbit starts with Bilbo Baggins in his comfortable hobbit hole, but the inciting incident—the unexpected arrival of Gandalf and the dwarves—kicks off the adventure. This method effectively transitions the reader from a familiar setting into a world of epic quests and magical adventures.

Peter Jackson’s The Lord of the Rings: The Fellowship of the Ring begins with the Shire and the everyday life of Frodo, but quickly introduces the One Ring and the looming threat of Sauron. The contrast between the serene Shire and the ominous danger establishes the stakes and sets the tone for the epic journey that lies ahead.

4. Romance

In romance, a focus on the relationship between characters at the start often proves effective in engaging the audience.

Jane Austen’s Pride and Prejudice opens with a snapshot of societal expectations and the Bennet family’s situation. It quickly establishes the central tension regarding marriage and social status, setting the stage for the romantic entanglements and character dynamics that drive the story.

In the film Notting Hill, the story starts with a charming and relatable scene in a bookshop, immediately establishing the protagonist’s ordinary life and his aspirations. This approach pulls the audience into the romantic possibilities that will unfold as the story progresses.

5. Historical Fiction

Historical fiction often starts by immersing the reader in a specific time period, sometimes with a historical event or a character’s life set against the backdrop of history.

Ken Follett’s The Pillars of the Earth commences with the construction of a cathedral in 12th-century England. The novel begins by setting up the historical and social context of the era, which is crucial for understanding the characters’ motivations and the story’s conflicts.

In Steven Spielberg’s film Saving Private Ryan, the story begins with a dramatic and authentic portrayal of the D-Day landings during World War II. This immediate plunge into an historical event not only sets the stage for the film’s core mission, but also captures the gravity and stakes of the times.

Summary

When determining where and when to start your story, then, consider the demands and conventions of your genre. For mysteries, plunge straight into the action or the central mystery. In science fiction, introduce the story world early on. Fantasy may benefit from a prologue, or an early hint of the epic journey ahead. Romance ought spotlight the relationship dynamics from the start, and historical fiction needs to ground readers in the time period.

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Start your stories just so!

The Picture of Dorian Gray: Story Starts — The Picture of Dorian Gray: A Story Start

Today, we explore what makes a story start truly captivating, be it a single sentence or paragraph. We’ll discuss five powerful ways famous writers have used to craft openings which have grabbed and kept readers’ attention. We’ll look at five novels that are not under copyright. So, grab your notebooks, tablets or smartphones and let’s get writing!

1. Set the Tone

The first thing an opening must do is set the tone of the story. Whether it’s dark and mysterious, light and humorous, or somewhere in between, the tone sets the stage for what’s to come.

Let’s start with Jane Austen’s opening of Pride and Prejudice: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”

In this single sentence, Austen sets a tone that is both satirical and witty. We immediately sense the social commentary and humour that will pervade the novel. The formal, almost pompous, language hints at the societal norms and expectations the characters will be dealing with.

2. Introduce a Compelling Voice

Next, an opening paragraph should introduce a compelling voice. The narrative voice is our guide through the story, and it needs to be engaging from the get-go.

Consider the opening sentence of Moby-Dick, by Herman Melville: “Call me Ishmael.”

This simple, direct statement instantly pulls us in. The brevity and mystery of this sentence make us want to know more about Ishmael and why he is inviting us to call him by this name. The voice is intriguing, hinting at a deeper story waiting to be unraveled.

3. Establish a Sense of Intrigue

An effective opening paragraph should create a sense of intrigue, making the reader curious about what happens next.

Look at the opening of The Adventures of Sherlock Holmes: A Scandal in Bohemia, by Arthur Conan Doyle: “To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name.”

This opening piques our curiosity. Who is this woman? Why is she so significant to Sherlock Holmes? The mystery and the hint of a deeper backstory immediately engage the reader.

“Five ways to start your stories that will have your readers wanting to read more.”

4. Introduce the Mood or Main Character Right Away

Introducing the main character or the mood early on helps readers connect with the story.

Here’s the opening of The Picture of Dorian Gray by Oscar Wilde: “The studio was filled with the rich odour of roses, and when the light summer wind stirred amidst the trees of the garden, there came through the open door the heavy scent of the lilac, or the more delicate perfume of the pink-flowering thorn.”

Though the main character isn’t named immediately, the vivid description sets the scene for Dorian Gray’s world. The lush, almost overwhelming sensory details, suggest a character who is immersed in beauty and luxury, evoking the themes of aestheticism and excess.

5. Set Up the Central Conflict

Lastly, an opening paragraph should hint at or set up the central conflict of the story.

Consider the opening of Dracula by Bram Stoker: “Left Munich at 8:35 p.m., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late.”

While this opening seems mundane, it sets up the journey and the sense of forthcoming adventure. The details of travel establish a sense of place and time, while the diary format hints at personal experiences that will unfold, leading to the central conflict involving Dracula.

Summary

This article highlights five types of story start which will help your openings grab your readers’ attention and keep it there: establishing tone, introducing a compelling voice, creating a sense of intrigue, introducing the main character, and setting up the central conflict.

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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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The end of an era.

Tony Soprano: the prototypical antihero.

Today, we examine the intense but subtly-crafted family dinner scene from the last season of The Sopranos, a scene that caps the looming threat of assassination hovering over Tony Soprano.

This iconic scene has much to teach us about the art crafting an almost unbearable sense of the trepidation through context, subtle cues, camera placement, timing and nuanced performances. It is proof of why we should study masterpieces, especially when compared to much of today’s fare

1. Backstory

Before we dive into the dinner scene, let’s set the stage. The events leading up to this moment have been filled with tension. The news that Tony has visited a psychiatrist, has weakened his position with the mob who frowns on such things. Tony and the families are at loggerheads, his leadership with his own people is shaky—members of his crew have been shot—notably Silvio, his consigliere, mobsters are turning State’s evidence, a hit has been put out on Tony himself, and the FBI is closing in, using wire-taps. There is a sense that an era is coming to an end.

Now, let’s focus in on the dinner scene itself.

2. Creating an Uneasy Atmosphere

Even before the family gathers at the restaurant, then, the atmosphere is charged with tension. Tony arrives alone, which emphasises his isolation. Moments later he is joined by his wife. As they wait for their children to join them our anxiety grows. There is a jingle at the door and his son enters. Then we see Meadow pull up in her car outside the restaurant. As she struggles to park the vehicle our unease increases: All this waiting seems to imply that something bad is about to happen.

The camera work and framing, too, heighten our sense of discomfort. Long, lingering shots on the characters’ faces and the careful choreography of their movements keeps us on edge.

Tony’s glances towards the entrance every time someone enters, too, contribute to the feeling that something ominous is about to unfold. We become acutely aware that the sanctuary of family is no refuge from the ever-present threat to Tony’s life.

3. Vulnerability Through Setting

The very act of siting down to eat with his family in a public place, unarmed and exposed, creates a visceral sense of vulnerability: Meal time is when families are at their most relaxed, when their guard is down. Here, however, it brings to mind the many assassinations we have heard about, or watched in documentaries, or in films and TV series, such as when Joe Gallo was shot dead at Umbertos Clam House in Manhattan’s Little Italy in 1972, or when Carmine Galante was killed in 1979 while having lunch at Joe and Mary’s Italian-American Restaurant, and of course the shocking assassination scene in The Godfather where Michael Corleone shoots Sollozzo and McCluskey. This awareness augments our feeling of unease.

”The reader or audience has to like at least some aspect of the protagonist if the story is to succeed. Tony Soprano is such a protagonist.”

4. Potential Threats from Patrons

Adding another layer to the tension is the very presence of the patrons at the restaurant, anyone of whom may pose a threat to Tony. Their very presence and proximity to Tony becomes a source of anxiety both for Tony and for the audience. When one of the patrons goes to the men’s room we are reminded of how Michael Corleone retrieved the gun from the men’s room that he was to use to kill Sollozzo and McCluskey.

Specific incidents, such as a seemingly innocent conversation or a lingering look, take on a heightened significance. Viewers are left to decipher the true intentions behind these interactions, amplifying the suspense as we question who may be plotting against Tony. The dinner scene transforms into a psychological battlefield, with every gesture and word hinting at a potential danger, whether real or imagined.

And so we are left hanging on the edge of uncertainty. The meticulously crafted tension, the symbolic undertones, and the enigmatic presence of potential threats create a narrative powder keg.

The culmination of the final episode, then, masterfully uses the family restaurant setting to create a sense of doom that keeps us guessing. The screen going black just as Meadow is finally about to enter the restaurant symbolises our worst fears.

Summary

The Sopranos culminates in a final scene that creates a feeling of impending doom by creating a sense of vulnerability, unease, and evokeing the death of an era. We feel that Tony’s life, perhaps even that of his family’s, is over. That it does so without showing his murder speaks to the craft and subtlety of the writers.

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The Making of an Antihero

The Sopranos is an antihero template — *The* *Sopranos* is an antihero template.

Today, we continue our exciting journey into the world of television, focusing on the iconic character who helped to define the Antihero genre – Tony Soprano.

The Sopranos, a groundbreaking series that premiered in 1999, introduces us to Tony Soprano, a mob boss struggling with the complications of his life. In the first episode, aptly titled The Sopranos, we’re immediately thrust into a world that has come to define the antihero.

Before we peel back the layers of Tony’s character, it’s important to acknowledge the impact that The Sopranos has had in the television landscape. The show’s success paved the way for characters like Breaking Bad’s Walter White and Mad Men’s Don Draper by creating a stage for morally ambiguous protagonists who audiences love despite their flaws. Tony Soprano, with his complexities, vulnerabilities and contradictions, sets the standard for what it means to be an antihero.

From the pilot episode, we’re drawn to moments where Tony reveals a range of feelings—moments of fear, gentleness and sensitivity. His enthusiasm over the ducks in his pool, for example, is a metaphor for family, and the importance he places in it.

His down-to-earth demeanour evidenced in his mannerisms, in his clothing—or lack of it, and his enjoyment of sharing meals with family and friends contrast sharply with his brutal practices as a mob boss.

”Making the antihero likeable is the biggest challenge the writer faces.”

His struggle with anxiety and his panic attacks, too, are associated more with a character who has suffered cruelty and brutality at the hands of others, than with a man who has chosen crime for its on sake. Indeed, Tony’s vulnerability revealed in his sessions with Dr. Melfi provides a stark contrast to the hardened exterior we expect to find in a mob boss. During a therapy session, for example, Tony discusses his mother’s manipulative behaviour. This scene not only highlights his vulnerability but also foreshadows the internal conflicts that will define his character throughout the series. All of this goes some way into making his character more empathetic.

Let’s examine five characteristics that contribute to our fascination with this complex character in a little more detail .

1. Human Vulnerability

In the first episode, we witness Tony grappling with anxiety attacks. His vulnerability makes him relatable, creating a sense of empathy in the viewer. Even when he tries to hide, behind false bravado, the anxiety that his real job has brought about from Dr. Melfi, we see a side of him that transcends the typical mob boss stereotype.

2. Family Dynamics

Tony’s interactions with his family, particularly with his children, showcase a genuine desire for connection. The juxtaposition of his role as a father and a mob boss adds layers to his character, making us sympathise with the challenges he faces in maintaining a semblance of normalcy.

3. Sense of selective Morality

Surprisingly, Tony does possess a kind of moral compass. In the first episode, he confesses to Dr Melfi that he has qualms about how he earns his living. He tells her he feels like a sad clown—laughing in the outside, crying on the inside. This dimension adds depth to his character, challenging the traditional portrayal of mob bosses as being completely devoid of ethics.

4. Relatability through Struggle

Tony’s constant struggle to balance the demands of his criminal life with the desire for a more conventional existence resonates with us. His yearning for a sense of normality mirrors a struggle we all experience one way or another. This draws us into his world despite its criminal underpinnings.

5. Complex Relationships

The intricate web of relationships that Tony navigates, at home and at work, adds to the complexity: Dealing with his manipulative mother or managing the expectations of his crew, reveal his multifaceted nature.

The Sopranos, then, has not only helped to define the antihero genre, it has also set the standard for character complexity and narrative depth, too. As writers, we can draw inspiration from Tony’s character to help us create protagonists that challenge the run-of-the-mill stereotypes by regulating the complex tension between likability and moral ambiguity.

Summary

Even the darkest characters can inspire storytelling brilliance. The trick is to show their internal and external struggles in a way that provides glimpses into their humanity.

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How many characters do you really need in your story?

Character selection in Inception — Character selection in *Inception*

How do you know how many characters you need to tell a story? And how do you select them?

Some writers turn to Joseph Campbell’s eight character archetypes for inspiration, but in multiform narratives, like Inception, such an approach may not align seamlessly.

But is there an alternative model that avoids seat-of-the-pants casting?

Indeed there is. Let’s remember that each major character serves a specific structural purpose, such as offering a unique perspective on the story’s theme.

In Inception, the protagonist, Dom Cobb, grapples with the nature of reality within dreams. Each major character represents a different angle on this theme.

Arthur, Cobb’s ally, views dreams as a strategic playground. His perspective is: Mastering the architecture of dreams leads to success in the mind heist.

On the contrary, Mal, Cobb’s deceased wife, a projection of Cobb’s mind—but a character never the less, believes in the dream world. Her character represents a warning: The pursuit of an idealised reality within dreams can lead to destructive consequences.

”At the level of function, a story’s characters are really vehicles for exploring the theme from different vantage points.”

Eames, the forger, offers yet another viewpoint, arguing that dreams are a canvas for transformation. For Eames, the theme might be: Embracing change within dreams allows for personal growth and evolution.

Additionally, Ariadne, the architect, offers a perspective centered on understanding the subconscious. Her theme might be: Knowing how to navigate the uncharted depths of the mind is essential for a successful inception.

All these characters earn their place by articulating their versions of the theme through words and actions, shaping the narrative. The resolution of the conflict in Inception ultimately reveals which character championed the correct interpretation of the theme.

Taking a cue from Christopher Nolan’s approach, the film crafts a complex moral lesson by juxtaposing characters whose actions and beliefs are a kind of debate over the theme of the story. The outcome at the end transforms the theme into the moral essence of the film, uncovering its ultimate form.

Summary

Include only as many major characters as is necessary to explore and argue the theme effectively. This ensures that each character contributes significantly to the tale, avoiding the inclusion of superfluous players whose presence is merely cosmetic.

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