Category Archives: Creating Anticipation in Dialogue

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The Unreliable Narrator

The unreliable narrator in The Usual Suspects.
The unreliable narrator in The Usual Suspects.

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.

    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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    Writing Dramatic Irony

    Writing dramatic irony in the Truman Show
    Writing dramatic irony in The Truman Show

    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

    The central speech in A Few Good Men.
    The central speech in A Few Good Men.

    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.

    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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    Kickstart your story!

    The Lion King: Kickstart your story.
    How would you have kickstart (ed) The Lion King?

    Today, we’re diving into a powerful question that can kickstart and sustain your story: What does your protagonist want and why can’t he or she have it? This short sentence may well be the simple key to crafting a compelling narrative, focusing, as it does, on both the inner and outer obstacles, and driving your character’s arc. Let’s see how it all works!

    What Does Your Protagonist Want?

    Firstly, let’s talk about what your protagonist wants. This desire is the engine of your story. It’s what thrusts your character forward and keeps your readers and audiences engaged. Your protagonist’s goal, importantly, should be clear, specific, and be something that he or she feels passionate about.

    In J.K. Rowling’s Harry Potter and the Sorcerer’s Stone, Harry wants to find a sense of belonging and understand his identity. This desire drives him to explore the magical world and learn the truth about his parents and his own place in this new reality.

    Why Can’t He or She Have It?

    Now, let’s explore the second part of the question: Why can’t your protagonists have what they want? This is where your story’s conflict looms large. Obstacles, both internal and external, create tension and keep your readers hooked.

    External obstacles are outside forces that stand in your protagonist’s way. In The Hunger Games by Suzanne Collins, Katniss Everdeen wants to survive and protect her sister, but the cruel games and the Capitol’s oppression are powerful external obstacles.

    Internal obstacles, by contrast, are your character’s fears, doubts, or flaws. In Pride and Prejudice by Jane Austen, Elizabeth Bennet’s initial prejudice and Mr. Darcy’s pride are internal obstacles that prevent them from being together.

    Inner vs. Outer Obstacles

    To craft a rich narrative, it’s essential to balance the inner and outer obstacles against each other. They should intertwine and challenge each other, creating a complex and engaging storyline.

    In The Lion King. Simba’s outer obstacle is to reclaim his rightful place as king from Scar, but his inner obstacle is overcoming his guilt and self-doubt. These intertwined struggles make his journey compelling and his eventual triumph all the more satisfying.

    Character Arc and Story Goal

    These obstacles are crucial in shaping your character’s arc. The protagonist’s journey to overcoming these challenges leads to growth and transformation—the essence of a strong character arc.

    For instance, in Harper Lee‘s To Kill a Mockingbird, Scout’s initial innocence and naivety are challenged by the racial injustices she witnesses. Her journey to understand these complexities and stand up for what is right shapes her character arc.

    Tying It All Together

    Ultimately, both the inner and outer obstacles must plug directly into the story’s goal. They must push your protagonist towards change and help to make his or her victory or defeat meaningful.

    In The Lord of the Rings, Frodo’s goal is to destroy the One Ring. His external obstacles include the treacherous journey and the enemies pursuing him, while his inner obstacles include the Ring’s corrupting influence. Together, these challenges shape his character and drive the epic narrative.

    Summary

    The question, what does your protagonist want and why can’t he or she have it, then, is an economical, effective way to kickstart your story. It creates absorbing conflicts, and initiates a full and satisfying character arc. Use it to examine both the inner and outer obstacles your protagonist faces, and watch your tale spring to life.

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    How to use emotion in stories.

    Generating emotion in readers and audiences.
    Generating emotion in readers and audiences.

    Emotion can make or break your story. Robert Frost, highlighting the importance of emotion, famously said: “No tears in the writer no tears in the reader.” This is a phrase that bears much repeating.

    Although Frost was referencing a specific feeling—sadness, it applies to the range of emotions solicited by great writing – compassion, awe, elation, fear, anxiety, jealousy, and the like.

    Stories that evoke a range of emotions, emotions that are tested against the writer’s own experience, catapult the reader or audience into the story through identification, sympathy and empathy.

    Accomplished writers understand that novels and screenplays that take advantage of this are difficult to ignore. The reader or audience is compelled to keep turning the pages or watching the screen in order to discover how those emotions play out.

    Emotions cross the boundaries of age, gender, race, and even species. Animals, in particular, generate deep feelings in us—love, joy, despair and the like.

    In setting up a scene to deliver compelling emotion it is important to have established the context, the backstory elements, that will allow the emotion to be unleashed.
    Who can forget the anguished cry of devastation that Perry utters in Dead Poet’s Society, upon discovering that his son, Neil, has shot himself. We are reminded of his suppressing of his son’s desire to be an actor, and this provides the context for the scene. His son’s suicide has unleashed devastating pain, guilt, and regret in Perry.

    Feelings of loyalty and appreciation are generated when Keating’s students risk being expelled by the conformist principal, stand on their desks, and proudly declare: “Oh, Captain my Captain!”

    The context here is Keating having told his students how to address him in an earlier scene, and how to adopt different points of view by seeing things from a more ‘areal’ perspective. Addressing him as ‘my Captain’ affirms that, for some of the students at least, Keating’s influence has had a lasting impact on their lives, and will remain their ‘captain’ forever.

    As a further example, consider this passage, taken from Margaret Geraghty’s The Novelist’s Guide, in which a character, Violet, tries to come to terms with the death of her beloved dog, Carey. Instead of the writer describing Violet’s feelings of sadness directly, she lets us experience these emotions vicariously through the of show-don’t-tell technique:

    “When the vet had gone, Violet knelt down on the worn rug beside Carey’s basket. His was still, his mouth slightly open, one ear bent over like a rose petal, revealing the pink skin inside. He smelt a little. Nothing bad, just the way you’d expect an old dog to smell. […]

    The detail revealed in words and phrases such as ‘mouth slightly open’, one ear bent over like a rise petal’ and ‘old dog’ serve to increase our felt experience of the moment.

    The story continues:

    In the end, she […] went to run a bath. Cleanliness was next to Godliness. She’d always believed that. When the bath was full, she went back to Carey, gathered him in her arms, and gently, carefully, lowered the stiff little body into the warm water. It was, she reflected, the first time that he hadn’t struggled.”

    That last line in particular is a real tear-jerker, summing up all the years of love the Violet has felt for her dog in one heart-breaking moment.

    We note that there is no abstract description of the character’s sorrow, her sense of loss. Instead the writer deploys a show-don’t-tell technique to have us experience the event viscerally, in close-up as it were. This gives us direct access to Violet’s emotions, and perhaps reminds us of a time when we too lost a beloved pet, making the character’s loss, our loss.

    Summary

    Use visceral emotion, steeped in context and backstory, to draw readers and audiences into your stories.

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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. 

    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 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.

    Dialogue
    Dialogue techniques in Better Call Saul

    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
    • 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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    Attitudes and Demeanour in Stories

    The Sopranos: Character Attitudes
    The Sopranos: Poker, Character Attitudes and Demeanour

    How do character attitudes and demeanour, as well as reflexes and dialogue, support the authenticity of a scene? Let’s take a closer look!

    As writers we sometimes concentrate on the events and actions that make up our stories without, perhaps, paying as much attention to the subtext that attitudes and demeanour, as well as ‘voice’, contribute to a scene.

    The decision of Jackie Jr. to rob Eugene’s poker game, for example, demonstrates his reckless nature and his need for recognition. He is impulsive and easily influenced, as demonstrated by his decision to initiate the heist after Ralphie tells them how Tony and Jackie’s father gained their reputation for a similar heist. However, when the situation escalates and violence erupts, Jackie Jr. panics, leading to disastrous consequences. He comes across as nervous and out of his depth, and his impulsively shooting Sunshine and fleeing the scene betrays his lack of maturity and inability to handle high-pressure situations.

    Carlo and Dino: Like Jackie Jr., Carlo and Dino are portrayed as young, inexperienced, jittery, and easily swayed by the allure of criminal activity. Their involvement in the robbery highlights their willingness to take risks and their desire for status within the criminal underworld, but their poor judgement, their lack of foresight and experience gets them killed.


    Sunshine: Sunshine’s heckling of the would-be robbers, on the other hand, showcases his confidence, his defiance, and his refusal to be intimidated, even at the point of a gun. This is a man who has seen it all before and his demeanour shows it. His refusal to comply with the demands of the robbers ultimately leads to his demise. Sunshine’s character serves as a foil to the impulsive and inexperienced robbers, highlighting the consequences of underestimating one’s adversaries.

    Furio: Furio’s nervous response to the robbers is to ‘take it easy’. Furio, who is an import from the mother country, is perhaps the least assured of the New Jersey-hardened mobsters. He ends up getting shot in the leg.

    Matush: Matush’s decision to flee, abandoning his accomplices, underscores the theme of betrayal and self-preservation prevalent throughout the series. His panic highlights the fragile alliances and loyalty within the criminal underworld.

    Christopher and Albert: Christopher and Albert’s response to the failed robbery demonstrates their self-assurance, authority and willingness to enforce consequences for disobedience and incompetence. They execute Dino outside. Christopher angrily informs the reluctant Tony about the need to kill Jackie Jr. This underscores the ruthless nature of their profession and the importance of sending a signal to their enemies to avoid being seen as weak.

    For writers, this scene offers valuable insights into character response, conflict resolution, and the consequences of impulsive decisions. By understanding the different attitudes, reflexes and general demeanour of characters under pressure, we can create more nuanced and realistic portrayals of them and the worlds they inhabit. Additionally, the scene highlights how tension and high stakes may unleash catastrophic results, keeping audiences engaged.

    Summary

    Concentrate on your characters’ attitudes, demeanour and reflexes under pressure to achieve a nuanced and realistic portrayal of story events.

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    Six Great Themes for Stellar Stories

    Interstellar’s stellar themes
    Interstellar’s stellar themes

    Much has been written about Interstellar’s breathtaking visuals, sound effects, and musical score, but today, I want to highlight Nolan’s use of six great themes that elevate any story—themes that help to define us as a species.

    1. Good & Evil: The Duality of Human Nature.

    Interstellar is more than just a sci-fi adventure story—it’s a profound exploration of the two sides of human nature. This is brilliantly illustrated through the character of Dr. Mann, played by Matt Damon.

    At first, Mann is talked about as the embodiment of heroism, hailed as a beacon of hope for humanity. But as we peel back the layers, his mask crumbles, exposing a dark side driven by fear and desperation. The revelation of Mann’s betrayal on the ice planet serves as a stark reminder of how thin the veneer of civilization can be, warning us of the dangers of unchecked ambition and the loss of our moral compass.

    When Mann sabotages Cooper and attempts to escape, we see the devastating consequences of his actions, underscoring the film’s cautionary message about the potential for evil within us all.

    1. Truth or Lies?

    Interstellar boldly explores the theme of truth versus falsehood. One powerful example is the scene where Cooper confronts his children’s school about their false teachings on the moon landing.

    This moment reminds us of our current struggle against misinformation and the manipulation of facts to drive specific narratives. Yet, as Cooper and his team venture into the unknown, the film ultimately champions the pursuit of truth in search of the awe-inspiring secrets of the universe.

    Cooper’s disapproval of the school’s indoctrination highlights the critical importance of truth in an age of deception, setting the stage for the film’s exploration of cosmic realities.

    3. Transcendence or Rootedness?

    A central theme in Interstellar is the tension between the need to be grounded in one’s heritage, in one’s roots, and the desire to transcend them. Cooper embodies this duality, torn between his deep love for his family and his insatiable drive to explore space. This theme is poignantly demonstrated in his relationship with his daughter, Murphy, and his desire to help humanity survive by discovering a new inhabitable planet to replace our dying one.

    Cooper’s heartfelt monologue about humanity’s need to look to the stars while staying connected to its roots is a powerful testament about finding a balance between exploration and home.

    1. Hope and Salvation.

    Amidst the bleak prospects of a dying Earth, the film offers a story of hope and salvation. The missions Lazarus and Endurance symbolise humanity’s relentless quest for survival and redemption. The film’s hopeful message is encapsulated in the journey to find a new home for humanity, or, at least, a vast sample of the human genome, underscoring our resilience and optimism as a species. The awe-inspiring launch of the Endurance mission serves as a metaphor for the leap of faith required to seek out new beginnings and instill a sense of hope in the face of extinction.

    1. The Importance of Heritage.

    Interstellar pays homage, through the sci-fi genre, to the past while looking to the future. This theme of honouring our roots and heritage is woven in throughout the film, from its references to literary classics to the cinematic techniques reminiscent of earlier masterpieces. By doing so, Nolan not only celebrates the wisdom of those who came before us, but also celebrates the power and guidance that stories are capable of offering us, if we are to avoid destruction.

    The inclusion of books like The Stand by Stephen King in Murphy’s room and the visual nods to Kubrick’s 2001: A Space Odyssey enrich the narrative, reminding us of the legacy that shapes our present and our future.

    1. Enduring Love.

    But at its core, Interstellar is a story about love, a love that transcends time, space, and our limited understanding about the nature of our reality—such as the number of dimensions that truly exist. The bond between Cooper and his daughter Murphy is long and unbreakable—a thread that stitches the narrative together, showing the profound impact of love on human destiny. This theme is most powerfully expressed through their interactions and the sacrifices Cooper for humanity.

    The gut-wrenching scene where Cooper leaves Murph, promising to return, is proof of the power of love that drives him to get back home and fulfill his promise to her. It drives his actions throughout the film, ultimately reuniting them from across the vistas of space and time.

    Interstellar, then, challenges us to contemplate humanity’s place in the universe through its exploration of profound themes and masterful storytelling. It is a film that will continue to endure because it reveals the core of what it means to be human.

    Summary

    Use the great themes in your stories—truth, survival, heritage, values, and love to explore the best in human nature, so that we may avoid the worst.

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    How to Write Heartbreaking Subtext

    Heartbreaking subtext in Dangerous Liaisons
    Heartbreaking subtext in Dangerous Liaisons

    Subtext in stories, when masterfully crafted, can create humour, levity, and a sense of play for readers and audiences, but it can also generate discomfort and raise story questions.

    Subtext arises when readers and audiences are made aware of the true meaning of words and actions in a scene, but some, or even all of the characters in the scene remain oblivious to it.

    Let’s see how it works!

    In the iconic scene from the film Dangerous Liaisons, the Vicomte De Valmont, portrayed by John Malkovich, generates powerful emotions as he delivers a crushing blow to Madame De Tourvel, played by Michelle Pfeiffer. It’s a scene charged with pain, tension and emotional complexity, revealing the power of subtext and its profound impact on the audience. Here, the subtext—the connotative meaning of the words is that De Valmonte loves Madame De Touvel deeply, but his pride and personality will not let him admit it, lest it enslave him, so he denies his love, and goes out of his way to hurt her. The dramatic irony here is that he knows his love for her is so deep that it would control him—something he cannot abide.

    1. The Illusion of Control

    De Valmont’s words, “It’s beyond my control,” is a phrase repeated many times in the scene, drawing our attention to its deeper significance. For one, it points to the illusion of control that people cling to. For another, despite his apparent freedom of choice in the situation, De Valmont absolves himself of responsibility by suggesting that external forces are dictating his actions. This mirrors a common psychological phenomenon where individuals rationalize their behavior by attributing it to circumstances beyond their control. It’s a coping mechanism, an attempt to reconcile their actions with their self-image.

    This reminds us of the fable of the scorpion and the frog where the scorpion’s destructive nature leads to the drowning of the both of them, and is excused with the phrase, “It’s in my nature.”

    De Valmont’s assertion that leaving Madame De Tourvel is “The way of the world,” echoes this sentiment. The audience is confronted with the disconcerting truth that people may choose to relinquish accountability rather than to confront the consequences of their actions.

    1. Manipulation and Deception

    Throughout Dangerous Liaisons, manipulation and deception are recurrent motifs, and the subtext of this scene is no exception. De Valmont’s words are carefully chosen to manipulate Madame De Tourvel into accepting his decision, despite her heartfelt pleas. By framing his actions as inevitable and beyond his control, he effectively shifts the blame away from himself and onto external factors. This manipulation adds complexity to the scene, drawing the audience into the intricate web of deceit.

    Again, De Valmont’s behavior reflects a broader societal tendency to evade accountability through a linguistic sleight of hand. Phrases like “It’s not my fault” or “I can’t help it” are often used to justify morally dubious actions, shielding individuals from the consequences of their behavior and their conscience. In this way, the scene serves as a poignant commentary of the ability of language to shape perception and manipulate reality.

    1. The Tragic Cost of Pride

    At the heart of De Valmont’s decision to leave Madame De Tourvel is his pride, which refuses to allow him to give his love to a single woman. Despite his deep feelings for her, he chooses to prioritise his own ego over their relationship, ultimately leading to tragic consequences for both of them, which ironically is the ultimate proof of the love they shared. The theme of pride as a destructive force is a recurring motif in literature and film and lends this scene a poignant sense of enduring tragedy.

    De Valmont’s reluctance to admit vulnerability or emotional dependency reflects his aversion to perceived weakness. By framing his decision as a matter of pride rather than love, he tries to shield himself from the pain of emotional intimacy, but ends up perpetuating a cycle of suffering for both himself and Madame De Tourvel. It’s a powerful reminder of the destructive power of unchecked pride and ego.

    1. The Echoes of Reality

    As De Valmont bludgeons his lover with his fateful words, over and over again, echoing sentiments of inevitability and resignation, we are confronted with the uncomfortable truth that his behavior mirrors real-world attitudes towards accountability and responsibility. The scene is a microcosm of broader societal dynamics, where individuals often prioritise self-interest over empathy and integrity.

    This reflection of reality in the subtext underscores the film’s enduring relevance and resonates with audiences on a deeper level. In a world where accountability is often avoided and responsibility shifted onto external forces, the scene serves as a reminder of the importance of confronting the consequences of our actions.

    Summary

    Subtext occurs when readers and the audiences are made aware of the true meaning of words and actions in a scene, but some, or even all of the characters in the scene remain oblivious to it.

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