Category Archives: Story Preparation

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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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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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 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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