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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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Four keys to writing epic characters

Dent’s Secrets in The Dark Knight
Dent’s Secrets in The Dark Knight

Vivid, unforgettable characters lie at the heart of any great story. Here are the four keys to unlocking them.


1: Powerful Desires/Goals/Needs

Giving your characters, especially your protagonists, powerful desires, goals, and needs will drive any story forward. One of the best examples of this is found in the iconic movie The Shawshank Redemption. Andy Dufresne’s relentless and persistent desire to escape from the Shawshank Prison drives the entire plot, keeping us engaged from start to finish.

We see this at work in countless of novels, too. In Jane Austen’s Pride and Prejudice, Elizabeth Bennet’s desire for love and independence in a society that pressures women into marriage motivates the entire story.

2: Secrets

Secrets add depth and intrigue to your characters, making readers and viewers eager to discover the truth. In the film The Dark Knight Harvey Dent’s character harbours a hidden darkness which transforms him into Two-Face, with dramatic consequences.

And who can forget, George R.R. Martin’s A Song of Ice and Fire, a series in which Jon Snow is a character with a mysterious lineage that sustains speculation and curiosity throughout the story.

3. Contradictions:

Giving your characters contradictions, introduces complexity and conflict into their psychology, which renders them more interesting and relatable. In Fight Club, the narrator appears as an office worker by day and a rebellious anarchist by night, embodying the complex duality within all of us.

“Use the four keys to help you write great characters that endure.”

In the novel To Kill a Mockingbird, Atticus Finch showcases a deep contradiction—fighting tooth and nail as a lawyer for justice in a deeply prejudiced, divided society while simultaneously finding the space and resources to be a loving father. His integrity and vulnerability make him one of the most beloved literary characters of all time.

4: Vulnerabilities

The final characteristic is vulnerability. A character’s vulnerability allows us to connect with him or her on a deep, emotional level. In Inside Out, Joy learns that it’s okay to show vulnerability by feeling sadness. This vulnerability is a crucial moment in her development as a person.

In the Harry Potter books, Harry’s vulnerability stems from his fear of rejection after years of mistreatment by the Dursleys. This helps not only make him a hero but a relatable and endearing character, too.

Use these traits in film and literature to breathe life and fire into your characters.

Summary

The four keys to writing epic characters are: Powerful goals and desires, secrets, contradictions, and vulnerabilities.

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The Moral Premise – how to harness it.

The power of the moral premise
The power of the moral premise.

What is the moral premise? How does it differ from a dramatic premise? And why do you need it anyway? 

In his book, The Moral Premise, Stanley D. Williams points out that most commercially successful stories are forged upon the anvil of a moral premise—a clear message to audiences and readers about the reward or punishment associated with embarking on a path of virtue as opposed to a path of vice.

Stories that embody a universal truth about the human condition ring true, and, providing that other components are present—good characterisation, dialogue, as well as an intriguing plot—people are likely to reward such stories with good book or ticket sales.

The moral premise is a sentence that captures the meta-story of the tale—what the story is really about on the inside, whereas the dramatic premise captures what it is about on the outside.

Macbeth is an ambitious Thane who is triggered by a prediction that he will become king. Encouraged by his wife, he murders the rightful king and usurps his throne. This is the dramatic premise of the story.

But what the story is really about is its value-defining premise—how unchecked ambition leads to the murder of a king, and what consequences flow from such an act.

“The moral premise is the true pilot of the story, guiding all actions and events that comprise the tale.”

The moral premise has two parts. Together they encapsulate the totality of the moral landscape with virtue and vice on opposite poles. Simply stated: Virtue leads to a good outcome, but vice leads to a bad outcome. Macbeth is the much loved Thane of Glamis, respected by the king, and the wider community of friends and kingsmen. His initial state of virtue leads to love and praise within his rightful social place.

But his murder of the king activates the second part of the moral premise, his hidden vice—unchecked ambition leads to murder and mayhem.

Defining the premise in this way allows you to construct a tale in which the protagonist’s inner Journey from virtue to vice or from vice to virtue plays out as an outer journey for all to see.

Summary

The moral premise describes the protagonist’s movement from vice to virtue or virtue to vice, while the dramatic premise describes its physical enactment.

Click on the link to watch my latest YouTube video on how to Use Dramatic Irony in Stories

The good story – how to get started.

The film, Big, evidences a tight narrative technique which results in a good story.
The film, Big, evidences a tight narrative technique which results in a good story.

There are many ways to get started on a good story. Here are two of them:

1: Be gripped by inspiration and allow it to guide your hand.

OR

2: Use existing knowledge of writerly techniques to write and edit your story until it sparkles.

Now, you have little control over the first. Inspiration has a will of its own. Like a haughty cat, it may ignore your most entreating calls.

The second way, however, is yours to summon. You can utilise your knowledge of story structure to get started right away. Sites such as mine, and many others, offer advice for free—for the love of story.

Will this way guarantee a great story? Maybe not. But it will set you on the path of writing a well-structured one.

Learn your craft by adding to your chest of techniques every day. Work hard to be the best you can be and one day you will be.

In rereading Linda Seger’s Advanced Screenwriting, I was reminded of the usefulness of certain practices—in this case, the practice of naming scenes according to their function as a way of staying focused on how each narrative segment performs its task in service of the plot and character.

“A good story can be expressed through a series of well-conceived scenes flowing from a solid story structure.”

Apart from the inciting incident, the two turning points, the midpoint, the climax and the resolution that we all know about, Seger offers several others: the establishing scene, exposition scene, love scene, confrontation scene, pay-off scene, resolution scene, realisation scene, decision scene and action scene. Most stories have an assortment of these. It’s up to you which ones to include in your tale.

Here’s an example of a decision-realisation-action scene cluster:

In the film Big, Josh decides to put money into a vending machine at a carnival in order to become ‘big’. In the next scene he realises that he is ‘big’ and this leads to a series of actions as a response to the complications of being an adult. The overall result is a new situation that sees him working for a toy company as an adult though, inwardly, he remains a child.

In this scene cluster causally linked scenes make for tighter writing. Knowing the type of scene you’re embarking on tells you how to execute it.

In the light of this, I wouldn’t be surprised if that cat, resenting your sudden independence, and secretly craving attention, doesn’t decide to jump into your lap, after all.

Summary

Write a good story by utilising your understanding of the differing functions of scene within the context of story structure.

Want to know more about how to pace your scenes? Follow the link to my latest YouTube video!