Evil storytelling tricks NO ONE SHOULD KNOW

I don’t care what you’re writing: whether it’s spy thrillers, speeches, newspaper stories or romances about men in kilts, the only thing that matters to the reader is the journey you take them on.

How far – and how fast – is that ride? Where does it start and where does it end?

The roller coaster you take readers on is far, far more important than how pretty you’ve painted things with words.

Oh, there are people who write so beautifully that they can make a trip to Safeway sound more interesting than the latest Michael Bay explosion of robots and cleavage. And yes, there are people who are bestsellers despite the wordsmithing skills of a middling sixth-grader whose main hobby is eating paste.

Those bestsellers are millionaires because story – structure, really — beats pretty words.

Ronald Reagan wasn’t considered the Great Communicator because of his verbal skills. Go back and listen to his Berlin Wall speech, considered a great one. He’s got all sorts of verbal tics and delivery problems. He wasn’t that smooth of a speaker. Reagan’s genius was in being a great storyteller.

The same thing is true of great reporters. It’s not the quality of the prose that makes us hand out Pulitzers and buy Bob Woodward’s books. What he’s truly good at is getting people to give him juicy things to write about, so he can tell a great story, with twists and turns and shockers.

Bad writing is all bad in the same way.

People want a thrilling ride? The Michael Bay School of Storytelling says OK, let’s blow their minds with the most intense story ever. Except when everything is dialed up to 11, the audience goes numb.

Here’s the script for every TRANSFORMER movie ever made. Act 1: Robots fighting! People running! Explosions! Act 2: Robots fighting! People running! Explosions! Act 3: Robots fighting! People running! Explosions!

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You see the same problems with bad action movies starring Chuck Norris, Stallone and Schwarzenegger. If it’s exciting to watch the hero take on five bad guys on top of a roof, then it must be twice as awesome to have him dismember 10 thugs with a chainsaw in Act 2 and three times as cool to torch 20 thugs with a flamethrower in Act 3. Except it’s not.

It’s not much different with the typical Boring and Pretentious Literary Novel, which starts out wallowing in misery and angst in Act 1, moves on to more misery and angst in Act 2 and ends with, just for variety, an extra dose of misery and angst for Act 3.

Technically, the insanely rich hero does go on a journey. He goes to the country club. He goes to dinner. He goes to a polo game where he sneaks a rendezvous with his mistress, who he secretly despises.

The other kind of Boring and Pretentious Literary Novel features a noble poor person, who suffers even more than the rich schmuck, and yes, he also technically goes on a journey, though going from one cardboard box in a bad section of Skid Row three blocks down to a rattier cardboard box WITH HOLES IN IT in an even sketchier part of Skid Row isn’t much of a trip for the audience.

A story like this isn’t a thrilling roller coaster. It’s a slow slog on the Train of Misery.

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This is why tragedies work. Inherently, they are a fast and exciting ride, because you start at the very top, with a king or president or otherwise Important Person Who Has It All.

Then, because they can’t resist temptation, or otherwise succumb to hubris and stupidity, they plummet from the top to the bottom. Not that they don’t fight back. They try. They pull out of the slide a couple times, and you think they might make it until their inner demons get the best of them.

That is exciting. You’re letting the audience peek into a different, secret world – the Land of the Rich and Famous – and bringing one of the exalted few down to earth. Who doesn’t want to watch that, or read that?

Reporters make a living doing this. Greek playwrights were doing it 2.94 bazillion years ago. Novelists and screenwriters are still doing tragedies, and will be doing them until the sun turns into a red giant and fries the earth.

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The reverse story, Underdog, is so simple and well-known that I won’t make a silly chart for it, because I have faith in you.

I believe, deep in my soul, that you have seen ROCKY once or twice, and watched THE KARATE KID many times, because that movie still rocks to this day despite the lame remake starring Will Smith’s kid, which didn’t involve karate at all, because IT WAS IN CHINA and was about kung fu, not karate. Though I do love Jackie Chan.

Unlike the Bad Action Movie, the hero in an Underdog plot doesn’t start out as some insanely skilled and handsome muffin of stud who, if armed with a folding toothbrush, can take on 43 bad guys. Driving tanks.

Rocky starts out as a washed up boxer, a loser. Ralph Macchio starts out as a skinny kid who gets his butt kicked by local bullies 25 hours a day.

Rocky and Ralph go on real journeys, from rock bottom to the top. Ralph goes from getting beat up by the bullies to beating the leader of the bullies in an honorable way, and having his foe shake his hand. He gains their respect. He suffers and sacrifices in order to change and grow. Also, Mr. Miyagi is the Man.

RALPH: What kind of belt you got?

MR. MIYAGI: Canvas. J.C. Penney. Three-ninety-eight. You like?

ROCKY has a more interesting plot, and the script won a freaking Oscar because of it. I kid you not: Sylvester Stallone, Mr. B Movie, started out by winning an Oscar for screenwriting. That is the only thing in the world he has in common with Matt Damon.

The end of Rocky isn’t your typical action movie, which features the hero (a) impaling the Villain of the Week, (b) throwing the Villain of the Week into a bottomless pit or (c) watching the Villain of the Week get impaled after he falls down the bottomless pit.

Rocky ends without a victory at all. He doesn’t beat Apollo Creed, despite all his sweat and blood.

He battles Apollo to basically a draw, and for him, that’s a huge moral victory. He has grown. He has changed. And when he gets the girl, it’s not perfunctory movie nonsense, the typical, “Oh yeah, it’s the end, so the hero needs to kiss the girl after he says some clever one-liner.” You care about this schlub getting the girl, even if you didn’t care one bit for TANGO AND CASH.

Sidenote: I did enjoy DEMOLITION MAN, mostly because Sandra Bullock was awesomesauce, Wesley Snipes was believably insane and they made it so after the apocalypse or whatever, every restaurant was Taco Bell.

To whoever wrote that script, I salute you.

The lesson here: no matter what you write, figure out the ending, and that determines the beginning.

If you have a down ending, you need an up beginning. Otherwise, you’re not taking the audience on any kind of ride.

If you have an up ending, you better have a down beginning. The lower, the better.

ROCKY and THE KARATE KID are minor examples.

Let’s go big. The billion-dollar stories follow this formula: STAR WARS, the Harry Potter movies and THE LORD OF THE RINGS are the three biggest stories on this planet, spanning many movies, countless spin-off books and enough merchandise to sink the continent of Australia.

George Lucas and J.K. Rowling have more money than God — end of debate.

All three of those stories start down. Way down. The evil emperor is gaining power. Harry Potter is an orphan because Voldemort killed his parents, and now he’s coming for Harry the Potter — and meanwhile, this big glowing eye on top of a volcano controls all sorts of trolls and scary dudes in hoods who ride black horses of the apocalypse. Our only hope is a tiny man with hairy bare feet and a magic ring whose mighty magic power seems to only turn him invisible and really grumpy.

Sidenote: while in Maui, I read the preface to the introduction to the liner notes for LORD OF THE RINGS, and around page 83, after the index of Elvish words and an anthropological study of Hobbit culture, I was still waiting for the actual story to begin. I did not throw the book across the room, because there were no men in kilts in it that I could detect, but I did lay it down gently and look hard for a hollowed-out pineapple full of alcohols.

Now, I’m not saying all stories are either comedies (up ending) or tragedies (down ending). That’s simplifying things way too much.

For example, dramas and sitcoms are the most common things on TV, right? And they are completely the opposite of what you expect, when you drill down into the story structure of dramas and sitcoms.

Hear me now and believe me later in the week: dramas are not tragedies. Dramas end up.

LAW AND ORDER is probably the most famous drama, since at least five cable channels play nothing other than reruns of LAW AND ORDER, LAW AND ORDER: CSI, LAW AND ORDER: LA, LAW AND ORDER: SPECIAL VICTIMS UNIT, LAW AND ORDER: SOME FIELD IN NEBRASKA and, best of all, LAW AND ORDER: BRITAIN, which I threw in here at the end as a sneaky segue allowing me to play The Best Video On the Planet.

Yes, dramas are about horrible things like murder and rape and war.

Except what they’re really about are heroic people who swim in the muck and chaos caused by idiots and greed. Dramas really say, “Despite how bad things are, there are people who’ll try to make things right.”

That doesn’t mean they succeed every time. About one out of twenty times, LAW AND ORDER lets the bad guy get away with it, and yes, it seems like one out of three times, but if you’re reading this, you’re a writer, and bad at math, and you’re not going to go back and watch all 4,398 episodes to do a tally. So I could make stuff up all day.

Comedies don’t always have down endings, per se – but they are NOT happy.

Comedies are about how absurd, hopeless and screwed up things are.

Specifically, comedies target an institution.

  • Sitcoms usually go after marriage and family life, usually middle-class suburban families.
  • M*A*S*H was an indictment of war.
  • ANIMAL HOUSE lampooned frats and college life.

Comedies have mixed endings. It’s OK for the hero to get what he’s after – but only in an absurd way. His best efforts to achieve his goal always backfire. Things don’t happen like they should. It’s screwball.

The other kind of mixed ending is ironic. The hero gets what he wants, but decides he doesn’t truly want it. He finds the king’s treasure after slaying the dragon and decides he doesn’t want all that money, that he’d rather go back home and be a simple farmer. That sort of thing. ROCKY is a bit of an ironic ending. He doesn’t win the fight. He wins other things: self-respect, a future, a girlfriend. Then in the sequels it gets all conventional and boring, though Mister T, for a brief moment in time, before he sold out and joined the A-Team, was a scary, scary man.

Bonus material for story nerds and intellectual types

There is another type of ending, Random Nonsense, which is more common in indie films with subtitles. Think black and white. Think French existentialism.

Here’s an example: the hero is a downtrodden detective, investigating a killer far smarter than he will ever be. His only son hates him, his boss wants to fire him and wife just left him, though he starts up a flirtatious thing with a girl who works at his local café. Just as he starts catching some breaks – he’s walking the café girl home from their first date when he spots the killer running from an alley, the scene of his latest crime – he’s hit by a drunk driver. The End.

Random Nonsense has a message, too, just like tragedies are about hubris, dramas are about the human spirit overcoming adversity and comedies are about how absurd life is. Random Nonsense is trying to make a point about existentialism and chaos, that we don’t really control events. Things just happen.

This may make for deep conversations in your Philosophy 301 class, and you may feel all intellectual talking about what the movie really meant at 3 a.m. at Denny’s while you eat sides of fries and drink bottomless cups of coffee while smoking cigarettes bummed from your roommate, the sociology major. Sociology!

But it makes for a terrible story. There’s no roller coaster. That’s why the audience for these kinds of stories fits on a postage stamp.

###

This is Guy Bergstrom the writer, not the Guy Bergstrom in Stockholm or the guy in Minnesota who sells real estate or whatever. Separate guys. Kthxbai.

Guy Bergstrom. Photo by Suhyoon Cho.

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that won some award (PNWA 2013). Represented by Jill Marr of the Sandra Dijkstra Literary Agency.

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32 Comments

Filed under 4 Writing Secrets Wednesday, Fiction, The Big Screen

32 responses to “Evil storytelling tricks NO ONE SHOULD KNOW

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  7. This post is indeed awesomesauce. Two years ago I started writing a novel set in World War II Seattle.
    On Twitter.
    I chose this method ostensibly because my day job provides insufficient free time for my conventional writing technique, which no matter what the subject involves extensive study of cat videos on the Internet. In reality it was because I combine the attention span of a ferret with a whim of iron. Those qualities me a diverting dinner guest but a somewhat challenged storyteller.

    I quickly learned Twitter is a harsh mistress but an excellent teacher. You cannot unsay things on social media, so you’d damn well better know where you’re going before you hit “send.” And a single tweet that fails to advance the plot will get you unfollowed faster than you can say “But it was beautifully written.”

    Painful experience has taught me some of the lessons laid out in your post. I just wish I’d learned them sooner.

    Like

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  11. Like your graphs, but is “intensity” the right word for the y-axis? Would something like “negative or positive emotion” be better? (Just for clarity, 0=entirely negative, 10= euphoric.)

    Intensity is pretty good for an action flick, but the emotion scale crosses genre boundaries better, imho.

    Either way, excellent post.

    Like

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  14. Take the reader on a rollercoaster ride. Finally, a rule I can remember!

    Like

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  19. Chessny

    Many years ago, I played World of Warcraft, my pet there was named awesomesauce, it was played by another player. I love these ‘rants’ of yours, because they’re all straight to the point through a lot of babbling trueness. You have a gift! You make people listen to what few people dare say, and you make them smile about it. Color me a fan.

    Like

  20. Very good. Just one teeny tiny problem.

    “If you have a down beginning, you need an up beginning.” Pretty sure that should be “If you have a down ending you need an up beginning” based on the first line of your next paragraph.

    Great post. Love the videos.

    Like

    • Guy

      Ah, you’re right. Fixed that.

      I have to go back and copy edit ALL MY POSTS, because they are insanely quick rough drafts, fueled by industrial amounts of coffee. Whenever I read one, I see all sorts of clunky nonsense to clean up. If you spot anything else, just shout.

      Like

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  24. I am so happy I stumbled upon this. I felt like I was having a conversation with myself here. 1. Love Rocky (it’s one of my nick names). 2. Okay so I love every movie you listed up there with positive thoughts. 3. You couldn’t be more right about Law and Order and 4. I’m happy to know that I’m not the only one who uses the word “awesomesauce” (which should lose it’s little red underscore because it is a real word no matter what spell check says).

    Thank you for the great post and all the info, I am now officially a subscriber.

    Like

  25. Kimberly Kinrade was right. Your blog is fabulous. Totally enjoyed my visit. Don’t use WordPress for blogging anymore, but might have to think about returning.

    Like

  26. Epic,
    I adore you and you are wise like Yoda and everything you have said here is so correct… except… it isn’t “Judge Dredd” you are thinking of and praising in regards to Sly Stallone. It’s actually “Demolition Man”. But, another great post – thank you!

    Like

    • Clancy the Metzger,

      Ah, you are right. Now that I think about it, JUDGE DRED and DEMOLITION MAN feel like the same movie with a different title, but they are separate movies, with one not even having Sandra Bullock at all, which is a shame.

      I fixed that reference. Also, I hope Wesley Snipes gets out of jail before he’s too old to make more BLADE sequels, because those are the only vampire movies that do not suck. What I’d really like to see is BLADE VS. TWILIGHT: THE END OF THE SPARKLY VAMPIRES.

      Like

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