story – Vargoing

The Danger of a Single Story

Stories are critical to our understanding of ourselves and of the world. But stories are not TRUE. The world is chaotic and indifferent. Humans are contradictory and ever changing. Singular events like the migration of a humpback whale or a dance at senior prom or a parking ticket have no real meaning. In order to make sense of ourselves—where we’ve come from and where we’re going—we tell stories.

Seeing that humpback whale off the coast of Cape Cod may reignite your love of marine biology. Wonderful Tonight may perpetually remind you of your first true love. That parking ticket may be just one of the myriad ways the universe lets you know “the man” is out to get you. This is storytelling, putting the events of our lives into context and using them to shape our identities.

Some psychologists and anthropologists argue that storytelling is uniquely human, that it is, in fact, what makes us human. That theory may just be another story, but storytelling is certainly a strength. What is “Hamlet” or “the stock market” or “human rights.” You can’t feed a monkey the S&P 500, and yet it’s a critical part of our world.

Stories, however, can also be dangerous. Stories are not reality. They are not TRUE. Stories simplify things, omit details, take a certain point of view. As psychologist Jerome Bruner said, “To tell a story is inescapably to take a moral stance.” In her Ted Talk, “The Danger of a Single Story,” novelist Chimamanda Adichie explains the hazards of the stories we tell and the stories we omit. It is worth a listen. I’ll wait.

The danger of a single story is not merely that it limits our understanding of the world or that it limits what we think we are capable of. The biggest danger, I would argue, is that if we only hear one story, we start to think it is TRUE.

In 2020, we are being asked to re-evaluate many of the stories we have been told for decades, in some cases centuries. These stories address race, gender, patriotism, service, loyalty, victimhood, history, bravery, citizenship, equality, essentiality, responsibility, heroism, and many more things. They address our very identities. Remember, stories, by their very nature, are critical to our understanding of ourselves and the world. This process won’t be comfortable. That’s okay. New stories bring us to a fuller, more colorful understanding of the world. New stories bring us closer to the TRUTH.

I’d like to leave with this anecdote. In the late nineteenth and early twentieth century, the United States was publicly, virulently white supremacist.

A Klan parade in 1925. Image via: https://www.npr.org/sections/npr-history-dept/2015/03/19/390711598/when-the-ku-klux-klan-was-mainstream

In part to thumb their noses at the White, Anglo-Saxon, Protestant (WASP) establishment, a Catholic fraternal organization took Christopher Columbus for their patron. By the late 19th century, Americans had been celebrating Columbus as a mythic hero for 100 years. The WASPs liked to tell a story of Christopher Columbus discovering America but conveniently ignored the fact that he was an Italian (Catholic) funded by Spaniards (Catholic). Italian, Irish and other Catholic immigrants wanted to remind WASPs that Catholics played a major role in creating the United States.

A century after the Knights of Columbus were formed, we may question their choice of patron. Here is Kurt Vonnegut’s reflection on Columbus from Breakfast of Champions in 1973:

“As children we were taught to memorize [1492] with pride and joy as the year people began living full and imaginative lives on the continent of North America. Actually, people had been living full and imaginative lives on the continent of North America for hundreds of years before that. 1492 was simply the year sea pirates began to rob, cheat, and kill them.”

What’s the TRUTH? Well, all of it. The world is chaotic. It is not simple and neat. It’s natural for us to associate these stories with our identities. To think that an attack on Columbus is an attack on our selves. But it’s not. It’s just a new perspective. It moves us to a fuller and more interesting understanding of the world. It moves us away from the dangerous, myopic belief in a single story.

The Last Watch. Thankfully.

On Sunday night, HBO suckered Game of Thrones fans in for what was touted as a two-hour behind-the-scenes documentary, a glimpse into the magic of the making of Game of Thrones. I’ve seen most of the bonus features on the Game of Thrones Blu-rays. They’re well-produced and informative. This sounded like it would be a great retrospective on the series and an emotional farewell tour. Instead, HBO gave us a cloying, aimless, slice-of-life piece that ranks somewhere between a vacation slideshow and college project.

There are plenty of behind-the-scenes shots in The Last Watch, but they completely lack context or explanation. My wife called it pretentious. “It’s like they’re saying, ‘You don’t understand what we do, and we’re not going to explain it to you.'” I agree. Hundreds of people worked on the show, but the documentary only covered a handful of crew members and none of them very well. No one from the camera, grip, electric, props, sound, video, or AD departments were interviewed. There was no story. There was no narrative (ironic for a show whose finale centers on a speech about great stories). There were some heartfelt moments, such as when makeup artist Sarah Gower explained that because both she and her husband worked on the show, neither of them were at home with her daughter. Sad? Yes. A two hour story? No.

In many ways, it felt as though these crew members had drawn short straws and were being saddled with the BTS crew because no one else wanted to talk to them. That may have been the case, but the documentary did have a way out. Andrew McClay, a background actor who played a Stark soldier for multiple seasons, seemed to love the BTS crew. He was the perfect, humanizing connection between an epic fantasy series and the audience at home. Just an average Joe trying to make a living. But the documentary failed in some very basic ways to craft that story. Can we see where Andrew lives? What did he do before GOT? How did GOT change his life? What do his friends and loved ones think of all this? With so many unanswered questions, maybe he’ll get a spinoff series…

The documentary avoided discussing creative decisions in the final season, in depth interviews with major cast members or the show’s creators, or even a broad representation of the cast. Fingers crossed, those things will appear in the Blu-ray. Last night however, we were given a voyeuristic opportunity to fawn over Emilia and Kit (or Keeeet as the Spaniards call him) and a very brief glimpse at the humanity of a very small slice of a very large crew. Not exactly the kind of documentary quality I’ve come to expect from HBO. Did it fill two hours of programming and keep some of Game of Thrones fans tuning in for another week? Yes. But it could have been so much better.

All Men (and Shows) Must Die

The last episode of Game of Thrones will go live in just a two days and the internet is still roiling about last week’s episode. “What have the writer’s done?!” I can’t be certain how D&D plan to resolve this mess, but I can guarantee no matter what happens some people will hate it. Is all of the Sturm und Drang really merited?

I’ll start with a bit of a humble brag. I was a fan of the books. I was ecstatic to hear that HBO would be adapting them into a show. And for the most part, the series stayed true to the books, which is to say, it stayed true to human nature.

The thing that struck me about Game of Thrones was its realism. Sure, you had to get past the dragons and the army of the undead, but in many ways, George R.R. Martin’s world felt more authentic and his characters felt more real than most things you read. Writers – screenwriters in particular – rely heavily on preconceived notions (also called cliches) to keep stories moving forward. When you’re telling the story of Odysseus, you can’t get hung up what oarsman #3 is doing.

Martin didn’t let that bother him. Oarsman #3, the red-headed prostitute, and the kennel master’s daughter were just as likely to have staring roles as the king and the elite assassin. No one was purely good and no one was purely evil. Everyone was just trying to get by in this nasty and brutish world Martin had created. It was enthralling.

It also came at a cost. Descriptions could be burdensome. Do we really care what all eleventeen courses were at the feast? Or whose bannermen wore what sigils? All of the descriptions, details, side quests, and characters made each book in the series a massive tome somewhere in the 1000 page range. And then there was the killing of characters.

I started out rooting for Ned. Here was a man who was going to get things done. It’s not a spoiler at this point to say things didn’t pan out for him. Then I rooted for his son, Robb… and then Jon. But the last time Martin mentions Jon, he’s, well, dead. Then Martin went off and wrote a book on an entirely different continent with other characters. (As a reader, I was none too happy about it and couldn’t decide if I would finish the series. But I’d like to point out that, despite some angry fan mail, if anyone is winning the game of thrones, it’s Martin.)

HBO took the same route, shocking audiences each season. There was Ned, the Red Wedding, the Purple Wedding, the Great Sept. How do you top that? Looking back on it, however, the question isn’t about “topping” the previous season, but treating Westeros with the same reality the books did.

Life is messy. The people who you want to win don’t. The people in charge are often war criminals. The people who should be in charge don’t want the job. Siblings fight and betray trust. Some people redeem themselves. Others don’t. Game of Thrones created a world that was big enough to be treated realistically rather than having to rely on the tropes that govern most stories. Last week’s episode was a case in point.

Was Danaery’s a long con? Did D&D spend nine years building empathy for a character they knew would turn out to be an unhinged megalomaniac? Or maybe like the gods whenever a Targaryen is born, they just flipped a coin in the writer’s room. The point is, even though it frustrated a huge portion of the audience, it felt strangely inspired. It felt real. We don’t get upset when our deadbeat friend does something stupid. We get upset when our heroes and mentors do something stupid. That’s why this episode bothered us so much.

There are many theories about what will happen in the final episode, some of them more disappointing than others. But I can honestly say, I have no idea what will happen. That’s been the shocking fun of Game of Thrones since day one. Let’s be honest, for a show that killed most of its characters off, it would be completely “in character” for them to do something shocking, absurd, and brutal. I’m fully expecting that. The disappointment won’t be how it ends, but that it’s ending.

I’m hopeful though. Game of Thrones took chances with traditional storytelling, creating something new and complex and engaging. HBO adapted it – warts and all – into something we love, and love to hate. I hope that complexity affects television for years to come. In the meantime, I know what I’ll be reading.

7/14/19

While I stand by my comments regarding Game of Thrones, and my appreciation of George R. R. Martin’s storytelling, I won’t necessarily recommend Fire & Blood. It is a history book. It’s an interesting, well-written history book, but it’s a. history book. I guess I’ll just have to wait for The Winds of Winter.

The Rules

You’ve probably come across a variety of blogs, books, and gurus who insist there are “rules” for writing a screenplay. (Maybe you’ve even read something to that effect on this very blog.) But are there really? Is there a secret formula for success? Well, yes… and no. Depends on who you ask. But maybe this is a better way to explain it.

An Analogy

Here’s one way to look at it. Screenwriting is like building a house. There are some generally agreed upon “rules” for houses: protection from the elements is a must. Generally a door to keep you and your stuff safe. Probably indoor plumbing and electricity. Bathroom and kitchen to make this a full service abode. Hopefully a window or two but otherwise…

The thing is, doors, electricity, and plumbing have rules. Doors need to be appropriately framed with headers. There are physical limitations to what you can do with electricity as well as safety precautions. Water flows downhill. If you want your sinks to drain and your toilet to flush, you’re going to have to install your plumbing correctly.

None of this has any bearing on the number or size of the bathrooms. None of it affects the shape of the house or the material you use. But there are definitely trends because some things are more effective or more efficient than others.

You have cheap houses for the masses.

Levittown-2

(Image via: http://longisland.mamasnetwork.com/2012/04/levittown-history/)

You have artistic houses for creative folks.

wing house

(Image via: https://davidhertzfaia.com/747-wing-house/)

You have rustic retreats.

cabin

(Image via: https://www.vrbo.com/335812)

And ostentatious abodes.

mansion

(Image via: http://www.mainlinetoday.com/Main-Line-Today/April-2015/The-Main-Lines-30-Most-Expensive-Homes/)

Point is: they’re all houses. They all meet the same basic requirements while expressing the art and lifestyle of the builder and the inhabitants.

Screenplays are similar, and many screenwriters will describe themselves more as craftsmen than artists. Yes, you need a creative mind, but you also need to know when to use a hammer and when to use a saw. Similarly, screenwriters need to be adept at understanding “the immutable laws of screenplay physics” as Blake Snyder calls them. Is your comic relief effective or overpowering? Does the story drag because the protagonist’s obstacles are episodic rather than escalating? Does the dialogue feel wooden because there is no subtext? Or maybe there’s no sense of urgency because your script violates the unity of time.

Or maybe your script feels cliched and predictable because it follows the rules a bit too closely. (This would be the home building equivalent of a stamped out, mass production condo.)

condos

(Image via: https://njcooperator.com/article/uniformity-in-condo-design/full)

And this is the final important thing to remember about the rules. Rules are meant to be broken.

Below are 2 examples of VERY successful movies that very clearly break screenwriting “rules.” I don’t care how much you want to bend the rules or try to contort things so they fit into some mold in a bizarro world. These are generally bad screenwriting choices, and yet, nobody cares.

Your Protagonist is not active enough.

Your protagonist should drive the story. Their decisions and actions push the movie forward. That’s why they’re the protagonist. Blake Snyder calls this “The Hero Leads.” And if your hero is just some schmuck who gets dragged from place to place like a cosmic lump on a log, Snyder calls him “Johnny Entropy.” But I have another name: Ebenezer Scrooge. Scrooge has probably gotten the most mileage out of doing the least work of any protagonist ever. Wikipedia lists 20 film adaptations of Dickens’ A Christmas Carol and more than two dozen TV adaptations or episodes. But what does Scrooge actually do with all this screen time? Nothing. Absolutely nothing.

scrooge 1

(I guess that’s why he’s in his pajamas for the whole thing. Image via: https://www.falter.at/the-vienna-review/2007/savoring-scrooge)

Marley, not Scrooge initiates the Christmas hijinx. Then the ghosts of Christmas past, present, and future drag Scrooge on a time bending whirlwind. But apart from some tepid protests, Scrooge just goes along for the ride. Yes, at the end, Scrooge makes one massive 180 degree turn and starts giving his money away. But for the other 80 minutes of screen time, he’s as passive as Mr. Entropy himself.

The thing is, nobody cares. Since his creation 175 years ago, the audience has loved Scrooge’s largely unearned transformation from miser into philanthropist. And every ten years or so, a new production company capitalizes on Scrooge’s ability to do nothing and make cash. Do you always need an active protagonist? Well…

scrooge 2

(Image via: https://www.disneyclips.com/imagesnewb/ducktales.html)

Hook ‘em in the first 15 pages

It’s important to hook your audience in the beginning of your script. Fifteen to twenty pages/minutes is a good rule of thumb. It gives you some time to establish your “world” before you hit your characters with the inciting incident. And when you analyze a story, most professionals look at scripts from the perspective of the protagonist’s conscious goal.

In Jurassic Park, a beloved, award winning, visually stunning, and financially successful film, you could make an argument for any number of main characters, but I think many people would agree that Alan Grant (Sam Neill) is the protagonist. What’s his goal? To make it out of Jurassic Park alive. Well that can only be his goal if the dinosaurs have already escaped their pens, which means the power going out is the inciting incident, which means, the inciting incident doesn’t actually happen until almost an hour into the movie!

Hammond watch

(We don’t have eons here, Mr. Hammond. Image via: http://watchesinmovies.info/movies/jurassic-park-1993-2/)

Does that mean the power going out is the midpoint? Or should Spielberg have cut the first twenty minutes and had more screen time of Grant trying to save children from velociraptors. Or maybe you don’t always need your inciting incident in the first twenty pages.

You could make an argument for any of those things. But the bigger point is that Jurassic Park is a great movie and that the rules are not so hard and fast as they might appear.

As a filmmaker, it’s important to know the rules. Like a builder, you are part artist and part craftsman. The “rules” are more of a user manual than a blueprint. They’ll help you understand how a screenplay works without really telling you how to make one. So don’t cling to the rules like a Dickensian judge. Successful movies, like life, find a way.

judge 2

(Image via: https://www.dailymail.co.uk/news/article-1167541/European-courts-powerful-says-British-judge.html)