You know
who likes triangles?
Pirates and
ninjas.
Just
saying.
However,
since no one here (to the best of my knowledge) is either a pirate or a ninja, I should probably just talk about how
writers deal with triangles.
Triangles
are a form of conflict we’ve all come across.
Probably one of the easiest a writer can create. It’s when a character (A) has to choose
between two options (B and C). A is
pursuing B, but it’s clear C should be the priority. Making the decision between B and C provides
the conflict, the drama, and maybe even some comedy depending on how it’s done.
We’ve all
heard of romantic triangles. It’s one of
the most common ones out there. Phoebe
is dating Wakko, but then comes to realize her best friend Yakko is her real soulmate. Bob is engaged to a bridezilla,
but can’t help falling for the caterer.
The standard in most romantic triangles is that B is very clearly not
the right person for A, while C is so blatantly right it’s almost frustrating.
Another triangle
most of us have probably seen is the “work vs. family” one. Will Doug choose to spend the weekend with
his family or working on the Hammond account?
Mary’s training so hard with the team that her relationship with her
boyfriend is starting to suffer. There
are a few versions of this. Sometimes
it’s friends instead of family. It’s
usually work on the other leg, but it could be any sort of mild obsession or
compulsion. Am I choosing my best friend
or this treasure map? My pets or my new
apartment?
Triangles are great because it’s a very simple
plot and framework that we can all immediately relate to and understand. They make for easy subplots in novels, and
for short stories and screenplays they can almost be the entire story. This is one of the reasons we keep seeing
them again and again and again.
However...
Just
because something’s easy and common doesn’t mean it doesn’t get messed up. I’ve seen a lot of scripts and stories where
the writer messed up the triangle. Heck,
I’ve seen a few films that messed it up.
I don’t think it’s a coincidence that none of these films did well at
the box office. Or on Netflix...
How can I
mess up a triangle, you ask?
Well, the
whole reason we have a triangle is because there’s A, B, and C. If I eliminate one of these—let’s say B—then
all I’ve got left is a straight line between A and C. This means there’s no choice. It’s just process of elimination.
Let me give
an example...
I saw one film a few years back where a young man decides to travel cross country to lose
his virginity with a young woman he met online (she’s his soul mate, after
all). Along for the ride is his longtime
best friend, the ugly-pretty girl from next door (played, as usual, by a
Victoria’s Secret model wearing slouchy clothes and a pair of glasses), who we
all sense is a better match for our hero than this mystery online woman. In fact, his good friend points out if all
this is just about having sex, they could just lose their virginity to each
other—at least then it’d be with someone they each care about rather than a
stranger.
Our young
protagonist is determined, though, and it turns out our mystery woman is an
honest-to-god psychopath. Some third act
hijinks take place, our heroes get away, and a few nights later they settle in
down on the basement couch to finish up their unfinished business. The film ends with the happy couple
together.
Or how
about this one—not a specific story in this case, but we’ve all still seen
before...
Phoebe is
so obsessed with getting her next promotion that she misses her son’s baseball
game, her daughter’s violin recital, and the anniversary party her husband
arranged for them. But she keeps at it
because this promotion will put her in a key position for the next
promotion, and that’s the one that’s going to put her on top and change their
lives.
The stress
of all this is too much, though, and Phoebe snaps. She screws up an account and yells at a
client. When she’s called on it, she
even yells at her boss. The end result
is that she’s fired. But after a week at
home with her kids and her husband, she realizes this is where she was supposed
to be all along, with her family. They
may not be filthy rich, but the film ends with the happy family together.
Did both of
those feel a little hollow to you? A
little lacking?
What
happened in both of these examples is that character A never really made a
choice. Once B was eliminated, there
wasn’t anything to do except go with C.
Character A didn’t do anything active, they just went with what was
left. Which isn’t terribly satisfying
for C, one would think. Or the readers.
Y’see,
Timmy, A has to realize C is the right choice before things go bad with
B. If not, getting C isn’t a
triumph. It’s just a consolation prize.
If my story
has a triangle, it has to keep that triangle up until the moment of
resolution. B can still be a poor
choice, but A has to actively realize that and then make the choice to go with
C instead. Once that’s happened, I can
get B out of the picture, but not until then.
Make sense?
By the way,
if anyone’s got any particular topics they’d like me to address or revisit in
my weekly prattlings, feel free to toss something in the comments. In the meantime, I’m going to try to stay one
step ahead of the readership here.
Starting
next week.
Until then,
go write.
Hey, love the blog.
ReplyDeleteMy question is how do you flesh out your story? You've got a basic idea for a scene or a story but how do you make it long?
Y'know, Roger, I've been thinking about doing something a little more plot/story oriented. It might be time for one of my three-or-four part rants about structure and ideas and the like... :)
ReplyDeleteIn the meantime, I've done a few semi-related posts in the past that might help a little bit. Please let me know.
My gosh. Darn it. You always make me think, Mr. Stranger. I now have to re-analyze my story now. Again.
ReplyDeleteMr. Stranger, after much thinking (in so short a time) after reading your post, I don't even know if my story's got a B or a C. It's not a love story, it's drama with some action. My character has a a need but she doesn't know it until the end, but it's not like, choices B or C. Oh, I don't know! :=(
ReplyDeleteY'know, you don't need a triangle in your story, Beachcomber. There are lots and lots of stories that don't.
ReplyDeleteI was just trying to point out that if you do decide to use one in a story, you need to keep up the A-B-C structure of it all the way to the end.
Yeah I get that now. I was just bravely pounding at my first few pages of my very first ever first draft and taking a break when I happened to read your post, and I really stopped, and went like, "What? Oh no." I'm relieved to know that I was just overreacting :=)
ReplyDelete