A simple,
straightforward title for this week.
I was
talking with my dentist a few weeks back about new television shows (he’s very
chill that way) and we brought up... well, I’ll be polite and not mention it by
name. He was interested to see where this
show went. I’d already predicted a bunch
of issues it would need to overcome which it instead chose to embrace fully.
Allow me to
explain.
I’m going
to create a series from scratch here (although I’m sure some of you will figure
out what I’m referring to pretty quick).
Let’s say I’m doing a show called Young Revolutionaries. It’s going to be an early-twenties George
Washington at university (probably Penn State—that was around then, right?)
with early-twenties John Adams and early-twenties Thomas Jefferson and
mid-twenties Ben Franklin. There’s also mid-twenties
Martha Dandridge who George has an undeclared love for, her sexy designer
friend Betsy, and that creepy mid-twenties kid, Benedict, who just lurks around
classrooms a lot eavesdropping on people.
photo: Kat Bardot |
Here’s a
few quick episode ideas. What if George
gets in trouble during ROTC (that was around then, right?) for chopping down that cherry tree and is told he’ll never be an officer? Maybe he even resigns from the Army.
Or maybe Thomas injures his hand in a duel over the honor of foreign
exchange student Sally Hemings (that’s more or less correct, right?) and now he
may never write anything again. And Ben
can have a small breakdown from exam stress and decide he’s giving up on his
science/history/philosophy degree and going to be a baker. Or what if Martha decides she’s in love with Benedict
and decides to marry him. And when John
finds out and tries to stop them from eloping, Benedict shoots him. We
could end season one with young John Adams bleeding out in his log cabin.
(Also, I
apologize in advance—by putting this out onto the internet there’s a good
chance this show just went into development at Fox or the CW. Hopefully I’ll at least gets a “created by”
credit when it premieres next fall).
So... what
do you think of Young Revolutionaries so far? Sound like a bunch of solid episodes, yes? Lots of dramatic potential?
Even if
you’re reading this from somewhere in Europe, you’ve probably already spotted a
few holes in my story plans.
It’s tough
to build drama when we already know a lot of details about where the story’s going. I can’t get
anxious about whether or not George and Martha get together when I already know
they get together. There’s a bit of mild
interest how it’s going to happen, sure, but the truth is, because I’m
replaying history, this isn’t the first time this has happened. And things lose our interest when they get
repeated. That’s just the way of the
world. The movie I’m glued to the first time I see it eventually becomes the movie I’ve got on in the
background while I’m working on little toy soldiers or something.
Likewise,
it’s hard to build up drama by using incidents that I know are nullified by later events. George
Washington doesn’t just become an officer, he becomes a full general, and me
trying to imply this isn’t going to happen is kind of silly. We know Jefferson’s going to write a ton of
stuff. John Adams isn’t going to die,
either. Heck, he won’t even have any
lasting scars or side-effects from that gunshot. The bullet could’ve just bounced off him for
all the effect it actually had on things.
And
bulletproof characters are boring.
So let’s
think about Young Revolutionaries again.
George Washington won’t catch a bullet.
Ben Franklin definitely won’t.
Neither will Martha. Or Thomas. Or Betsy.
Even Sally’s pretty safe.
What can I
really do with this series? Not
much. It’s pretty much just narrative thumb-twiddling as my plot drags along to the points we all
know it’s going to hit. That it has to hit, really, because we all know
the story.
Y’see,
Timmy, if my characters can’t be put at risk, it’s tough to give them any sort
of interesting challenge. I can’t
have many cool twists to their story if I already know how the story goes and
how it ultimately ends. And it’s tough
for my readers to relate to a character who’s going against...well, established
character. There’s just not much for me to do. It’s very similar to an issue I’ve mentioned
a few times before—the characters who are prepared for any and everything.
This is one
of the big reasons I’m against prequels.
Not as some hard-fast rule, but I think it’s extremely rare that they’re
worth the effort (either reading them or writing them). It just tends to be a melodramatic re-hashing
of events that ultimately lead... well, right were we knew they were leading
all along.
Now, I’d
mentioned this “bulletproof” idea to a friend and he made the point that, well,
isn’t this true of almost any series character?
Marvel isn’t going to kill off Iron Man any time soon, and DC probably
doesn’t have a Batman obituary waiting in a drawer. Odds are pretty good Jack
Reacher’s not taking a bullet in the head anytime soon. I feel safe saying Kate Beckett won’t be
losing an arm in this season’s Castle finale.
We all
understand these characters have an aura of safety around them, so to
speak. So does this mean all
series characters are bulletproof? Are all these stories destined to be rote
melodrama?
Well,
no. Let’s look at something like, say, The
Sixth Gun (one of my personal favorites right now). Odds are writer Cullen Bunn isn’t going to
kill off Drake Sinclair or Becky Montcrief anytime soon. But it doesn’t mean he won’t and can’t. None of us know what’s happening in issue
fifty. Or sixty. Or one hundred. Even if we can be relatively safe in assuming
they’re relatively safe... well, there’s still a chance Bunn could pull a Joss Whedon
or J.K. Rowling on us and suddenly kill one of his main characters. We can feel pretty safe... but we don’t
really know for sure.
And there
is a world of possibility in that little gap of certainty
But if Bunn
decides to flash back to what Sinclair was doing five years ago... well, we all
know he didn’t die in a gunfight after a poker game. So hinting that he might is kind of a waste
of time. Same thing if he says he’s
moving to Asia and never coming back. It’s
just more thumb-twiddling until we get back to the real story.
Again, I’m
not saying this kind of prequel storytelling can’t work. But it is very, very difficult to do
it well. A lot tougher than many
Hollywood executives seem to think. And
it’s choosing to do an inherently limited idea when I could be doing one where
anything could happen. One that’s moving
forward, not treading water.
Next
time...
Well it had
to happen. Next Thursday is
Christmas. And the Thursday after that
is New Year’s. Some folks believe this
only happens every 2342 years, and other folks have looked at a calendar
before.
Whichever
camp you happen to fall in (I don’t judge...much), I probably won’t be posting
on either day. But I’ll probably drop my
usual year-end summary here sometime before January.
Until then,
go write.
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