As a writer, have you ever asked yourself...what about your favorite book/tv show/movie makes it your favorite? Is it the compelling characters? The captivating plot? This page will help dissect what makes favorited stories so popular so you can capture that magic for yourself (minor spoilers ahead)!
Aside from visually stunning and cutting-edge animation, Spiderman: Across the Spiderverse boldly demonstrates the effectiveness of challenging audience's expectations narratively. This is done through introducing unexpected twists on the classic Spiderman story through characters like Miguel O'Hara (half-superhero, half-vampire) or Peter B. Parker (a refreshingly flawed yet relatable hero). Don't be hesitant to surprise your audience while making sure to respect the tone, themes, and unique voice your story establishes.
Part of the brilliance of Across the Spiderverse is that every plot point (even the most minor ones) contribute to the overall narrative in some way. An example of this is in the beginning of the movie, when main character Miles Morales is rushing to get a cake in order to celebrate his Dad's promotion at work. What is established to be a lighthearted plot point actually becomes the catalyst to Miles having a fallout with his family, which forces him to confront his conflicts with keeping the Spiderman secret hidden. To summarize: even minor plot points should serve a purpose to your overall story.
One thing can be said for sure: Across the Spiderverse has a distinct style. Voice is an incredibly important thing to master as a writer, as it helps readers differentiate you from other authors and helps you stand out. Ask yourself: what tone do you want to establish for your story? Do you want a lighthearted mood, or are you more prone to dark humor? Whatever you decide to go with, make sure you stick to that voice and openly express what makes you so unique compared to other writers.
Dos Santos, Joaquim, Powers, Kemp, & Thompson, Justin. Spiderman: Across the Spiderverse. Sony Pictures Entertainment, 2023.
Chekhov's Gun, a term coined by Russian author Anton Chekhov, is a writing technique that enhances a novel or a screenplay. It enforces that every element included in a story should be paid off to some extent and play a role in moving the plot forward.
From the beginning of the movie, the audience is introduced to seemingly throwaway elements of the movie, such as Megamind's holo-watch, which allows him to disguise himself as someone else. In Act One of the movie, we get to know Megamind as a character, including his quirk of mispronouncing words like "spider" and "Metro City." These elements both play a critical role in establishing how Megamind tricks the true villain of the movie, Tighten, by using his holo-watch to disguise himself as Metro Man. Tighten falls for the ploy at first, but recognizes Megamind when he calls Metro City "metrocity" while disguised as Metro Man. These are examples of elements being established early on in a story, only to have a critical role in the overarching narrative.
The sign of a well-written and efficient story is only including plot points that serve to catalyze the story. Throwing elements into the story that don't enhance the audience's understanding of a character, plot, or theme can leave viewers feeling frustrated and confused. The best way for a writer to use Chekhov's Gun is by subtly introducing an important element or symbolic object early on in the story, then paying it off later on to reveal its true narrative purpose and indicate the story has come full-circle.
McGrath, Tom. Megamind. Paramount Pictures, 2010.
Being that Cinderella was a remake of the original 1950s Disney film, it was crucial to keep in mind the original target audience of the source material Cinderella was based off of. Because the 1950s Cinderella was geared towards families, Cinderella (2015) honored this by keeping the thematic elements of the movie suitable for both children and parents alike. Keep in mind who exactly is going to enjoy your adaptation.
While Cinderella is generally considered a faithful adaptation, the filmmakers of this movie still found a way to interpret this classic fairytale differently from the 1950s original film. This involved including scenes that build on Cinderella and the Prince's relationship. For example, a new scene involved Cinderella and Prince Kit first meeting in the woods. Prince Kit came into the forest to hunt a deer, while Ella scolds him for this, claiming that "just because something's done doesn't mean it should be done." Scenes like these weren't in the 1950s Cinderella, but great adaptations find a balance in honoring the source material and finding new, innovative ways to tell a similar story.
Adapting a beloved classic is a daunting challenge, but Cinderella (2015) succeeds at honoring the 1950s film by building on the story in new, inventive ways, while keeping in mind the captivating essence of the story. The original fairytale is timeless because it tells the tale of a lovable heroine acquiring the happy ending she deserves through love and kindness, despite harsh upbringings. The 2015 Cinderella film replicates this magic, acting as a continuation of the classic story that modern families everywhere can resonate with.
Branagh, Kenneth. Cinderella. Walt Disney Studios Motion Pictures, 2015.
Flat characters are characters who have a stagnant, or “flat” narrative arc. They display little growth or development throughout the story, and they can have unclear motives that make them feel two-dimensional. The idea that a flat character arc is a “boring” or “badly written” arc is a misconception. James Bond and Sherlock Holmes are two of the most recognizable, flat characters in all of literary fiction. But how do you make a flat arc a compelling one? The solution depends on intention.
Intentional flat characters can serve a narrative purpose in enforcing a certain theme, enhancing the journey of the protagonist, and even by implementing satire. For example, in George Orwell’s bestselling novel, Animal Farm, Mr. Jones is a prime example of a flat character. He doesn’t change throughout the story, and continuously remains ignorant and lazy. However, Orwell had a specific agenda behind this stagnant character. Mr. Jones is actually a representation of Czar Nicholas II, a previous Russian leader. The story of Animal Farm reflects the true story of how Russian citizens revolted against their Czar, and the consequences that follow as a new leader rises to power. Orwell utilizes a character like Mr. Jones to reinforce the unmovable and deplorable traits of Czar Nicholas II. Orwell’s intention was to use his flat character to represent a real-life person through satire.
Citation: Orwell, George. Animal Farm. William Collins, 2021
Characters like James Bond and Sherlock Holmes are purposely written as “flat” characters. Because these two characters don’t change much in their stories, they must engage the audience by driving the entire story forward. Take the film, Sherlock Holmes (2009). In this film, Sherlock Holmes stays consistent to who he is in the beginning of the movie to the end. But that’s the whole point. It’s impossible to imagine the movie functioning without Holmes, because every plot point, every character, every theme prevalent in the story revolves around Holmes. He acts as an untouchable, impossibly cool archetype of a person. Flat characters like these aren’t supposed to be relatable, or sometimes even likable. They act as a form of escape for the reader and an unapologetic work of fiction. The intention here is that flat characters can become archetypes that transcend the average capabilities of a person and provide an escape for the reader, actively driving the story forward all the while. Citation: Ritchie, Guy, director. Sherlock Holmes. Warner Bros., 2009
Flat characters can act as “stepping-stones” for the protagonist in order to help them on their journey and enhance the story. Mushu from Mulan serves as a primary example. His sole purpose in the plot is to help and serve Mulan on her mission to take her father’s place as a soldier and save China from the Huns. The intention of a flat character who’s a plot device is to assist or drive the main character forward on their journey.
Citation: Bancroft, T., & Cook, B. (1998). Mulan. Buena Vista Pictures
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