Category: triangles

December 21, 2023

Important Holiday Choices

Well, it’s that time of year again. Christmas movie time. Maybe you’ve got a bunch on DVD or BluRay. Perhaps you’ve gone all digital. Heck, I think most streaming services have playlists ready and waiting for you.

I thought I’d take shameless advantage of the holidays to revisit an idea that I haven’t talked about in a while. It’s writing in-general relevant, but as we’ll see it crops up a lot in holiday movies. Especially…

Well, I don’t want to get ahead of myself. Let’s start with basics.

A lot of story (in the bigger plot-vs-story sense) boils down to “what my character decides to do.” Are they going to play it safe, try to fade into the background, stay home and do those TPS reports? Or are they going take a stand, take a chance, and go on that adventure?

Usually these choices boil down to a binary. Do X or do Y. Suck it up or quit my job? Help the little girl or mind my own business? Tell the truth or try to keep it hidden for a little longer? There’s a few trillion examples of this. I tend to think of these as triangles. My character is one point (A), their two options (we’ll say B and C) are the other points. You’ve probably heard of romantic triangles, yes? That’s a pretty standard dramatic device that pops up in a lot of stories.

Now, here’s the catch. Triangles—of any sort—only really work when B and C are both viable options. If my choices are stay late at my soul-crushing job where I’m unappreciated or go see my kid’s school play… well, that’s not much of a choice, is it? and if my protagonist chooses to stay at work, well… what does that say about them?

Granted, there might be a very good reason to stay at work that counterbalances this. Maybe there’s a big bonus they really need for finishing on time? Could a promotion be in the balance? Heck, maybe they’re helping someone else out. No point both of us missing the play—you go, I’ll get all this cleaned up. All these are good, viable things. But they need to be there for that balance to work. Otherwise, my character’s just making bad choices.

This imbalance shows up a lot in romantic triangles. One person is sweet and funny and supportive and attractive and the other side is… well, horrible. Selfish. Self-absorbed. They scowl so much they have permanent wrinkles in their forehead—and they’re only 23! I mean, if my choice is to be with Sam or be with Roy, and Roy is a misogynistic Nazi… well, that’s not much of a choice, is it?

When we don’t have balanced options, there isn’t a lot of dramatic weight to the actual choice. It’s like Eddie Izzard’s old “cake or death” routine. It’s not that surprising that everybody picks cake. And if I base my whole story around “gosh, will Jamie pick cake or death? Which one’s she going to choose?!?”… I mean, it won’t really shock anyone when Jamie picks up the dessert fork, right? It’s not exactly a surprise outcome.

So when my characters needs to make choices, there has to be some value to each choice. It needs to be a choice that takes effort to make. If there isn’t, I run the risk of them looking… well, a little foolish at best.

Also, just to save someone the time, yes, sometimes my two options are both bad choices. But that’s still a choice with dramatic weight. Let your best friend die or let a hundred strangers die? Starve to death or cut off your own arm?

Now, on that note, I told you all this so I can talk about Christmas movies…

Christmas movies are a solid, dependable genre. And a subgenre of several other standard movies, too. People try to sound intellectual and artsy by talking about superhero fatigue, but in all seriousness—Christmas movies are the real machine. Look at Hallmark, Disney, and Netflix and add up how many new Christmas films and specials they’ve made between them this year. You’ll hit double digits, easy. Might even get close to triple digits. And that’s just three streamers! I mean, at this point Shudder’s got a very solid Christmas sub-genre going.

Now, one recurring theme we see a lot is the Christmas romance. Yeah, don’t lie. You’ve seen a lot of them. Probably this year. They can be oddly comforting, even though some of them are also really awkward and fumbly.

I’d like to talk about the awkward ones.

A pretty standard Christmas romance goes something like this. A young woman (it’s almost always a woman) falls for a guy who’s a few weeks away from getting engaged, married, etc. The two of them have chemistry, while his current partner rages away at her big corporate job, becomes a larval Bridezilla, or maybe is just a generally awful person. Eventually the guy comes to see the error of his ways and our two impossibly good-looking people end up together just in time to kiss on Christmas Eve.

(you know which movie I’m talking about, right?)

Now right off the bat, this is one of those unbalanced triangles I was talking about above. One good choice, one awful choice. Wow, what a shock how things went, right?

But there’s another problem here that’s a little tougher to notice at first glance. A really basic flaw in how a lot of these holiday movies set up their triangle. It’s why they always come across as a bit weird and the protagonists always seem a bit… well, wrong. And I think it’s one of those things that’s really easy for me to avoid once I see it all laid out

Let’s use that basic structure up above for our example. Our test story, so to speak. Alexis (A) has a meet-cute with Ben (B), who is in a relationship with Chloe (C). Amy and Ben have chemistry, Chloe is bordering on (if not openly) awful and clearly wrong for Ben. And it’s Christmas because… y’know, that’s when this always seems to happen.

Now, normally in one of these romantic triangle situations, our protagonist would be Ben. After all, he’s the one who needs to make a choice here, right? He needs to be active and decide if he wants to be with Alexis or Chloe.

But…

See here’s where it gets weird. Our protagonist is Alexis, but she’s technically the B in our “choose B or C” triangle scenario. So Ben’s the one choosing (the A), and she’s the one getting… chosen? See, that’s confusing just typing it out.

Plus, the only way I can make Alexis active in this situation is to have her do some, well, questionable things. If she tries to improve her relationship with Ben—all those normal romance beats like long talks and quiet dinners and shared passions—well, that kinda means she’s undercutting Ben’s relationship with Chloe. Which is a little tough, morally, no matter what we think of Chloe. And geeeeez, if things get physical to any level, well, now they both look bad. Alexis is making moves on somebody in a relationship. And Ben’s hooking up with someone else? I mean, how awful does Chloe have to be for us to be cool with him cheating on her? And if she’s not that bad, then… well, yeah, he’s a jerk. So why does Alexis want to be with him?

Yeah, okay, sometimes odd things happen between people in really specific situations. Everybody reacts differently to stress and fear and all that. Firm embraces may happen. Maybe even a kiss or desperate proclamation. But that’s a reeeeeeeeally fine line. Scary fine. It’s so easy for that situation to go from somewhat one-time excusable to what-the-hell inappropriate.

Y’see, Timmy, as I mentioned above, when Alexis is this point in the triangle, she isn’t the one with a choice to make. Not a real one, anyway. So she has two options. She can do nothing (which ends the story pretty quick) or she can try to disrupt Ben and Chloe’s relationship. Those are her only paths, as far as our plot goes, and neither of them is a great one from a storytelling point of view.

I think when writers make this mistake, they’re confusing the outcome with the choices that lead to it. We’ve all heard “the ends justify the means,” but this tends to ignore that the means I use also determines what kind of end I get. And more importantly, how we perceive those end results. There’s a bunch of ways Alexis and Ben can end up together, but a lot of those paths can make one (or both) of them into characters we don’t really like or care about. In some cases, we may even be actively rooting against them. Cause they’ll be horrible people.

Don’t worry about outcomes. Outcomes are the conclusion of a story. Think about the path to that outcome. The choices my character has to make in order to get there.

Because those choices are my story. They’re my plot. And if there aren’t any real choices, or they’re all being made by supporting characters, or they’re all just questionable, really bad choices… well…

I shouldn’t be shocked if people think it’s a bad story.

Speaking of stories and holidays, here’s a shameless reminder that ebooks and audiobooks make fantastic last-minute gifts. Have I mentioned those two anthologies that just came out? I’ve got a story in Joe Ledger: Unbreakable and one in The Reinvented Detective. And both of them have loose tie-ins to other work (hint hint hint).

Next time, I’ll probably do one of those annual round up/ list of accomplishment things all the cool kids are doing.

Until then, go write.

And have a happy and peaceful holiday season.

characterconflictholidayslovesextriangles
December 13, 2018

Holiday Triangles

            Well, it’s that time of year again.  Time to cue up that playlist of holiday music and pick out your stack of favorite movies.  Maybe you go a little more unconventional with your choices, maybe you stick to the classics, but whatever your flavor is, I’m sure there’s a lot of them.

            Hell, holiday movies are pretty much a solid, dependable genre at this point.  Just between Hallmark and Netflix, I think there’s forty or fifty new ones just for this year alone.  I worked on one ten years ago and it still gets heavy circulation.  People go nuts about the “plague” of superhero movies, but seriously—Christmas movies are the real machine.
            Anyway…

            We laugh at a lot of these and roll our eyes because they often feature some kind of painful romance.  And that’s what I wanted to talk about.  Where that awkwardness comes from and why these stories kinda keeps us at arms length rather than pulling us in.
            The standard Christmas movie goes something like this.  A young woman (it’s almost always a woman) falls for a guy who’s a few weeks away from getting engaged, married, etc.  The two of them have chemistry, while his girlfriend/ fiancé rages away at her job or as a larval Bridezilla or maybe just as a generally awful, awful person.  Eventually the guy comes to see the error of his ways and our two impossibly good-looking people end up together just in time to kiss on Christmas Eve.
            I’ve talked about this general type of romantic triangle once or thrice before, and before we dive in at might be worth going back and glancing over that real quick—it sums up the ground rules of how and why these triangles work.
            Y’see, there’s a really basic flaw in how a lot of these holiday movies set up that triangle.  It’s why they always come across as a bit weird and the protagonists always seem a bit… well, wrong.  And I think it’s one of those things that’s really easy for me to avoid once I see it all laid out
            Let’s use that basic structure up above for our example.  Our test story, so to speak.  Amy (A) has a meet-cute with Bob (B), who is in a relationship with Kat (C, just to keep you on your toes).  Amy and Bob have chemistry, Kat is bordering on (if not openly) awful and clearly wrong for Bob.  And it’s Christmas because… y’know, that’s when this always seems to happen.
            Now, normally in a romantic triangle situation like this, our protagonist would be Bob.  Bob, after all, is the one who needs to make a choice here, right?  He needs to be active and decide if he wants to be with Amy or Kat.
            But…
            Our protagonist is Amy.  And the only way I can make Amy active in this situation is to make her… well, kinda unlikable.  If she does anything to improve things with Bob—all those standard romance bonding moments like long talks and quiet dinners and heartfelt discussions about shared passions—it kinda means she’s undercutting Bob’s relationship with Kat.  Which is a little rough, morally, no matter what we think of Kat.
            And geeeeez, if things get physical to almost any level, well, now they both look bad.  Amy’s making moves on somebody in a relationship.  Bob’s in a relationship and hooking up with someone else.  I mean, how bad does Kat have to be for us to be cool with Bob cheating on her?  And if she’s not that bad, then… well, yeah, he’s a jerk.
            And, yes—sometimes odd things happen between people in really specific situations.  Everybody reacts differently to stress and fear and all that.  Firm embraces may happen.  Maybe even a kiss or odd proclamation.  But that’s a reeeeeeeeeeeeeeally fine line.  Scary fine.  It’s so easy for that situation to go from understandable and excusable to what-the-hell inappropriate.
            Y’see, Timmy, when Amy’s this point in the triangle, she isn’t the one with a choice to make. Not a real one, anyway. She has two options. She can do nothing (which ends the story pretty quick) or she can try to disrupt Bob and Kat’s relationship. Those are her only paths, as far as our plot goes, and neither of them is a great one from a storytelling point of view.

            I think when writers do this, they’re confusing the outcome with the choices that lead to it. We’ve all heard “the ends justify the means,” but this tends to ignore the fact that the means I use also determine what kind of end I get. There are tons of ways Amy and Bob can end up together, but a lot of them can be paths that make one of them—or both of them—characters we don’t really like or care about. In some cases, we may even be actively rooting against them. Cause they’re horrible people.
           Don’t worry about outcomes. Outcomes are the conclusion of a story.  Think about the path to that outcome. The choices my character has to make in order to get there. 

            Because those choices are my story. They’re my plot.  And if there aren’t any real choices, or they’re all being made by supporting characters, or they’re the wrong kind of choices, or they’re just all bad ones… well…
            I shouldn’t be too shocked if people think it’s a bad story.
            Speaking of stories, here’ s one last reminder that books make fantastic holiday gifts, and to maybe check this out if you’re having trouble affording things this year.
            Next time, I wanted to talk a little bit about time.
            Until then, go write.
challengecharacterconflictholidayslovesextriangles
June 15, 2017

Basic Geometry

            I wanted to blather on about challenges  today. Simple, basic challenges.  Well, a type that should be simple, but still gets messed up sometimes.             
            That challenge is called choice.
            We’ve all used or come across choice.  As I said, it’s probably one of the easiest challenges a writer can create.  Character A has to decide between two options (B and C).  It’s s triangle.
            Sometimes these choices are tough. Sometimes they’re not. Sometimes 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.  There can also be an opportunity for some character growth in there.
            You’ve probably heard of romantic triangles.  It’s one of the most common ones out there.  A is dating B, but then comes to realize C is their real soul mate.  Maybe Dot is engaged to an antagonistic jock, but can’t help falling for the free-spirited 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 common one is “work vs. family.”  Will Wakko choose to spend the weekend with his family or working on the MacGuffin account?  There are a few versions of this.  Sometimes it’s family instead of friends.  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 fantastic because they’re a very simple plot and framework that we can all immediately relate to and understand.  They make for easy subplots in novels, and in short stories or screenplays they can almost be the entire story.  This is one of the reasons we keep seeing them again and again and again.
            However…
            Simple as they are, there are still a few basic rules to a triangle.
            Actually, that’s a lie. There’s only one rule.  Triangles are so simple there’s just one rule to making them work.
            We have a triangle because there’s A, B, and C.  Three points.  If I toss out one of these—let’s say B—then I’ve only got two points. That’s a line.  Our structure is just A to C now.   
            Let me expand on the examples above…
            Wakko is so obsessed with landing the MacGuffin account that he misses his daughter’s karate tournament, his son’s piano recital, and the anniversary party his husband arranged for their best friends.  But Wakko keeps at it because this promotion will put him in a key position for the next account, and that’s the big one that’s going to put him in the corner office and change their lives. 
            The stress of all this is too much, though, and Wakko snaps.  He screams at a client.  When he’s called on it, he even yells at his boss and gets fired.  But after a week at home with his kids and husband, he realizes this is where he was supposed to be all along, with his family.  They may not be filthy rich, but the film ends with all of them happy together.
            Or what about this one.  Dot’s a painter-turned-graphic designer engaged to a square-jawed former quarterback turned TV producer. He’s crass, he’s mean to every waiter, and he undresses every woman he meets with his eyes—even when Dot’s right there with him.
            Then she meets their potential caterer, a free spirit who does watercolors and incorporates his talents into his food.  They talk art.  They talk careers.  They have a casual lunch and talk more art.  When Dot comes home early one night and catches her fiancé with his secretary (who he’s decided to marry instead for… reasons), she finds herself calling the caterer.  And suddenly, Dot’s heart is fluttering like it hasn’t in years as she realizes this is the person she’s supposed to be with.
            Do both of those examples feel a little… lacking?
            Y’see, Timmy, what happened in both of them was that character A never really did anything.  Once B was eliminated, there wasn’t anywhere to go, story-wise, except with C.   Character A didn’t make a choice, they just went with what was left. 
            Make sense?
             B and C both have to remain valid choices.  My story has to maintain that triangle up until the moment of choice.  B can still be a bad choice, but A has to actively realize that and then decide to go with C instead.  Once that’s happened, I can get B out of the picture, but not until then.
            If not, ending up with C isn’t a triumph.  It’s a consolation prize.  Which I’d guess isn’t terribly satisfying for C.
            Or for the readers.
            Next time….  Next time’s going to be golden, that I can promise you.
            Until then, go write.
challengeconflictlovestorystructuretriangles
February 9, 2017

Love Is All You Need

             Yes, it’s that time of year again.  The time when a young writer’s fancy turn to thoughts of…
            Well, getting published, usually.
            But, that aside, there’s romance in the air this weekend.  And everyone loves a good romance because, pretty much across the board, we’ve all either been in love, are in love, or want to be in love. It’s a wonderful feeling.  Heck those first few months of giddy romance are just fantastic, aren’t they?
            Love is great because we can relate to it.  We believe in it.  For the most part, we enjoy seeing other people in love.
             (except when Wakko started dating Phoebe… those jerks… hate them so much…)
            If those three traits sound familiar—relatable, believable, likable—it’s because I’ve mentioned them two or six times as the traits of good characters.  So a good romance can be a powerful tool in a story, because it immediately grounds one or two of my characters.
            However…
            Have you ever read a book or watched a movie where, with no warning, two characters start professing their mad love for each other?  No preamble, no chemistry, they just suddenly  start flirting and making long-term plans.  None of us likes emotional fakery, and few things can sink a story faster than a pasted-on love interest.  It makes us roll our eyes while reading books and laugh while we’re watching movie.
            So, let’s revisit a few simple rules that can help craft a love story for the ages…
            The First Rule—  Okay, like I was just saying, love needs real emotions, and I can’t have real emotions without real people.  And real people, oddly enough, act in realistic ways.  Note that I said realistic—not rational.  Love is one of the most bizarre, irrational things most of us will ever encounter in our lives. 
            If my characters are real, though, they’re going to have needs, desires, plans, and tastes.  And it’ll stand out if they make choices that go against those traits.  Yes, opposites attract—they even have a lot of fun together—but if we’re talking about real emotions, odds are these two are going to have more in common than not.  To put it another way, the career-minded Army officer probably isn’t going to make serious long term plans with the quirky socialist musician.  Although… maybe she used to play guitar or violin, and he reminds her of another path she could’ve taken.  Having past conflicts and secrets can make a character seem real, too.
            Even then, how far and how fast they take things should be consistent.  Some folks schedule every hour of every day, others live in the moment.  People can be confident or nervous, experienced or awkward.  For some folks it’s a huge moment to have that first cautious, fleeting kiss on the third date, and other folks are in the parking lot tearing each others clothes off half an hour after they meet.
           Simply put, my characters need to be believable if their relationship is going to be believable.
            The Second Rule—  Quick show of hands.  Who’s ever been in a situation where someone’s been trying to push you into a relationship?  Maybe it’s friends or coworkers.  Could be the person you’ve been on one date with.  Hopefully it’s not relatives, because that’s always kinda… weird.
            Regardless, the result is it makes us want to get away from the object of our potential affection.  Nobody likes feeling forced into something, and so we don’t enjoy seeing other people forced into things.  That’s just human nature.
            Now, for the record, “someone” includes me, the writer.  Characters need their own motivations to get into a relationship.  I can’t just have them do things for the convenience of the plot.  If I’ve based my whole story around the folklorist and the soldier saving the villagers because of their mutual respect for each other, then I need a real reason for them to get together, because they’re real people (as mentioned in the First Rule). 
            And no, the reason can’t be something like “because they need to face Demosthenes the Elder-Lich in the third act.”  It also can’t be “I need a sex scene to hold people’s attention.”  If this is the basis of Wakko and Phoebe’s relationship… well, they probably won’t be celebrating any major anniversaries.  Not with each other, anyway.
            People get together because they want to get together, not because other folks think they should be together.
            The Third Rule – This one could actually count as real-world advice.  Don’t confuse sex with love.  There are lots of points in a story where it might be completely acceptable for two characters to have sex.  We’re all mature adults here (well, mostof us) and I’m willing to bet most of us have had sex with someone we weren’t madly in love with at that moment.  Or at any point later.  Simple fact—sex is fun.  It’s a stress-reliever.  It lets us avoid thinking about other things.  Heck, it can even keep you warm.
            However… sex doesn’t always translate to love.  In stories or in the real world.  If my two characters fall into bed (or onto a couch, up against a tree, on a kitchen counter, etc), I need to make sure I’m clear what it means for both of them.  Forcing something casual into something serious will just read as forced (refer back to the Second Rule).
            So… sex and love are not the same thing.  Don’t forget it.
            The Fourth Rule— This is a tough one, because Hollywood keeps trying to tell us otherwise.  How often in movies can you immediately spot “the love interest” as soon as s/he is introduced?  It doesn’t matter what kind of film it is or what’s going on, it’s easy to pick out him/ her the first time we see them.  You may have heard this moment called the “meet-cute,” usually in screenwriting circles.
            Y’see, Timmy, the simple truth is…  romance doesn’t always fit in a story.   Someone could be fighting for their life, painfully wounded, or so scared they’re a moment away from a heart attack.  Maybe they’re already in a relationship with someone else.  Maybe they just have no interest in a relationship—emotional or physical.
            Forcing a relationship in these situations also risks making one or both characters seem very unlikable.  There was a television show a few years back where a police officer was presumed dead and in hiding, but kept sneaking off (in his new identity) to check on his wife and son.  Thing is, he was also spending a lot of time with this sexy blonde contortionist (no, seriously) and there was a lot of, shall we say, tension between them.  And chemistry.
            Thing is, this made the officer a very hard-to-like character.  Is he cheating on his wife?  Or has he moved on and found something new?  Is he sympathetic or a heel?
            Similarly, I read a screenplay once where the two protagonists start feeling strong urges toward each other while they’re searching for the woman’s abducted daughter.  Not years-back abducted, mind you—four hours ago abducted.  But, wow, doesn’t this private detective have great arms and his eyes are soblue…
            In ten words or less—sometimes it’s just not going to happen.
            So there are the rules.  Now go forth and spread the love.
            Where appropriate.  Don’t be that guy.  Or woman.
            Oh, and before I forget, this Sunday is the Writers Coffeehouse at Dark Delicacies in Burbank.  If you happen to be in the Los Angeles area, please swing by and join us as we talk about writing, publishing, and all the different areas they overlap.
            Next time we’re back here, I’d like to talk to you about a couple of ideas I’ve had.
            Until then, go write.
characterlovesextriangles

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