Sometimes, usually about 3.14 in the morning, I find myself imagining the story is wind filling the plot sail. When the wind’s blowing strongly, the sail is full and the film rattles along at a beautiful pace, skimming the waves of … um … I don’t know, character? Interest?
Yeah, okay, I haven’t really thought this through.
When the story wind is blowing, the plot sails are full and all is well. But what happens when you need the story to take a sudden left turn? On a sailing boat …
I know nothing about boats. Why am I making an analogy using boats?
On a sailing boat, when you need to change course … well, I guess you can steer a bit with the rudder (or is it a tiller? What’s the difference?), but presumably that only takes you so far and there’s a point where you need to come about?
I think that’s what it’s called, when you turn into (or away from?) the wind enough for the sail to no longer function and you need to move the … back end of the sail to the other side so the wind fills the other side of the sail.
An experienced, competent writer/sailor can come about (if that is what it’s called?) with minimal flapping and no loss of forward momentum. Bad story telling, to me, is when the story takes a left turn or has a false ending a half hour or so before the actual ending and the plot just flaps about for a bit.
I don’t like that sort of thing.
Except when it works, then I love it.
Ideally, I think the plot sail should stay taut and keep the boat surging forward. Bits of plot flapping around just annoy me. For example:
The character’s inner need/goal should be achieved at the end of the film. Not in the middle. Or after ten minutes. There shouldn’t be a point at which the character achieves everything they wanted … but there’s still forty minutes of movie left, so he/she has a cup of tea and then toddles off to solve the problem without any personal issues or emotional engagement.
Similarly, I don’t like it when there are two stories which have no connection. A plane crashes on an island inhabited by vampires – they have to fix the plane before nightfall!
That sounds cool.
They fix the plane by four in the afternoon on the first day, they have no idea the island is inhabited by vampires so they decide to have a spot of lunch and a swim and they’ll take off in the morning … oh no! Vampires!
That sounds less cool. To me anyway.
I don’t like it when the first story is properly resolved and everyone’s just hanging around waiting for the second story to kick off again.
Although, having said that, I can envisage a kind of Father Ted tone where they realise there’s vampires on the island, race to fix the plane … and manage it in plenty of time. “Gosh, that was easy.” says the protagonist “Can you imagine how terrible it would be to get stuck on this island with all these vampires after dark?”
And then there’s an eclipse.
I can see someone being able to make that work … but outside of knowingly parodying bad storytelling … just don’t let the plot sail flap around. Keep it tight and full of story wind so the boat of … something … um … I wish I hadn’t started this now.
Analogies … make sure you’ve thought them through before you start writing them down.
Do what you like.