Life of a Stick

Story Lessons from a Hero

I recently finished watching the TV series Heroes. I’ve always been a fan of superhuman abilities — flying, shapeshifting, super strength. Seeing a world and its stories with these concepts was interesting, especially since it had a “real world” touch on it.

This blog post is specifically about what I learned about writing and story/character design from the series. Mostly because of the parts I didn’t like, and the parts that were downright painful to watch.

First, the character’s motivations.

Often times, the character’s goals and motivations were unclear. From what I can tell, they were trying to make the characters more “human.” The evil was done for good reasons, the good could do bad things. But most of the time it came off to me as characters being indecisive or flip-flopping.

I previously wrote a blog post about How To Make Goals Work For You. The point of the post was to say that every action people make has a goal or reason behind it, whether the person making the choice is aware of what their goals are or not.

In the real world, people’s goals flop. Often they don’t have a solid vision on what it is they want at all times. They fall prey to temptation, they change their mind on a whim. Not everyone is like that, but it’s something that happens in real life. It’s not something you see often in movies and stories — unless it’s specifically portrayed as such — because it’s confusing and makes it difficult to understand the person. I had trouble understanding a lot of the characters early on because their motivations weren’t explained and kept changing.

To reiterate, the lesson here is simple. A character needs clear motivations and goals. We need to know what they’re fighting for. Their goal may even be to find a goal, or to stay with a goal they want. Without that, the story turns bland and lifeless.

Deliberate missing goals? With secondary characters, the main bad guy, or if you’ve got a dozen main characters? Keeping a few a mystery is fun and interesting. Gives you more to reveal later. But it needs to be a deliberate choice, and it needs to be designed so it works.

Second, goal depth.

If someone has a goal they don’t want others to be aware of — they’re trying to hide their goal — they do an action that works with multiple goals in mind. You then need to see multiple actions of theirs in order to cross-reference what their actual goals are.

Let’s say there are three levels of motivation/goals that a character may have: Surface, Underlying, and Secret.

A surface goal is exactly what it appears to be — a very obvious goal. Someone is hungry, they go and buy a burger.

An underlying goal is something that’s not so obvious. Someone is hungry, so they grab some peanuts to snack on. But they’re allergic to peanuts, so their underlying goal could be attention, suicide, or whatever else the writer thinks is interesting enough to write into the story.

A secret goal is where you end up with twists in the story, as a secret goal is never properly revealed until it’s too late (or just in time, if it’s a happy ending).

Third, communication and intelligence.

Many parts of Heroes felt like the writers said, “this event needs to happen,” and then they threw a couple characters together to interact, and made sure they didn’t say just what needed to be said to resolve their conflict, and had them fight or separate on poor terms.

It was downright painful to watch.

A single sentence could have solved everything, but the character would say everything but what needed to be said.

This problem plagues Walking Dead even more than it plagues Heroes. It makes perfect sense in Walking Dead — it’s dripping with emotion, and emotion can cloud logic and result in some bad choices. You’ve also got the aspect of children, or simply low intelligence players. But in Heroes people aren’t trying to survive in a hopeless situation, they’re being heroes. Most of them are educated, skilled adults that are failing to accomplish basic communication.

That kind of thing may work for other people, but it’s idiocy to me, and ruins my enjoyment. It breaks the fourth wall as the motivations of the writers, rather than the characters, becomes visible.

Lastly, revealing information to the viewer.

While not specifically a lesson learned from Heroes, when dealing with characters and their underlying or secret goals, then what parts you show to the viewer, and when you show them, becomes very important in order to tell a good story.

The writer’s goal, in my opinion, is to entertain two classes of people. Those that appreciate what’s visible immediately on the surface, and those that enjoy digging deeper.

The surface goals are things you can’t avoid showing. They’re the ones that tell the story. But a pattern of surface goals can point to an underlying goal a character may have. Internal motivations that people can notice. Hints can even be sprinkled about to make it a little more obvious when it needs to be.

And your friend who shouts, “I knew it!” when the twist happens, but you had no idea anything like that was going to happen? He’s the guy who enjoys solving puzzles. Believe it or not, you were watching two different movies.

One Response to Story Lessons from a Hero

  1. The Outsider says:

    This is essentially Storytelling 101.

    It’s also one of the things that writers as a whole tend to forget, especially in regards to motivation and the communication bits.

    There’s been alot of situations that I’ve seen where things could have been easily resolved if someone had simply just dropped a couple sentences, but it never happens. Those are the most obvious places where you can tell that writers have their hand on the paper. It’s also poor craftsmanship in my opinion.

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