The growth of original series on streaming video services and cable has resulted in an explosion in the demand for scripts and "pitches" for series, not to mention movies, many of which never end up getting produced.Nevertheless, many of these scripts, as diverse as they are, follow the same basic formulas. One could argue that a "formula script" lacks creativity...but creativity actually resides in how new it feels, i.e. what is different, as opposed to what is similar to other uses of the formula.
Here are three storytelling formulas that we see over and over, including one that I consider to be particularly troubling:
1. The Hero's Journey.
In the 1940s, Joseph Campbell studied myths from many cultures (mostly Western) and found common elements. A young reluctant hero is called to a journey that takes him out of his ordinary experience and discovers a villain or threat to which he has a hidden connection. He has fellow travelers who help him as he is tested, and an older mentor. The older mentor is taken away, and the young hero most stand up to the villain alone, eventually triumphing and returning to his ordinary life.
Star Wars, Harry Potter, and Lord of the Rings are all basically this same "Hero's Journey" story. Even the original Die Hard movie used a lot of elements from this formula.
Because this formula is so familiar, writers use it all the time, or at least elements from it. The familiarity allows readers/listeners/viewers to easily engage in the story.
2. Save the Cat
Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
was published in 2005 and rapidly became the "bible" for many movie writers. Save the Cat software is even available to help writers structure their story to Snyder's sequence of "beats." If you know what to look for, you can find these "beats" in many movies and even TV shows.
At one level, Save the Cat is an interpretation of how to translate Joseph Campbell into visual storytelling terms. At another level, it allows writers to make use of the psychology of the audience in terms of primary and secondary (A & B) stories, major milestones in the plot, and pacing.
Follow those links and you may be surprised.
3. Dystopia
Dystopia is the opposite of Utopia. In dystopian stories, times are dark, there is little hope, and people are generally bad. Such stories are often set in the future, with totalitarian governments, dehumanized citizenry, rampant crime, and environmental disaster. Brave New World, 1984, and Lord of the Flies were dystopian, but in the last decade, we have been deluged by dystioian settings for movies, books, and TV shows. Sometimes the heroes are admirable, but sometimes not.
Science Fiction writer and futurist David Brin has call dystopian stories lazy, cliched, and cookie cutter. They are easy stories to tell, resonate with conspiracy theory and suspicion of authority, and they often do not require nuanced characters, which makes it a lot easier for the writers to create.
What does it mean?
The main goal of the movie, television, and publishing industries is to make money. To make money, they need to produce content that audiences will buy.
That is why so many stories today follow the Hero's Journey, Save the Cat and Dystopian structures. They resonate with people and gain acceptance more easily than some unusual storytelling approach, but to their foundation of familiarity.
The question media critics and even psychologists must ask is how these stories affect our psyches. The media has incredible power to influence people's perceptions and actions. Heroes, like Luke, Harry, and Frodo, may well subtly influence people to do what is right in the real world, not just what is easy.
But how about the modern dystopian orientation of story after story? Does it subtly influence people to see conspiracies everywhere, distrust authority, accept thoughtless ideology, and expect people to conform to the dictates of the perceived majority?
Waves of dystopian fiction usually come during times of social unrest and war. Brave New World, 1984, Fahrenheit 459, and Animal Farm all stemmed from the Cold War and deep concerns about communism. Today's stories are written against a background of seemingly endless war, unstoppable terrorism, and fake news.
This recent New Yorker article suggests that for every present-day dilemma, there is a dystopian novel to match it, and that the resulting "radical pessimism" has resulted in the unravelling of trust in science and the weakening of a commitment to political pluralism.
I think that dystopian story after dystopian DOES affect our national mood and makes "the ends justify the means" more and more acceptable, when it shouldn't be. So if the "heroes" are unlikable and do unethical things to each other, don't expect me to watch.
