Today we are once again joined by the ever-eloquent John Adamus who holds no punches when he’s asked what he really thinks about something. Together we dive into the world of comics and movies and how they almost all have 3 key pieces involved and how you can use them for your writing. Enjoy the slightly controlled chaos as we break down Batman story structure and the many renditions of his story that have been told.
- Batman is the best example of this storytelling structure, as each era of Batman centers in a specific corner.
- The story begins with one corner of the triangle and moves around in one direction or another.
- A set of forks in the road that overlap and form a triangle.
- Can’t Unsee Fun Fact: Harrison Ford falls with his knees together.
- The triangle is compelling because the premise is already interesting whichever corner you begin in. The potential is the motivator.
- If you start happy, you’ve gotta lose it, then get it back. (Smurfs, Unicorns, and Whatever.)
- Rage = “Feeling Something” (an emotion that can sustain almost 80 years of Batman stories).
- The details, such as Batman assembling the Bat Computer, are skipped over because the inciting incident grounds the story.
- At what point does retelling the story make it cliché? Do we have to be shown the parents are dead? The pre-tinned starter kit limits the story telling potential.
- Lead the audience to a point where they can be taught what they need to know specific to that story. Move them, make them feel something, then use the structure to learn your style of story.
- You tread that common ground because it makes the reader feel a certain way.
- A person is not their resources: what happens if you take away their tools? Establish the character’s core and essence.
- You take away the tools of convenience, and his victory is far more earned. You really get to the essence of the character.
- We’re all one wheel, and that wheel’s name is Sam Elliot.
- Individuate between your characters with levels of likability which can appeal to different audiences. Don’t tip your hand that all jerks are antagonists. Persistence and consequence define character.
- Provide the character the thing they want to break the cycle, or lean into until you fall over. Anything else is going to feel inconclusive.
- “Maybe I want to be Sam Elliot.”
- “Kryptonians were total dicks.”
- “You never forget your first Zod.”
- “You like being Batman more than you miss your dead parents.” (Take Brian’s money and make that story.)
Beeteedubs: Brian got dibs on the band name Literary Rhomboid
Noir by Christopher Moore
- For our next Adamus Day, what movie would you like to see us discuss to save Brian from Jupiter Ascending?
- Do you want to be Sam Neill or Sam Elliot?
- Remember to leave a review in iTunes for a chance to win one of Rekka’s Audible codes to enjoy her novel, FLOTSAM.