Hey, guys.
I'm interested in knowing what makes people tick, so to speak, so as writers, I figured we all (most of us, rather) have some recurring elements in our works - some personal trademarks and tropes to which we feel instinctively close that codify our literary exploits as our own. Since I came up with this topic, I'll start (quoting TV Tropes where appropriate):
Grey & Gray Morality -
Moral ambiguity is a big one for me, since in real life, none of us are completely heroic or noble (although there is a small percentage of us humans who are completely evil).
Sliding Scale of Idealism versus Cynicism -
Usually the latter, although I will shift the story towards the former when a character has a "Eureka!" moment.
Multinational Team -
This is another big one, since English is not my first language. I ensure that most of my characters speak at least two languages in order to give the story a more international appeal.
Those 2 Guys -
Usually an Italian and a Russian character are the typical combination in my works, although I do mix things up a bit every now and then but ensure the two characters in question are seldom apart, usually serving as audience surrogates and/or major players.
Bittersweet Ending -
I'm not one for happy fairytale endings, since my stories are usually grounded in a semi-realistic world, but when I am in a good mood, I will usually go for this trope, if not downright make the characters Earn Their Happy Ending.
Not So Different -
Tying in with Grey & Gray Morality, two characters who are on opposite ends of the legal and/or moral spectrum may come to realise this, but their ethical alignments prevent them from joining forces.
Mighty Whitey & Mellow Yellow -
I love to rip apart this trope, big time. I consider myself a Euro-Mediterranean (Italian - northern mother, southern father, with some Spanish and Greek) and as such, am technically multiracial, so to call my leads "white" is a subversion. The usual combination is an Italian male and Japanese female (I speak some Japanese and Italy and Japan have historically strong ties - not to mention, anime/manga is popular in the Land of the 3 P's - Pasta, Pizza and Polenta). Both characters look out for themselves and each other, and can handle themselves (for the most part). Plus, it makes a nice change when it comes to interethnic relationships.
Bilingual Bonus -
In my scripts, due to the international cast of characters, it is inevitable that they will speak their own native languages at some point in the story (which I tend to colour-code, with a note for the first time each language is spoken). Besides, it never hurts to know more than one language. :)
High-Tech Hexagons -
Who doesn't love hexagons? They look cool (much cooler than squares and less intimidating than triangles), they make anything look sci-fi and futuristic and they're perfect for building with.
Colour-Coded for Your Convenience -
My characters typically wear different coloured clothing (usually a single colour or a pair of contrasting colours) to help denote their personalities and to give the audience a clue as to what type of role they play in the story, as well as what kind of character they are (primary, secondary or minor characters). Also ties in with Rule of Symbolism (another one of my favourites, since I tend to be quite abstract and ambiguous).
Wow. That was a mouthful. If you like this, then please feel free to share your ideas and thoughts, and if you, too, have any literary idiosyncrasies of your own.
Yours truly,
S. P.
3 people like this
I challenge a character’s self belief and the. punish them for failing. In my stories people succeed for staying true to the core values. Even if their core value is being a murderous drug dealer.
2 people like this
That was such an interesting read, Stefano. Thanks! Best lounge topic I’ve read in a long time! Hm. I am thinking about your ‘two guys’ trope - do I do that? Also the international ensemble....it’s in my head but I don’t specify ethnicity in my specs, maybe I should? I also tend for idealistic over cynical in my character arcs...life is shitty enough as it is so why not make entertainment lightening? Also I’m just naturally idealist and optimistic. And the bittersweet ending, although that seems to counter the optimism thing, yeah I always write a bittersweet ending...it’s more real and sets up for subsequent episodes or features. Other tropes Ive realized I rely on is the ‘token black army guy’ who has a higher moral standing than the other army guys. I was embarrassed with myself when I realized I’d done that. Why not make all my characters black? We write what we know and I’m pretty white, I guess. I’m also a world-builder and I always try to reshape current reality in a way that is more extreme, usually more feminist or more magical. Thought provoking topic. Thanks!
2 people like this
Neuroticism, absent parents, and rites of passage.
1 person likes this
At times I like to write out of chronological order. Helps to change the mood of a traditional story. As a horror author I also like to make the protagonist seem to be strong but quickly point their weaknesses.
2 people like this
Characters struggling to control their own destiny.
1 person likes this
Thanks for posting, Stefano!
My screenplays mostly feature ensemble casts, and most of the characters are musical people.
What's more, they're sick and tired of being marginalized.
3 people like this
Stefano Pavone I'm with Sarah Gabrielle Baron - this is a great topic! Really made me think about my stories and if I even do have any recurring tropes/themes.
Why yes, yes I do. :)
Pushing a character beyond their comfort zone. Most of my stories have a MC that doesn't believe he/she is up to the task before them, but tries anyway and learns they can do more than they thought.
Also, redemption is a big theme with me. Making it appear that a character is so far down that there's no way they can redeem themselves, yet they do (most of the time).
Finally, the struggle between fate and free will. Are our paths predestined, or can we choose?
Wow, learned something about myself today!
My work, screenplays and novels, have a recurring theme: The bad guys (even ones that do horrendous things) are actually misunderstood good guys.
From what I've written so far, it's troubles/violence within family and woods....my last two stories are also set or about confined space.
1 person likes this
I feel like each of my central characters inevitably grapple with some kind of huge loss, whether that's the loss of a parent/parent figure, a life that they once knew, or a dream that they've been desperately trying to hold onto. Incidentally, I second Nick's general learning/growth-thing, and feel like there's always some kind of middle finger thrown to "this is the way things are because it's how they've always been".
1 person likes this
I try to aim for having a moral to the story (because I feel a lot of films don't have that on purpose lately) that is there but that it doesn't overtake the story. Unless I'm writing a comedy, to which I'm like, "To Hell with a moral, let's just figure out the blue-to-white collar ratio and run with it". Lol