Wednesday, September 28, 2005
Too Stupid To Live Heroes / Heroines
Sometimes this phrase is shortened to TSTL. Some, like Jennie Crusie, call it Too Dumb To Live (TDTL). The point is the hero/heroine does something that in the real world would get them or someone else dead... but in the story, it doesn't, because he/she is the main character. If the main character dies, the story would most likely be over. Or at the very least, the ending would probably be a major downer.
It's realistic for heroes and heroines to make mistakes. The ability to make bad choices are a part of human nature. But smart main characters learn from their mistakes and change their behavior accordingly. That's why such bad choices are best utilized in the beginning or middle of the story. Give the characters time and opportunity to learn better, and demonstrate their improved judgment through corresponding action at the end.
A bad choice, particularly the last in a long string of bad choices, at the climax is not likely to win cheers from the reader. Particularly if the bad choice produces a good result. The reader will probably feel art isn't imitating life closely enough to suspend her disbelief and buy into the resolution.
TSTL heroes and heroines are mainly guilty of insufficient motivation. Often, they rush in where angels fear to tread, with a strong emotional motivation--but weak or nonexistent external motivation. For example, the heroine is stalked by a madman. The hero and police tell her to stay inside the house with the windows and doors bolted shut. An hour later, she takes chicken soup to an elderly neighbor who's sick, because the heroine is compassionate and doesn't want the bad guy controlling her life.
To save this heroine the dishonor of a TSTL award, the writer needs to provide her with compelling external motivation. Maybe while the heroine's waiting for the cops to nab the stalker, her elderly neighbor calls up sick and passes out on the phone. The heroine uses her cell phone to alert the paramedics, but knows from a previous experience it will take at least ten minutes for them to arrive. The neighbor's grandchild comes on the phone and starts screaming, "She's dying!" The heroine has medication, which could save the old woman's life, and she's as close as next door. Plus, she has a weapon...
The main thing is the smart heroine who earns the reader's respect doesn't disregard danger. Most of all, she doesn't disregard good common sense. The reader wants to identify with a character who approaches problems courageously and intelligently.
It's realistic for heroes and heroines to make mistakes. The ability to make bad choices are a part of human nature. But smart main characters learn from their mistakes and change their behavior accordingly. That's why such bad choices are best utilized in the beginning or middle of the story. Give the characters time and opportunity to learn better, and demonstrate their improved judgment through corresponding action at the end.
A bad choice, particularly the last in a long string of bad choices, at the climax is not likely to win cheers from the reader. Particularly if the bad choice produces a good result. The reader will probably feel art isn't imitating life closely enough to suspend her disbelief and buy into the resolution.
TSTL heroes and heroines are mainly guilty of insufficient motivation. Often, they rush in where angels fear to tread, with a strong emotional motivation--but weak or nonexistent external motivation. For example, the heroine is stalked by a madman. The hero and police tell her to stay inside the house with the windows and doors bolted shut. An hour later, she takes chicken soup to an elderly neighbor who's sick, because the heroine is compassionate and doesn't want the bad guy controlling her life.
To save this heroine the dishonor of a TSTL award, the writer needs to provide her with compelling external motivation. Maybe while the heroine's waiting for the cops to nab the stalker, her elderly neighbor calls up sick and passes out on the phone. The heroine uses her cell phone to alert the paramedics, but knows from a previous experience it will take at least ten minutes for them to arrive. The neighbor's grandchild comes on the phone and starts screaming, "She's dying!" The heroine has medication, which could save the old woman's life, and she's as close as next door. Plus, she has a weapon...
The main thing is the smart heroine who earns the reader's respect doesn't disregard danger. Most of all, she doesn't disregard good common sense. The reader wants to identify with a character who approaches problems courageously and intelligently.
