Series and Psychopaths—The Author Sadist & Why Audiences LOVE the Pain
Hubby and I are now careening through Hannibal, which is some of the most amazing writing I’ve ever seen. I would have never believed any actor could even rival Anthony Hopkins’ portrayal of Dr. Hannibal Lecter, but…? Mads Mikkelsen might actually be better. I don’t know if I have ever felt so conflicted about a character. Hannibal is a stone-cold killer, but then I catch myself rooting for him?
Wait…no, he’s the BAD GUY. Right?
I’m so confused *head desk*
Yet, this series is such a prime example of why series are superlative storytelling. Instead of containing a character like Lecter to 90-120 minutes, we now have what no movie can offer…TIME. This allows for a layering, a depth, an exploration we always craved, even if we weren’t entirely aware of it at the time.
I find it harder to make snap judgements (like I do in a movie) because just about the moment I am horrified by Lecter, he has another scene where he is kind, compassionate, supportive (um, psychopath?) and I’m back being conflicted.
Much like that guy I dated when I was 21 😉 .
Right about the time I was sure he was a jerk I never wanted to talk to again, he’d show that side I’d fallen for and I’d give another chance.
So yes, the writers of this show are master manipulators and play (at least my feelings) like a violin. They keep pushing buttons, enticing our innate human curiosity to understand WHY? Like a dangerous snake that fascinates us, we are staring, tapping at the glass and enamored (conveniently forgetting the snake just ate a cute little mouse earlier).
For me, this series is more than superior storytelling. In ways, the writers have done a masterful job of placing the viewer in the role of those who deal with psychopaths. It’s like being on a roller coaster, experiencing the thrill of near-death but without the real danger. And isn’t that what superb writing is all about? Offering a slice of danger for the audience to experience and explore from safety?
Series Are Taking OVER
I refuse to watch any show that doesn’t have at least two seasons complete, namely because, if I like a new show? Apparently it spells its DEATH for the new show. Thus, I don’t like getting too attached. I wait, then inhale an entire season a day.
Don’t judge. I know you do it too O_o.
I feel that series, complex series, are actually the way of the future (and have felt this way since roughly 2004). There’s a fantastic book that explains why, called Everything That’s Bad for You is Good (and I strongly recommend it). In a nutshell, popular opinion seems to be that, as a society, we are getting DUMBER, spiraling toward an Idiocracy.
In the face of Honey Boo-Boo and The Bachelor, it’s tough to argue. But those shows are mindless brain junk food, and thus we’re comparing apples to oranges when we place them next to Breaking Bad or Walking Dead. Those other shows aren’t storytelling. Don’t tell The Real
Harpies Housewives of the OC.
From Big Screen to Small Screen
When I was a kid, all the best actors (acting) were on the big screen. To see an actor go from movies to television was a clear sign
she needed to stop doing drugs fire her agent her career was likely over. Television equaled death. Now? We see the opposite.
I’ve all but given up on most movies. They bore me into a coma. Most are abysmally predictable or just showing off CGI skills instead of telling a great story. My opinion? Television is now where we are seeing the most successful stories and the most talent (been that way for a while).
But Again, Why IS That?
Audiences, despite what people might want to believe, have become far more sophisticated. If we had a time-machine and could transport an avid TV fan of Gilligan’s Island to 2014 and sit him in front of Game of Thrones? His head would explode.
Anyone got a squeegee?
Modern audiences love a complex plot, numerous story lines, and obscure references. We want a large cast to fall in love with or hate.
We watch certain movies/shows over and over because there are jokes, innuendo or backstory we missed. Seinfeld is a great example. Every episode had its own plot and humor, but if one hadn’t watched the other shows there were a lot of jokes one simply would NOT get.
Shows like Seinfeld were revolutionary this way. It had never been done before. I Love Lucy was all contained to each episode. Every episode stood alone.
The greatest comedic writing out there is great primarily because of the obscure wink-wink-nod-nods to other iconic movies. For instance, I LOVE, LOVE, LOVE Scary Movie 5. But if you aren’t a horror fan, it won’t be nearly as funny. Same with Tropic Thunder. One has to have seen Platoon, Apocalypse Now, Tears of the Sun etc. in order to understand the movie and “get” the jokes.
The Simpsons, South Park and Pixar employ a similar tactic by threading pop culture references into the stories.
Finding Nemo has to be one of my all-time favorite movies. Now, The Spawn has loved this movie since he was two. There is a level of humor that renders a toddler a quivering puddle of giggles. But, at a higher level what adult hasn’t lost it in the Shark
AA Fishaholics meeting scenes? A toddler has no concept of a Twelve-Step Program, and yet as adults? WE GET the reference and so it launches the humor over the top.
These factors are why many of these movies (or series) are worth buying. We see something new every time we watch. We peel back a new layer, spot a new subplot, finally “get” that double entendre. We can rewatch Battlestar Galactica with a fresh set of eyes and see new territory.
Modern audiences are growing increasingly sophisticated and they long for the mental challenge of keeping up. One can watch BSG and have to recall some detail from ten episodes earlier. We LOVE the mental challenge and this is why the big screen won’t last for the adult audience. The main factor working against movies is TIME.
Most people are pushing it to sit through a three hour movie. A screenwriter, director can only do so much plot or character development in three hours or less. Compare this to a TV series with a hundred hours. We have the time to get to know more characters, more backstory, more subplots and our brains crave the challenge.
How does George R.R. Martin use Twitter?
He has 140 characters and everyone DIES 😀 . *bada bump snare*
Ah the Setback
Every setback is an opportunity for an even greater comeback. This is largely why series are becoming HUGE. With a series there is, bluntly, more time and more opportunities to 1) generate love and affection for a wide cast of characters and then 2) torture them then 3) wait for the comeback. Some of the finest series out there will wind your nerves so tightly you feel like you need a drink and a Xanax to get to sleep.
WHAT IS GOING TO HAPPEN?
Is Starbuck alive? Dead? Is she real? A Cylon? Ok, I can sleep WHEN I’M DEAD *clicks for “Next Episode”*
The same urges that drive viewers to lose an entire weekend or night of sleep dying to find out what happens on a show (or video game *cough* Gears of War) is the same phenomena that is driving series and novellas to greater popularity.
Fiction is the opposite of functional sanity. Normal human beings seek to maintain peace and healthy relationships. We are NOT NORMAL (in case no one has yet broken the news to you). Our job as
good great epic writers is to maim, torture, crush and kill. We are emotional, deeply empathetic, loving and caring creatures…but we writers are also kinda psycho.
To write great stories, we have to channel some sadism. The relationship between author and audience is actually pretty toxic, but it’s the only “toxic” relationship that’s GOOD for people. We throw a rock in sanity and readers want more. In fact they punish us if we are too sane ;).
Being crazy and dysfunctional is our JOB. Conflict and problems are the heart and soul of stories. Of course, unlike psychopaths in life? Writers offer resolution and closure.
Yet, in the meantime?
Find that shiny thing. Get the protagonist sooooooooo close they almost…have….can…touch…..the edges……..
….and then SMASH IT. SMASH IT, KILL IT….BUUUUURRRRRNNNN IT!
Your readers will hate you, but it’s good for them. Do NOT protect your characters. Screw up their lives more than a meth-addicted multi-personality mother-in-law. Your characters NEED a crucible.
No one wakes up and thinks, “Gee, maybe I have a pride problem. I should totally work on that.” NO! Instead of that promotion they know is in the bag, they get FIRED. Worse, they get blackballed. Worse, they have to apply for food stamps.
Worse, the person at the food stamp office is the very person they were horrifically RUDE to and now they need this person’s mercy. Do they get it? NO! ARE YOU HIGH? STOP BEING A SOFTIE. Do you want to be a WRITER? Then lose that soul and sense of decency (for a bit).
Take the food stamps away! Get them a job at McDonalds and they get fired from THAT TOO. IN THE RAIN!
Run over that character with an emotional panel van, then back over them, then run over them and repeat until they are a pile of GOO.
Gee, I wonder why people feel nervous around writers? 😀
Ah, but once that character has withstood the tests…you as Author God then can give them a new shiny and a better shiny. Show them they shiny they wanted in the beginning was Fool’s Gold and let them earn the real deal.
And your readers will then forgive you for the torture.
And now you know why writers are on the list of professions psychopaths gravitate to….oooooh, chew on THAT 😀 .
Series are simply becoming more popular because there is an increased demand for entertainment and people are spoiled with a lot of variety. Humans are also masochists. Fiction shows us our ugliness, but unlike life? There is a resolution.
Writers are a strange breed of magicians. Humanity has always relied on us to do what it cannot. Others might be in the world, but writers notice the world. We reverse-engineer life and boil it down to its marrow. It’s the difference between the regular person who enjoys a glass of wine versus the author who can tell you (in detail) WHY you enjoyed it.
It’s the notes of dark cherry with licorice and a hint of spice…
We also start the hard conversations that people didn’t even know were there.
For instance, when watching Hannibal, Hubby and I got into a long debate about how society needs a certain percentage of psychopaths. Contrary to popular belief, not all psychopaths are ruthless killers. Many are very successful because they gravitate to careers that reward those who can make tough decisions even when under extreme pressure (pressure that would likely cave more emotional types).
Psychopaths are devoid of natural human emotion, and for me? That can be okay. I do NOT want my surgeon getting emotional. I want him to do his JOB.
And this is a WHOLE other blog, but it shows how a series has the power to dive deeper into human dialogues (which is a HUGE part of their appeal).
***Btw, if you are interested in learning how to write a series, I am teaching my Antagonist Class (details below) where I show you how to generate tension on any scale from short-story to epic series.
What are your thoughts? Are you too easy on your characters? Do you have a tough time taking away the shiny? What TV series do you love and why? Are you losing interest in the big screen, too? What are some of your favorite characters from a series and that you might never have known intimately if it were a movie (um, SPIKE)?
Do you agree/disagree that publishing is now favoring the series? Are you a series-gorger, too? Do you kill new shows if you like them? Are you simultaneously horrified and fascinated by characters like Dr. Lecter?
Do you think writers have to have a touch of psychopathy? Come on, our browser history is already evidence against us 🙂 . I have to be careful in restaurants. He has to die. I know he is really nice, but he needs to die, only they can’t find the body right away and it has to look like natural causes. *notices restaurant suddenly quiet* *turns* *nervous laugh* I’m a writer…
I love hearing from you!
To prove it and show my love, for the month of MARCH, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).
Also, for more help on how to use characters to ratchet anxiety to the nerve-shreding level, I am finally back teaching and offering my Understanding the Antagonist Class on April 18th and YES, it is recorded in case you miss or need to listen again because this class is jammed with information.
I LOVE teaching this simply because our antagonists are pivotal for writing a story (series) readers can’t put down. Yet, too often we fail to harness characters for max effect. I look forward to seeing you there! I also offer the Gold level for one-on-one. Maybe you’ve hit a dead end. Your story is so confusing you need a GPS and a team of sherpas to find the original idea. Instead of wasting time with misguided revisions, I can help you triage your WIP and WHIP it into fighting form 😀 .
For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook.