Dramatic Convenience Vs Realism (The Idiot Ball Again)
Just finished watching Season 2 of Orphan Black. I like the show pretty well, but there are a couple things that frequently seem off. Specifically:
- Everybody always seems to be an hour’s drive from everybody else. (no matter how far away they seem to want to flee)
- All the bad guys know Felix’s address, yet everybody keeps treating Felix’s loft as safe.
- For a kid that tends to do things like wander outside at night with random strangers, Kira is left unattended way, way too much.
There are other problems, too, but they’re a little more conceptual than this stuff, and I don’t think Orphan Black is unique in any way, here. Lots and lots of books, stories, shows, and movies do stuff like the above. They are choices made by the writers for narrative convenience, and they are necessary in many ways, but there is a point at which they become silly. Sussing out exactly where that line is strikes me as rather important, so let’s talk about it.
First off, there is a lot of boring things that happen in daily life. You take the train to work, you eat breakfast, you go to the bathroom, you wait for a
bus, you read through a bunch of random e-mails, etc., etc.. People sitting down to watch a thriller don’t want the pace to get bogged down by the details. So, when the DA slaps down a plea deal on the table in front of a suspect, we don’t sit there for half an hour while the suspect’s lawyer goes over it and then discusses it with her client – that’s dull. So, instead, we just sort of gloss over the fact that those things happened. Yeah, they read and discussed the deal at some point. James Bond has to eat occasionally. Yes, Frodo and Sam pooped in Mordor.
It is frustrating, for a writer’s perspective, to have people point out these little gaps. Stuff like “When does he change clothes?” or “Why didn’t she get change for her coffee?” or “I never see this guy ever cash any of his paychecks!” Had a friend of mine kindly agree to critique a story of mine once in which two survivors of an apocalypse were riding their bikes down an empty interstate highway and his question was “what happens if they get a flat tire?” So, okay, yeah – that could be explained (lot of abandoned bicycle shops out there!). All of this stuff could be explained and pretty easily. The question is, though, whether you want it explained and whether that would be a good use of limited space and time. Do we want to have a pee break on the way through Mirkwood? Do we have to watch Bruce Wayne spend his days popping in and out of charity fundraiser after charity fundraiser and shake hands and make nice and so on and so forth? Or, you know, would you rather we just skip past a lot of that and get to the Batman part? When faced with the choice, a lot of these so-called “important” questions suddenly look like the hair-splitting silliness they are.
There is a point, though, were streamlining can go too far. Getting back to Orphan Black for a second: Sarah knows Dyad is after her and her child, so she goes on the run. She hops in a car and drives…not very far, as it turns out, since when she decides to come back again she’s back in less than a few hours. Now, okay, okay – if Sarah drives clear to the other side of Canada, she’s basically left the sandbox of the world the writers have set up and she can’t be part of the story anymore unless she pulls a Varys and basically teleports across oceans and continents with ease. Viewers don’t really want a whole sideplot for half a season where Sarah tries to start a new life in a new place with new characters, etc, etc.. She needs to be close by so the plot can advance.
But, at the same time, having her stick around that close makes no actual sense. Nor does Felix spontaneously bursting into tears and going back to his deathtrap apartment (sweet a pad as it is). Sarah’s primary priority has always been her daughter above all else and Felix knows going back to his place endangers everybody (chiefly himself), otherwise he wouldn’t have gone with them in the first place, and yet they all do these silly things anyway because, if they didn’t, the plot wouldn’t work. This is sloppy, because it shows the authorial hand too nakedly in the unfolding of events. It’s pulling back the curtain on a magic trick. It’s the writing equivalent of a missed note in a recital. It maybe doesn’t crash the whole thing (as mentioned, I do like the show), but it knocks you out of the dream for a second.
Now, we can argue about how bad an offender this or that story is in this sense, but the fact is that stories often use the Idiot Ball to control action. They make characters stupider or less competent than they should actually be in order to force the plot to fit. This is a different problem than just cutting out the boring bits, but it comes from the same place: things need to be streamlined, to connect, or otherwise you wind up with a crazy unwieldy plot that you can’t handle anymore (hat tip to a lot of epic fantasy authors out there). Streamline the wrong parts, though, and you wind up with Orphan Black‘s tendency to have everyone they meet to be part of some conspiracy of some kind to track, capture, or destroy clones (which, while understandable from a structural point of view, starts to get a little silly after a while).
So what to do? Well, that’s the trick – there’s no easy answer here. The fact is that you, the writer, need to come up with plausible and reasonable ways to make sure the story doesn’t spin off its axis or mutate into the wrong kind of story. I’m struggling with this myself in the next Saga of the Redeemed novel, and it is no cake walk. However, I recognize that I need to do it and do it well if I want my story to transport and be acceptable. I don’t want to knock people out of the dream, if you follow my meaning. I have to separate the important parts from the unimportant, the easily plausible from the implausible. And I don’t ever need to explain to you when and where and why my main character needs to take a leak.