Love that you're championing subtext here. Whenever I'm in the hands of a skilled writer, I feel like the work rewards multiple readings because the subtext is often revealing new textures, new layers, new emotions. A wonderful woman I've had the chance to collaborate with quite a bit used to say that she liked her action direct, her dialogue oblique. Great minds...
My reading of this is perfectly timed with a story I think does slow burn beautifully, the show Madmen. I care so much about the small twists and turns of these characters, most of whom are really buttoned-up. Am particularly trying to dissect the character Peggy, and I think this article helps.
That's an interesting take, Daniela. I didn't look at Mad Men as slow burn. Things were always happening. I was riveted, and it was tough to stop watching. Though you could look at it as a slow burn to the inevitable explosion. I used Don as an example in my article "Anti-hero or A**shole.
The character of Peggy is a very interesting study. I'll be interested to see what you come up with. She definitely has a major character arc -- she's so different from the start to the finish. Many of them were. Her relationship with Don Draper was also a very interesting one.
You're right, slow burn isn't the term. If it was a book it would fall into literary fiction or maybe upmarket commercial (probably the latter?) rather than genre fiction. There's no thriller/romance/survival hook (though you could argue there's a period drama hook) and the main characters don't even have an obvious desire or goal. A lot of hints as to what they want, though. And really notably in this particular show, they already have a lot—or the men do—and they're tormented anyway. So why do we care that a dapper, wealthy ad executive is unhappy? I think it's the kind of character-driven story that we expect more in film than in a series.
What first got me was the character-with-a-gift theme. I'm a sucker for stories about talent (Moneyball, The Imitation Game, Whiplash, every dancing movie ever). I love watching Don Draper invent ad campaigns, because he's especially good at intuiting what people want (ooooh, the depths hinted at right there!).
I also love that it's visually nostalgic but the relationships are rocky in a realistic way. We love a dolled-up mid-century story with a dark underbelly. There is the general fun of being shocked that pregnant women used to smoke and seatbelts weren't a thing and walking for exercise was weird and scandalous. But the really dark themes are also addictive because we just keep hoping for justice (much the same way The Wire strung us out season after season). We especially hope the women characters will fight back, or be recognized (enter Peggy). And I think it's very interesting to set all these relationships against the backdrop of huge societal changes.
Peggy is so compelling but I don't understand the reasons completely. I think I like that she doesn't fit in any of the show's cliques, obviously not with the men, nor with the other secretaries (Joan is dismissive and cruel to her), and she's used by the show's worst character. It's the very fact that she's different maybe, that it's in her character to question the rules (wait, women can write?). She's lonely but undeterred and I agree her arc is amazing. And her intersection with Don is fascinating.
I just watched an episode where Peggy covered for Don when he went out to meet his little brother who'd resurfaced, so she ended up chatting with his wife Betty for a while. Later Betty says to Don twice that she really likes Peggy, and I seriously can't figure out why that struck me. Was Betty relieved that Peggy wasn't classically pretty and therefore not a threat? Did she like that Peggy seemed more vulnerable and real?
Um, did I just spend half an hour of my life writing a comment novella on Mad Men? I suppose I should do some actual work. Looking forward to the next article.
I wonder, when we write our characters "just sitting there thinking", are we reflecting ourselves sitting at our desks, just thinking? Talk about writing what you know, ha!
Getting our characters moving creates great opportunities to show their physicality, surroundings, and of course, as you laid out, their emotional state in a non-boring way.
Great job. Maybe too good. A lot of info. I'm glad you mentioned it is one style of writing. It is certainly the style for winning writing contests and "serious" books. You might write about the style of story where readers are blasted through one scene after the other.
I don't know about too good, Michael. I kept hacking it apart... at this point I can't see it anymore. I put it out there hoping it would help those who needed it. I didn't really mean it of "literary" style -- though often those are slow burns. There's a lot of YA that is "coming-of-age".
Most of the exercises at the end go for all types of writing style; they're objective, in terms of what writing that "works" need.
Love that you're championing subtext here. Whenever I'm in the hands of a skilled writer, I feel like the work rewards multiple readings because the subtext is often revealing new textures, new layers, new emotions. A wonderful woman I've had the chance to collaborate with quite a bit used to say that she liked her action direct, her dialogue oblique. Great minds...
Agreed, Norman. Done correctly, subtext is great. It's definitely a skill to do it correctly.
"Avoid Vague, Generalized Introspection" well said. Avoid vague, generalized anything. Things have names, ya know : )
Agreed, Richard.
My reading of this is perfectly timed with a story I think does slow burn beautifully, the show Madmen. I care so much about the small twists and turns of these characters, most of whom are really buttoned-up. Am particularly trying to dissect the character Peggy, and I think this article helps.
That's an interesting take, Daniela. I didn't look at Mad Men as slow burn. Things were always happening. I was riveted, and it was tough to stop watching. Though you could look at it as a slow burn to the inevitable explosion. I used Don as an example in my article "Anti-hero or A**shole.
The character of Peggy is a very interesting study. I'll be interested to see what you come up with. She definitely has a major character arc -- she's so different from the start to the finish. Many of them were. Her relationship with Don Draper was also a very interesting one.
You're right, slow burn isn't the term. If it was a book it would fall into literary fiction or maybe upmarket commercial (probably the latter?) rather than genre fiction. There's no thriller/romance/survival hook (though you could argue there's a period drama hook) and the main characters don't even have an obvious desire or goal. A lot of hints as to what they want, though. And really notably in this particular show, they already have a lot—or the men do—and they're tormented anyway. So why do we care that a dapper, wealthy ad executive is unhappy? I think it's the kind of character-driven story that we expect more in film than in a series.
What first got me was the character-with-a-gift theme. I'm a sucker for stories about talent (Moneyball, The Imitation Game, Whiplash, every dancing movie ever). I love watching Don Draper invent ad campaigns, because he's especially good at intuiting what people want (ooooh, the depths hinted at right there!).
I also love that it's visually nostalgic but the relationships are rocky in a realistic way. We love a dolled-up mid-century story with a dark underbelly. There is the general fun of being shocked that pregnant women used to smoke and seatbelts weren't a thing and walking for exercise was weird and scandalous. But the really dark themes are also addictive because we just keep hoping for justice (much the same way The Wire strung us out season after season). We especially hope the women characters will fight back, or be recognized (enter Peggy). And I think it's very interesting to set all these relationships against the backdrop of huge societal changes.
Peggy is so compelling but I don't understand the reasons completely. I think I like that she doesn't fit in any of the show's cliques, obviously not with the men, nor with the other secretaries (Joan is dismissive and cruel to her), and she's used by the show's worst character. It's the very fact that she's different maybe, that it's in her character to question the rules (wait, women can write?). She's lonely but undeterred and I agree her arc is amazing. And her intersection with Don is fascinating.
I just watched an episode where Peggy covered for Don when he went out to meet his little brother who'd resurfaced, so she ended up chatting with his wife Betty for a while. Later Betty says to Don twice that she really likes Peggy, and I seriously can't figure out why that struck me. Was Betty relieved that Peggy wasn't classically pretty and therefore not a threat? Did she like that Peggy seemed more vulnerable and real?
Um, did I just spend half an hour of my life writing a comment novella on Mad Men? I suppose I should do some actual work. Looking forward to the next article.
Incredibly helpful, thank you! And timely for me, as I’ve just started drafting a novel that will be on the quieter side.
Excellent. Good luck with that, Amandine.
Spot on advice.
I wonder, when we write our characters "just sitting there thinking", are we reflecting ourselves sitting at our desks, just thinking? Talk about writing what you know, ha!
Getting our characters moving creates great opportunities to show their physicality, surroundings, and of course, as you laid out, their emotional state in a non-boring way.
Exactly, Tanya 😆
You’ve done an amazing service by providing not just a list of tips but also examples. It’s hard to describe examples of subtext! Thank you!!!
Exactly, Brenden. I learn better by seeing how it’s done. I imagine others do too.
This is so helpful - thank you for sharing your wisdom!
You’re very welcome. I’m glad you found it helpful.
Great advice! It took me years to learn that the protagonist should not be passive and subtext is an art form unto itself. Solid subtext is masterful.
Thanks, CK - I think it's so much more impactful to "imply" things with your words and actions than literally state it or try to spoon-feed readers.
Great job. Maybe too good. A lot of info. I'm glad you mentioned it is one style of writing. It is certainly the style for winning writing contests and "serious" books. You might write about the style of story where readers are blasted through one scene after the other.
I don't know about too good, Michael. I kept hacking it apart... at this point I can't see it anymore. I put it out there hoping it would help those who needed it. I didn't really mean it of "literary" style -- though often those are slow burns. There's a lot of YA that is "coming-of-age".
Most of the exercises at the end go for all types of writing style; they're objective, in terms of what writing that "works" need.
You’re very welcome Trenton.