In BELFAST, Kenneth Branagh does something that most, if not all, new writers do. In a movie, it’s kind of hard to spot because filmmakers have access to tools (like costume design, cinematography, and a musical score) that obscure it. In a novel, it’s obvious —stark even — because all we have is black text on a white page. It’s laid bare for all readers to see, and readers don’t like it. Here it is … in BELFAST the protagonist is passive. He’s observing the action but not part of the action (and he’s not a narrator either). So what can we do about it? Tune in to this week’s episode to find out. – V.
(The following summary was generated by AI.)
Unlocking the Secrets of Storytelling with ‘Belfast’
In our latest podcast episode, we delve into the intricate world of storytelling by examining Kenneth Branagh’s 2021 film, ‘Belfast.’ As writers, understanding the principles of storytelling is crucial, and this episode offers a treasure trove of insights that can help you craft compelling narratives.
First, let’s talk about the film itself. ‘Belfast’ is a visually stunning piece of cinema. Shot in black and white, the film captivates with its artistic camera angles and a musical score that perfectly complements the visuals. However, as Valerie Francis points out, these elements, while beautiful, are not tools available to novelists. Writers work with black text on a white page, so the focus must be on the story itself.
Valerie and Melanie Hill, our hosts, dive deep into the concept of conflict triangles—a powerful storytelling tool. A conflict triangle involves three characters with opposing desires, creating a dynamic and engaging narrative tension. In ‘Belfast,’ Valerie identifies a conflict triangle between Pa, Will, and Billy. Billy, the leader of the rioters, wants Will to join their gang, while Pa opposes this, and Will is caught in the middle. This small subplot, though brief, adds a layer of complexity to the story.
One of the critical takeaways from this episode is the importance of having an active protagonist. In ‘Belfast,’ the protagonist, a ten-year-old boy named Buddy, is mostly a passive observer. This lack of involvement in the action makes the story less engaging. As writers, ensuring that our protagonists are actively involved in the story’s events is vital for maintaining reader interest.
Melanie also discusses the use of dramatic irony in storytelling. In ‘Belfast,’ the audience knows more about the protagonist’s future than he does, creating a sense of concern and tension. However, Melanie emphasizes that dramatic irony should be used carefully, as it can undermine the characters if overdone.
The episode also touches on the broader issue of narrative drive, which Robert McKee defines as the relationship between the story and the audience. The three devices that create narrative drive are mystery, suspense, and dramatic irony. Understanding how to balance these elements can make your story more compelling.
In conclusion, this episode of the podcast is a must-listen for any writer looking to enhance their storytelling skills. By analyzing ‘Belfast,’ Valerie and Melanie provide practical insights into conflict triangles, active protagonists, and narrative drive. So, grab your headphones and tune in to learn how to make your stories more engaging and dynamic.
Happy writing!