Posts Tagged irony
Who doesn’t love Blade Runner? It’s one of the few films I could watch again and again. But I don’t have much time for discussing whether the main character Rick Deckard is a replicant, like the characters he has been sent to kill.
No, actually I do. He isn’t a replicant. Period. Because if he is, that weakens the whole story. It’s a twist too far. It’s the kind of idea that gets invented when you analyse a story to the nth degree and keep looking for more and more.
But it’s a lesson for all of us when we’re plotting our novels. We constantly wonder if we’ve got enough twists. We want the reader to think, wow, I didn’t see that coming (yet it was there all along). And novels take so long to write that we’re in danger of getting bored or losing confidence in our surprises.
When I’m plotting I try out a lot of twists, big reveals and payoffs. Quite a lot of them I throw away because they’re not quite right. Rick Deckard being a replicant would be one of those. Yes, it’s a twist. It’s possibly signposted by clues. It’s dripping with irony. But it is wrong. Here’s why.
Blade Runner is about a man who has lost his humanity. His job is killing robots. But he’s woken up to life again when he falls in love with one of them (Rachael Tyrell). Then the last robot on his hitlist, Roy Batty, saves his life and shows that he has been a more complete, remarkable human than Deckard ever has. If Deckard is human, isn’t that perfect, ironic and life changing?
Of course, it is essential that Deckard – and the people he works with – lack humanity. But these are rewarding as themes and ironies. If they turn out to be literally true it robs the idea of much of its power. It also destroys our emotional connection. One of the reasons Blade Runner leaves us with a yearning ache is that we ask, on a smaller scale, how much of our humanity do we lose? How many of us really make the most of life?
Stories work on two levels – the superficial action and the deeper emotional journey. But often when we’re trying to squeeze the most out of a plot, we can squeeze too far. If you’ve thought of a radical twist, don’t think only about the literal events of the story. Do the Blade Runner test. Look at the essential emotional arc that is connecting with the reader. Ask if you have twisted too far.
Have you pulled back from a twist too far? Do you have any examples from novels or movies? Share in the comments.