Posts Tagged sequel
When we recorded this, sequels were a hot topic in bookworld. Go Set A Watchman, a sequel to Harper Lee’s To Kill A Mocking Bird, had just been released. Many people were curious but also dubious. The top FAQ on Google is ‘Is Go Set A Watchman worth reading?’
So when does a book deserve a sequel? When is one book enough? When do you add something worthwhile and when do you outstay your welcome? And actually, if you’re au fait with Ms Lee, you’ll know that the Watchman/Mockingbird situation isn’t as straightforward as book/sequel. Mockingbird was originally created from the back story of Watchman, at a publisher’s suggestion. Complicated. But one book is still derived from the other, so as far as we’re concerned, that counts.
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In the Norwegian version of the film Insomnia, one of the characters tells an anecdote that is never finished. It appears inconsequential, perhaps a throwaway line to illuminate character. But good scripts never contain spare remarks, and this interrupted fragment quivers through the rest of the story like a deep note from a cathedral organ.
It is like the job the characters are doing – investigating a murder and having to create the ending for themselves. It returns later when parts of the story become dreamlike and the main character is tormented by guilt. It is like the everlasting arctic sunlight that won’t allow the day to end.
So leaving this anecdote hanging is a rather clever move by the writers.
Stories need closure – of course they do. We need to feel they ended in the right place. In most genres this does mean tying up all the ends and solving the mysteries. (We’ve all been infuriated by novels that are deliberately teasing us towards their sequels – The Hunger Games and Twilight. They don’t seem to be playing fair.)
In most genres, the fun for the punters is wondering how the murderer will get caught, how the romantic twosome will get together, how the battle was won, how the world was saved (or lost). That’s what they’re there for.
But if you are writing a story that aims to go deeper than the events, perhaps you don’t want to tie everything up or explain everything.
Insomnia ties up most of its physical threads – it ends when the case ends. But morally it is anything but neat. The characters leave the story with unfinished business and nagging burdens – and this is its true power. It is the toll paid by those who have to deal with murder. The viewer carries it too, as sharer of this experience in all its ambiguity. (Did ever a post try so hard not to give spoilers?) It plays fair, but it deepens the mystery.
Stories don’t always have to give us answers. Sometimes the questions they give us are as important.
Have you got a favourite story that doesn’t answer all its questions? Or do you hate it when writers do that? Share examples, good and bad, in the comments!
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