Can bad decisions lead to better stories?
Let us suppose for the purpose of crafting an entertaining story that your lead character’s dotty, old Aunt Hilda—whom he hasn’t seen in forty years, and who recently died at the impossibly-old age of 103—left him, her only heir, the sum of twenty-five million dollars, all in bearer-bonds, and twenty-five cats who shared her last abode.
Your protagonist is elated, of course, and only mildly sorry he hadn’t taken time to visit the old gal from time to time. After placing the cats out for adoption and depositing one million of those dollars in his personal chequing account to cover immediate lifestyle changes, he now needs to decide how to properly invest and grow the remaining twenty-four million.
To whom does he turn for advice?
He could enlist the help of reliable, established bankers, investment counsellors, financial gurus, and market analysts, all of whom would be eager to serve. He knows he could safely rely upon these learned and experienced people, whose profession it is to help other people make money—being handsomely reimbursed for their efforts, naturally. Let us call this the elite option.
But if he has never considered himself an elite, he might decide to call on twenty-five of his closest friends who—in return for the chance to celebrate (and perhaps share in) his great, good fortune—tell him they will devise a sure-fire strategy to determine how he will invest the bulk of his new-found wealth. That strategy, in order to be enacted, need only be approved by a simple, majority vote of 13–12, swayed perhaps by the most voluble, the most persuasive of the group, rather than by the most knowledgeable.
Let us call this the populist option, and if your protagonist deems himself a man of the people, he might well choose this second course.
Or, let us suppose for the purpose of creating another entertaining story that your lead character has been recently diagnosed with a life-threatening illness, out of the blue, and that she has very little time to decide on the best medical option that might save her life—although there are no guarantees, of course, from any of them.
To whom does she turn for advice?
She could, in addition to talking with her loved ones, consult with her physician and the specialists to whom the physician refers her, all experts in their field. Before choosing her treatment plan, she might seek second, third, even fourth opinions from people who have studied their entire lives to deal with critical situations such as hers. Let us call this, again, the elite option.
But let us suppose again, if she does not reckon herself among the elite, she might gather together concerned family members and friends, all of whom love her and wish her only the best, to ask, by majority vote, which treatment plan they believe she should follow—the established medical option, a naturopathic or homeopathic approach, or maybe an experimental route (which might require travel to a foreign country for procedures not approved in her home and native land).
Let us call this, again, the populist option, and if she fancies herself of the people, she might choose this second course.
In these examples (deliberately simplistic, I know), there are dilemmas confronting these two characters and the decisions they would have to make. To whom would they turn in such critical situations, the elites or the populists?
The authors of such stories, too, face these same dilemmas, these same decisions. Which path should they choose for their protagonists to follow in order to compel their readers to stay locked in to the story? And will those decisions prove good or bad?
In one telling of the first example, the lucky heir to the twenty-five million dollars might turn to the wise counsel of the investment community, prosper as his fortune grows, and live in a cloistered castle to a ripe, old age. End of story.
But in another telling, he might seek the advice of his friends, invest and lose his entire inheritance based on their advice, realize belatedly the error of his ways, embark on a driven quest to recoup his lost fortune, clash and joust with pillars of the financial community, rise and fall again and again, only to triumph at the end—a true Horatio Alger story. Or perhaps, in a cruel twist of fate, he might lose it all yet again and die miserably in an abject state of poverty.
Only the author can decide.
In one telling of the second example, the stricken person might rely upon the medical establishment and, after a period of treatment and rehabilitation, survive to live a long and happy life. End of story.
But in another telling, the person might turn to family and friends for a decision, choose unwisely, see her condition worsen unto the point of death, only to be miraculously saved by the last-minute intervention of a handsome, dedicated doctor who refuses to be rebuffed by quackery. The patient’s health improves dramatically, she marries her saviour, and goes on to live well into her nineties. Or perhaps, in a cruel twist of fate, she is assailed by a recurrence of her disease, against which she vies valiantly, time and again, only to succumb in the end—a true Shakespearian tragedy.
Only the author can decide.
In either example, which do you suppose might offer the more entertaining story, the first version or the second? The authors make their decisions in the initial writing, of course, but in the end, it is the readers who decide if those decisions are good or bad.
So, can bad decisions lead to better stories?
You tell me.
tallandtruetales 