This is the first in a series of occasional posts in which I will identify dialogue that reveals bad storytelling. I’m writing this because I’ve grown increasingly frustrated with the many rookie mistakes that I continue to observe from storytellers who should know better, whereby the artifices of an otherwise convincing narrative are swiftly exposed because the writer hasn’t thought out character motivation or has missed out on opportunities to create a memorable work of art.
“That’s interesting!” Imagine that you just watched your best friend turn into a werewolf or that the spouse of your best friend revealed that he was in love with you. Would you say “That’s interesting!” or would you respond with something a bit less general and more heartfelt? A writer should never have to telegraph to the audience that an action is interesting. If an action is interesting to a character (and thus interesting to an audience), then a character will react to it in a way in which we know that it’s interesting. For example, here is an exchange from Preston Sturges’s wonderful film The Lady Eve:
Gerald: What I can’t understand is how he finished fifth!
Jean: There were only five horses in the race. What do you expect when you bet on a goat called After You?
If Jean had reacted to Gerald’s observation with “That’s interesting,” then we would have missed this great opportunity to see a con artist who observes all the specifics of a situation and who has no illusions about the way the world works. And when Jean falls in love with Hopsie, this transformation attracts our interest.
Even the person who questions another character doesn’t have to say “That’s interesting!” during the exchange. From The Big Lebowski:
The Big Lebowski: Are you employed, sir?
The Dude: Employed?
The Big Lebowski: You don’t go out looking for a job dressed like that? On a weekday?
The Dude: Is this a… what day is this?
The Big Lebowski: Well, I do work sir, so if you don’t mind…
The Dude: I do mind, the Dude minds. This will not stand, ya know, this aggression will not stand, man.
We see how The Big Lebowski is appalled, but genuinely interested, with the way in which The Dude can spend his unemployed life not doing much. The Dude, in turn, responds with his philosophy, which is parroted from George Bush’s 1990 speech on Kuwait. And the result is a deservedly famous, very funny, and referential exchange.
Indeed, it’s no surprise that “That’s so interesting! Tell me more!” has turned into an Internet meme, often introduced sarcastically into forum threads, that is largely identified with the late great Gene Wilder playing Willy Wonka. Although that line did not appear in the movie, it nevertheless reveals how audiences are aware that saying “That’s interesting!” may represent the heights of condescension or artificiality.
So instead of having a character say “That’s interesting,” why not delve into her philosophy? Why would she feel that the situation is interesting? Moreover, when a character states her philosophy, it can be wonderfully revealing. In Mike Leigh’s Vera Drake, for example, the title character says that she “helps young girls out,” not that she performs illegal abortions. And it is this simple reframing that not only allows Vera to be tremendously fascinating and complex, but permits the audience to empathize with her persecution.
“I hope I’m not interrupting.”: Very often, a writer will have a character intrude upon two other characters who are talking and deliver this very common line. It will never occur to the writer that there could be a more interesting dynamic if the interrupting character is either clueless about the intrusion or has willfully interrupted. Indeed, interruption is often better conveyed through subtext rather than an explicit pronouncement.
One of my favorite interruption moments comes from John Cassevetes’s extraordinary film Faces. There’s an incredible scene in which Richard (John Marley) and Freddie (Fred Draper) are competing for the attentions of Jeannie (played by Gena Rowlands), with the three all dancing around a living room. Jeannie increasingly drifts towards Richard. Freddie attempts to get Jeannie’s attention, but is rebuffed. He is very much a third wheel. And this fascinating scene unfolds with all of the characters singing “I Dream of Jeannie with the Light Brown Hair.” This creates an incredible tension which sets up some emotionally revealing moments that follow. If Freddie had explicitly remarked, “I hope I’m not interrupting you two dancing,” it wouldn’t be nearly as interesting.
“Start from the beginning. Tell us what happened.” Bad storytelling often involves characters calling attention to the fact that they are asking for story details within a story. But that’s usually not the way storytelling works when you hang out with people. In real life, people hear a modest detail, maybe about something wild that the storyteller did the previous night. And that detail may beget another detail. The person listening to the story may try to persuade the storyteller to spill the whole tale, especially if the other person has said something curious or unusual. If you’re going to tell a story within a story, then it needs to be motivated by human curiosity or the story needs to reveal the character, such as Quint’s famous Indianapolis speech from Jaws. “Start from the beginning. Tell us what happened” is what a programmer with Asperger syndrome is likely to say. “Come on, man! You’ve gotta spill!” or “Wait! You swam in the water with a knife in your mouth?” Isn’t that more like it? Dialogue must sustain the illusion that it is natural. And if the audience senses that storytelling is being shoehorned into a story to advance plot details that the writer didn’t have the chops to convey through action, then it will start to catch on that a script is, well, more of a programmed script (especially if the dialogue is solely Q&A, the telltale sign of bad storytelling) rather than something that should be revealing the human condition. Nobody wants to be mansplained when watching a TV show or listening to an audio drama.