Dear Fellow Writers: It’s Not for Adults, Either

notforadults

Dear fellow writers,

Let me begin with a story. It’s what I do best, after all.

It is a sunny afternoon. You and I are walking down a country lane next to a brook of water. We have talked about everything from philosophy to chocolate to characterization, and now we are on the subject of the lovely summer weather.

“Such a beautiful day,” I comment.

“Yes,” you answer with a smile. “I just love walking underneath the clear blue skies.”

Without warning I slap your face. Hard. On purpose.

With pain shooting through your cheeks and anger rising in your stomach, you turn and stare at me. “Why on earth would you hit me?” you demand.

“Because it makes this story seem more realistic.” I shrug, grin, then skip off down the lane.

Now, friends, what do you think?

Rather, do you even have to think about it? I just can’t do a thing like that. Hitting you for no reason was gratuitous, hurtful, and just plain cruel. I would never really do a thing like that, and neither would you. Slapping people like that makes me look like a selfish child who doesn’t know anything.

Now, then. If you wouldn’t slap a person across the face for the sake of realism, why on earth would you slap them with a curse word, a mindlessly violent act, or a pornographic scene in a book?

I talked about this some time ago in my article “The Wince Factor” at Kingdom Pen. A Wince Factor is a sudden, unexpected slap that authors put into their stories for various purposes. As I said then, some of these Wince Factors have a legitimate place in the story- like, say, slapping Bruce Wayne for trying to get illegal revenge on a crook. Others, though, have absolutely no place in a story- like having a Tyrannosaurus Rex swear in a children’s movie for no apparent reason, or like putting “adult” scenes in Titanic.

So what’s the difference? Here’s a better question- do you want your future children doing the same things you make your characters do?

Let me say it this way: gratuitously putting so-called “adult content” in books is abusive to the reader and only proves the author to be a lazy amateur.

If I have to use swear words, sex scenes, or sword-killings to make my story seem real and “juicy,” then I am either lazy or an amateur, or perhaps both. Whatever the situation, at some point I must grow up and start putting some educated effort into my occupation. 

Mine is not an unqualified opinion. I’m a published author myself, and I’m learning to make indie films and podcasts. As far as audiences are concerned, I’m eighteen years old and a second-year college student who watches lots of kids’ movies with my siblings. I also read the books that were intended for people well into their thirties or forties. All in all, I’m the intended audience for most television shows and books. Therefore, I am more than qualified to make a statement about all the stuff writers are putting into books and movies.

But is the media really playing to the tastes of the 32% or more of consumers who share my values? I don’t use swear words, and I get uncomfortable every time someone uses a swear word around my younger siblings. I don’t like watching excessively violent character deaths. I have a zero-tolerance policy for gratuitous sexual content in media.

Now I know some of you are about to go to the comments section and start flaming me for being a Christian bigot. I don’t blame you; Western culture in general has the uncivilized notion that to be an adult is to drink alcohol, watch pornographic movies, and use swear words, and their only defense against opposing viewpoints is to slap them with a label and call it a draw.

But it seems that a person who cannot discern the best action in these cases is simply an oversized version of the child who throws a tantrum at the grocery store when his mother doesn’t buy him all the candy in the store, and who sticks out his tongue when told that he is misbehaving. Who is the bigot- the mother, or the child? Writers ought to know that there is a distinction: growing older is getting the ability to purchase all the candy, but being an adult is discerning whether it’s good for your waistline and your wallet. Likewise, being an adult writer is choosing to have a positive impact on the worldview and behavior of your audience.

Think of it this way- if the good guys like something, the readers love it. If the bad guys are motivated by something, the readers loathe it. The author’s opinion becomes the reader’s. Whether or not mass murderers are inspired by films, you can see evidence of a storyteller’s power even in the grocery store: Elsa and Anna on party napkins, or Captain America’s shield on a cereal box. Think about that- Marvel influences your choice of breakfast foods. We writers have great power, and with great power comes great responsibility.

Media rules the world, so don’t be a tyrant.

Here’s a big news flash- you don’t have to describe every detail in order for readers to know that a thing happened. Andrew Klavan, author of If We Survive, knew that it was crucial for one of his protagonists to use a swear word as part of her character arc, but he was still writing for Christian teenagers who don’t appreciate those sorts of things. So what did the ingenious Klavan do? He made the swearing scene happen off-screen. The character’s arc was completely developed and the story still packed quite as much of a punch, but Klavan didn’t have to verbally abuse his readers to achieve that effect.

Again, in the 1950s, if someone was beheaded in The Inn of the Sixth Happiness or if the Duke of Gloucester had a you-know-what scene with Lady Anne, Mark Robson and Laurence Olivier just made those things happen off-screen. And no one ever criticized Olivier for being a bad storyteller. So are our stories in the 2010s more developed, or just more debauched?

No more excuses. At this point, we all have two options. One, we can take out the bad stuff and write purpose-filled books, proving that we know right from wrong and care about helping people to understand the world we live in. Or two, we can leave the bad stuff in and prove that we don’t really care about anything but the money.

It’s your choice.

Sincerely,
Hannah A. Krynicki

Am I right or wrong? What do you think about gratuitous content in media? 

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What Marvel Taught Me About Writing, Part Two

Attention readers!

If you have not read Part One of this series, do so by clicking here. This post will make very little sense until you do.

If you have read aforementioned post… good work. I’ll shut up and let you read this one now. 

If the intended audience would want it bleeped out, don’t write it.

And all the movie reviewers immediately subtracted five points. (image credit)

I don’t know about the rest of you, but I wince every time I hear a profanity and squirm every time an… er, steamy scene comes on. That sort of content is expected in films made for adults, and I can accept that fact. But do those elements have a place in family adventure movies? Come, now.

Of course, this problem isn’t specific to Marvel movies, but Marvel certainly does a fine job of  squeezing non-family-friendly stuff into allegedly family-friendly films. I can recall my dad muting at least one whole scene with Nick Fury in The Avengers thanks to swearing. I winced multiple times at the violence in even the mildest of the series, Thor. From what I’ve read, certain you-know-what scenes in Iron Man would have made it unacceptable even for adults sixty years ago. Deadpool was the culmination of this pattern, earning the first R-rating ever for a Marvel cinematic film. So much for family-friendly, Disney.

The result is that a lot of kids don’t get to watch these films. I know that most of my siblings don’t, and I can point to many other families who hold to the same standards as us. Let me tell you, Marvel loses a good percentage of its intended audience every time it chooses to write in a swear word, and so will you. Know your audience, fellow writers, and respect their values.

Don’t stress over the outline; go where the story takes you. 

Honestly, this would be a great ending shot for any movie. (image credit)

Marvel is so dedicated to the Big Outline that it’s not even funny. By sticking to that outline, they have deprived fans of some really great movies. Including a certain movie called “God of Mischief”…. but again, that’s for another time.

Take the example of Captain America: The First Avenger. That was a credible, enjoyable story with round characters and a clear message- even for me. I could get over the fact that Steve was using steroids (come on, he’s Steve), and I could even tune out for the four minutes of USO girls and annoying parade music. In fact, when Steve crashed that plane into the ice, my cold INTJ’s heart felt the tiniest twinge of grief. You know that shot near the end of the movie with the little boy holding Captain America’s shield? That would have been such a perfect way to end the story.

And then they blew it with that last scene. Steve wakes up in a hospital in modern-day New York. He didn’t die after all- but the movie did. The message’s power rested in the fact that Steve died protecting the people he cared about. To turn around and say “Oh, but Steve didn’t actually die” is to take away that power. Sure, he gave his all for his country, but he turned out to be just another invincible superhero who did another superhero thing. His story no longer makes a difference in the real world.

The writer would never have ended the movie in such an awkward, crushing way if Captain America had been a standalone movie, but he had to keep with Marvel’s all-powerful outline. Lesson learned: don’t be a slave to your outline. Branch out and take a few risks with writing. As Pixar says, “Story is testing, not refining.”

So perhaps Marvel’s escapist films earn a lot more money at the box office than slower, more thoughtful films like Les Miserables. As my dad says, Marvel offers “leave-your-brain-at-the-door humor,” and sometimes people just want to laugh and give their brains a break. But that doesn’t mean the storytelling is of higher quality. In fact, the underlying problems in the movies can be downright frustrating.

By all means, go and watch a Marvel movie- preferably a PG-13 one. The acting is usually excellent, some of the jokes are downright funny, and I won’t deny that a few of the movies teach good lessons. However, when you watch these or any other movies, try to learn something. Think about what is going into your head! Otherwise, you become content with leaving your brain at the door, and none of us should do that. Very dangerous.

What’s your take on Marvel movies? Whether you love them or hate them or couldn’t care less, I want to hear what you have learned from the Marvel Cinematic Universe.