“This story is a movie. That other story needs to be a novel.”
One of my pet peeves is the common assumption among writers that particular types of stories are best suited to a single medium. This assumption belies either a lack of skill or a lack of understanding and appreciation for various media.
Cinderella can be a picture book, a novel, a short story, an animated short, a full-length feature, a musical, a play…. The possibilities for telling any story are limited only by the writer’s knowledge of a particular form and audience expectations. It is possible to tell the story of Cinderella without words. In fact, silent films, animations, and ballets exist without dialogue and yet audiences understand the story being told.
The basic story of Cinderella is well known in our culture. A young woman is raised by her selfish stepmother alongside two equally narcissistic sisters. A grand ball is announced, during which the Prince is expected to find a suitable wife from the nobility. The magic of a fairy godmother transforms Cinderella from a household servant into a beautiful lady, complete with fine glass slippers. For the rest of the story, I encourage you to read, watch, and listen to as many variations as possible.
A short story of Cinderella might not explain how the stepmother came to mary Cinderella’s father. A full-length novel or motion picture might explore the complex back story. A ballet would rely on the music and motion to convey thoughts, emotions, and the general plot. The original fairytale features some startlingly grotesque imagery, which contemporary children’s books and animated features have removed.
My point is that a well-known fairytale such as Cinderella can be adapted to any media by a talented writer. However, not every writer is a master of all forms and genres. I certainly could not score an opera or ballet based on Cinderella. Nor could I illustrate a word free picture book of the story. My limitations as a writer are not the limitations of the story.
Most early movies were adaptations of famous plays. Yet, I frequently hear screenwriters claim that a story is a “good play, bad movie.” Instead, a screenwriter should be considering how to tell the story maximizing the strengths of cinema.
A colleague posted the following to Facebook:
If your protagonist is a THINKER you have a BOOK.
If your protagonist is a TALKER you have a PLAY.
If your protagonist is a DOER you have a MOVIE.
The problem with the preceding simple checklist is that a main character can be adapted to doing, talking, or thinking based on the medium destination for the story. Sometimes, you must add a character or other device to allow thoughts to become dialogue. Sometimes, voiceover works well in a film and can reveal thoughts. Great directors can reveal thoughts with quick cuts and suggestive images. Never limit yourself by asserting any character is only one aspect of the above list.
We are all thinkers, talkers, and doers. Choosing which to emphasize is a choice made based on the form and genre selected by or for the storyteller.
As an aside, I also dislike the emphasis on the protagonist in the above list. Main characters may or may not be “protagonists” in the traditional sense of good versus evil. Equally important, opposing characters (antagonist, opposition, impact, muse, et al) can be adapted to any form and genre. Evil thoughts can be expressed in dialogue, or suggested through action, limited only by the skill of the writer.
When someone states that a movie was not as good as the book this can reflect either a bad movie or unusual expectations. The audiences for full-length novels might not be the same as the audiences for two-hour movies. However, it seems more likely that the adaptation is to blame for audience dissatisfaction. Nobody would try to compare the short story of Cinderella to a full-length feature film. Each medium must stand apart even when telling the same story.
Lose your media biases. Stories themselves are flexible, ready to be told in any medium by a talented storyteller, someone aware of that medium’s strengths and weaknesses. If you cannot see a story in a particular medium, maybe you aren’t the right choice for writing that adaptation. That is not an insult or a criticism. As I mention above, I’m not the best choice for any number of forms and genres. Know your strengths and tell the stories you want to tell in the medium or media you prefer.
Just don’t tell another writer that his or her story must be told in a particular medium, according to your biases.
- Writing is… Business. Art. Craft. (tameri.com)