Interstellar: Gaining Incredible Emotional Power by Crossing Opposites

When I pressed "play" on Interstellar, I had no idea that I was about to have one of the most powerful emotional experiences of my movie-watching life. Sure, subconsciously I took into consideration that I would cry at the end of the movie. Maybe. I was not prepared to legitimately cry near the starting, in the middle, at the climax (multiple places), and at the resolution (in two places). On top of that, I was not expecting to experience emotion that was that raw. I don't know if I've ever experienced emotion that raw from a movie.

I was not alone.

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Interstellar: Flipping Story Stuff

If you follow my Facebook, Tumblr, or G+, you may have encountered my ramblings about the movie Interstellar. And let's be honest. That movie is storytelling at its finest. It works so perfectly, in so many aspects, that of course I'm going to pull it apart and talk about the thing on my blog. Don't pretend to be surprised.

I realize I'm months late jumping on the Interstellar bandwagon, but I made it. And whether you saw the movie the first day it hit the big screen or you see the film this month, it's still a killer story. The movie had a huge impact on me. And frankly, I don't think I've watched a movie that made me that emotional since Les Miserables, and I'm not sure if even then. If you read my rants on social media, some of this particular post will be a repeat, but not all of it. I promise. And there will be more posts after this one.

I've talked several times on my blog about flipping story-parts on their heads for an interesting effect. The example I usually refer to is Brandon Sanderson's Mistborn, which takes the classic hero-journey fantasy story and flips it. One way he does this is by starting the tale after the prophesied "hero" has attempted to kill the god-like antagonist--and died. That's like Harry finally reaching the climax of his battle with Voldemort, dying, and then J.K. Rowling starting the story there.

The point of flipping and twisting familiar concepts is that it creates a sense of originality, breathes fresh life into old ideas, and surprises viewers. Whenever you need to get your story to feel more original, whenever you need to brainstorm new ideas, you can look at flipping, twisting, and morphing a common concept. You can look at flipping, twisting, and morphing what is already at work in your story.

Interstellar did just that in several ways.

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"Cosette, Your Father is a Saint"

Writing Tips from Les Misérables, Part 2

In my last post, I explained how Les Misérables evokes strong emotions, contains powerful themes, tells two kinds of truth, and uses all five types of conflict. If you missed it, you can read that post here.

But Les Misérables accomplishes a lot more than all that. Here is part two of my dissection.

Explores Complex Character Relationships

Les Misérables is loaded with complex relationships.

When Valjean takes in Cosette, he is suddenly awakened to what it is like to have someone to love and to have someone love him. And he’s “afraid of failing” her. Their relationship is so precious to him that he doesn’t want to mess it up, so, he refuses to tell Cosette about his past, afraid she will think less of him, that it would somehow ruin what they have. Sure, Valjean gives other excuses for not telling her, but they’re just cover ups.

I get the strong impression that Cosette wouldn’t mind so much about his past, after all, he was stealing bread to save a starving child. Valjean is far more self-conscious and ashamed of his origins than Cosette would ever be. So he hides it from her. This makes his death scene all the more powerful because he hears Marius, one of the only people who knows his true life story, tell Cosette that he is saint. Not a thief. Not a convict. A saint.

But even then, even then, he still can’t bear to tell Cosette his backstory. He asks her to read it after he has passed away.

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