20 Years Later: Dissecting Twilight

Twilight turns 20 this month, so I'm bringing you the story dissection and analysis no one asked me for, but everyone can learn from (with my editorial feedback too 😉). And would you believe it? We all misread this story from the start!

Twilight. As infamous as it is famous. Especially in the writing community. In fact, despite it being one of the biggest bestsellers of modern times, few in the writing community will touch it with anything other than a ten-foot pole. Almost no writer can reference this series without losing some respect. And if you must bring it up, you must do it derisively or at least apologetically; otherwise, no one will take what you say seriously.

So do I dare bring it up? In a whole article dissecting its strengths and weaknesses? On my blog? Apparently.

Say what you will about Twilight, but it has been more successful and the author has earned more from it than any of us could realistically dream of.

Which means, despite its flaws, it must be doing some critical things right. 

How did I get here?

Well, it all started back in January, when the films returned to my local theaters (though apparently they are returning to national theaters later this month). A family member asked me to see them with her, and I love going to movies. Naturally, I said yes--even though I remembered how cringy the films could be. (Why did they cast Kristen Stewart as Bella? Why use a CGI baby? How do they take such amazing music and place it in the most awkward, terrible places imaginable?)

I hadn't watched or read anything Twilight in over ten years, and the first film was as bad as I remembered.

Yet at this time, I was also writing a post on Meet Cutes, and I decided to go back to Twilight to read the Meet Cute--because it has always been memorable to me--and when I retrieved the book, I decided I wanted to also read the Early Glance, so I started at the beginning, feeling unsure what I would think about the text.

I had read the series when it was first getting popular, before I had any kind of professional understanding, training, or classes on writing. And I only read the books once each. So I wondered, would I hate Twilight now? Would I even be able to get to the Meet Cute?

To my surprise, I ended up reading all of Act I.

To my bigger surprise, as we continued attending the films, I . . . well . . . I got teary-eyed in Breaking Dawn, Part I.

Then a lot of things began clicking into place in my writerly brain. Despite its flaws, with my editorial background, I now clearly saw past its imperfect cosmetics to its core--what the series was really about, and even more, the potential for what it could be.

Just after this, I flew out to a writing conference, so I got the first audiobook to listen to.

Considering this was the first novel Stephenie Meyer wrote, ever, and that she didn't write it with intentions to publish, and that its initial request came from an assistant who was also brand new to the industry . . . I was curious how well it followed story structure, or if it even followed it at all.

I discovered some interesting things.

But first, I want to share some thoughts on the book, particularly with those who haven't read it.

***

And because this is a long one, I also wanted to list its sections up front:

Is Twilight “Good”? Or is it “Bad”?

Edward is the Protagonist; Bella is the Viewpoint Character

Character Arcs and Themes (Edward and Bella)

The Relationship Plotline as the Primary Plotline

The Structural “Skeleton” of Twilight

Act I: Moving from Classmates to Friends

Act II, Part I: Moving from Friends to Couple

Act II, Part II: Moving from Couple to (Physically) Separated

Act III: Moving from Separated to Reunited (Rescued and Rescuer)

Editorial Feedback (Improving Twilight)

Plot Points

External Plotline

Bella Swan

Thoughts on Controversial Cosmetics

Extra Diagrams 

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Structuring Relationship Arcs & Plots in a Series

Structuring relationship arcs and plots throughout a series can sometimes feel a little nebulous and daunting. Plenty of writers have messed up such attempts. Luckily, plenty of others get them right, and so can you. Just like everything else in this relationship arc and plot series though, there is . . . a lot of room for variation. Nonetheless, this article will give you foundational guidelines to help you get it right in your series.

Hello, everyone! I thought I was basically done with my relationship articles, but I have been asked a couple of times how to handle relationship arcs and plotlines in a series. Well, in some ways, it is similar to how you handle character arcs in a series, which means . . .  there is more than one way to do it.

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Structuring Your Relationship Plotline, Part 2: Key Beats

 

Beat sheets are valuable tools for structuring and writing a story. They can be just as valuable when structuring and writing a relationship arc. In reality, I could write up a beat sheet for each relationship arc. Today, I've decided to go over the key beats, in the order they most frequently appear (which usually applies to positive change relationships). 

In my previous article, I laid out a foundational approach to structuring your relationship plotlines. That will likely be more useful to you in structuring your relationship arc, than following these beats in the presented order. Once you understand the foundational principles, you can successfully manipulate any beat sheet to suit what you are writing. This is why I titled this post "key beats" and not "beat sheet." There are plenty of relationship plotlines that don't adhere to these exact beats or this exact order.

Nonetheless, knowing what is most common can help you discern how to handle yours. Your relationship plotline can follow this exactly, or you can vary it (which I'll talk about more at the end). 

So far, we have covered relationship arcs, relationship plots, and the foundational approach to relationship structure. Let's finish this up with the common key beats.

In this ongoing relationship series, I intentionally picked relationship arcs that appear quite different from each other, to show variation. For this reason, I'll be using Monsters Inc. as a main ongoing example below, while simply referencing some beats in my other ongoing examples; Monsters Inc. follows these beats, in this order, exactly. (Many of my other examples, do not.)

(Note for below: "Character A" and "Character B" can be either character in the relationship.)

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Structuring Your Relationship Plotline

A relationship plotline will be present in most stories. It will have a relationship arc and follow the principles of plot (according to relationships), but like any plotline, it also needs a sense of structure. It needs to be organized in a coherent way for the audience, so they can follow and appreciate the progression or deterioration of the relationship.

I can help you structure the relationship plots you're writing--whether the relationship features love interests, friends, family, allies, rivals, or even enemies (and everything in between).

Now . . . I admit, I've been debating a lot about how to write this, if I should put forth a general foundational approach to the structure, or if I should get more specific and offer a beat sheet. The more I thought about it, the more I realized the latter would be pretty complicated, since each relationship plotline can be affected by the external and internal plotlines and could have a different relationship arc. It also seems I'd need a beat sheet for each relationship arc type, and even within those, there can be variations.

That might be a project for later down the road.

Plus, when you understand the foundational principles first, the beat sheets make more sense, and you know how to stray from them for the effect you want.

When you understand the foundational principles, you're more likely to be a chef, not a cook.

So, with that said, I've opted for the former today . . . but next time, I will have an article on key beats  (and how they are most frequently structured) that you can manipulate to suit your relationship plotline.

Here are a couple of things for you to keep in mind . . . 

- How much you develop your relationship plotline may depend on how prominent the plotline is in the story. A relationship that works as an A Story must be developed enough to carry the narrative and all the critical moments must happen on page. A relationship that works as the C Story will be more understated and may have more happening off page. There are a lot of ways to play with the relationship plotline (as I've discussed), so how much attention you give it and how it is interweaved with the other plotlines will depend on your story.

But regardless of how prominent the plotline is, if it's a plotline it still needs the basic elements of plot and it still needs to be delivered to the audience through structure.

- Where the relationship plotline starts may depend on how prominent the plotline is. This brings me to the next section.

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Writing Relationship Arcs into Plots: Tertiary Principles

Writing a relationship between characters into a strong plot, requires understanding the principles of plot . . . and how to apply them to a relationship journey.

So far, we have covered the four basic types of relationship arcs.

How the primary principles of plot apply to relationships (goals, antagonists, conflict, and consequences).

And how the secondary principles of plot apply to them (progress, setbacks, costs, and turning points).

Today we will finish up with that by going over the tertiary principles: plans, gaps, and crises.

I've already covered these topics in depth for plot in general. In this series, I'm specifically applying them to relationships. So, if you need more explanation on any of them, please see . . . 

The Primary Principles of Plot: Goal, Antagonist, Conflict, Consequences

The Secondary Principles of Plot: Progress, Setbacks, Costs, Turning Points (Sample)

The Tertiary Principles of Plot: Plans, Gaps, Crises (Sample)

With that said, let's jump in!

Plans in Relationship Plots

Having a plan to get the goal not only reinforces the goal itself (because it shows the character wants the goal), but it also reinforces a sense of progress. When the audience knows what's supposed to happen, they can tell whether what is happening is bringing the character closer to, or further from, the desired outcome. And every setback feels sharper.

Plans make the plot feel more specific, and less vague.

Now in some stories, the plan may be more subtle and implied, while in others, it may be more blatant and spelled out. Regardless, the audience typically benefits from knowing how the character intends to move forward (though all rules can be broken for the right reasons). . . .

. . . Earlier we talked about how at the basic level, the character is trying to draw closer to or push away from the other character. (Or in some cases, maintain the current situation.)

How are they going to do that? . . .

(Register for The Triarchy Method for full information)

Gaps in Relationship Plots

The gap is that space between what the character expects to happen and what actually does happen.

In a plan, the character thinks they know what they need to do to get the desired outcome. So the character takes an action, but when reality delivers something different than anticipated, it creates a gap. . . .

(Register for The Triarchy Method for full information)

Crises in Relationship Plots

In the writing community, a crisis is also called a "dilemma." Two terms for the same concept.

A crisis is when the character has to make a choice between two opposing paths (cause-and-effect trajectories). And she can't have both.

The choice is difficult because each path has significant stakes. 

The crisis is a moment where we lay out the different pathways a plotline can go, depending on what the character chooses. . . .

. . . In relationships, this is where it typically fits as well. . . .

Recall my explanation of relationship turning points, which can be more or less summed up with this:

Action or Revelation --> Character A's Vulnerability --> Accepted or Rejected (or, Neglected) by Character B.

When Character A is vulnerable, there are at least two pathways for Character B:

1. Accept and/or draw closer.

2. Reject and/or push away.

A third option is neglect, which often works as . . .

(Register for The Triarchy Method for full information)

Continue to "Structuring Your Relationship Plotline" (Sample) -->

Related Articles

The 4 Basic Types of Relationship Arcs

Writing Relationship Arcs into Plots: Primary Principles (Sample)

Writing Relationship Arcs into Plots: Secondary Principles (Sample)

The Tertiary Principles of Plot: Plans, Gaps, Crises (Sample)

What is a B Story? 6 Key Qualities of B Stories

Writing the Influence Character

Read Other Resources on Relationships

The Relationship Thesaurus Angela Ackerman and Becca Puglisi at Writers Helping Writers

Romancing the Beat by Gwen Hayes

How to Write Three Types of Friendship Arcs by Mythcreants

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Writing Relationship Arcs into Plots: Secondary Principles

Developing a relationship plotline requires more than the relationship itself. It requires more than a relationship arc. It needs the proper elements of plot in place, otherwise it's not really a relationship plot. 

Whether the relationship plot in your story is about love interests, friends, coworkers, mentor and mentee, rivals, or even enemies, and whether it's the A Story, B Story, C Story, or even D Story, it needs to have the proper pieces to be a real Story.

The primary principles of plot are goal, antagonist, conflict, and consequences. Last time, I covered how to apply these to relationships.

The relationship goal will be one of three things: draw closer and/or get along with this person, push away and/or cause dysfunction with this person, or maintain the relationship as is.

The antagonistic force will be what is in the way of the goal. If the character wants to draw closer to the other person, the antagonist pushes them away. If the character wants to be apart from this person, the antagonist pushes them together. If the character wants to maintain the relationship as is, the antagonist is what's disrupting "normal." In some cases, the other character in the relationship is the antagonist.

With the goal and the antagonistic force, the relationship plotline will have conflict. How the characters choose to address the conflict will usually create the arc.

And the conflicts only matter in that they have consequences. What do these characters have to gain or lose in being close? Or in being distant? Often the relationship consequences will affect other plotlines, or vice versa.

Today we will continue talking about relationship plot elements, by covering the secondary principles of plot: progress, setbacks, costs, and turning points. 

For a more in-depth explanation of these elements in general, check out my article on the secondary principles of plot.

Below, we will apply these elements to relationship plots.

Progress & Setbacks in Relationship Plots

Once upon a time, I was reading a very popular series, and when I got to the last book, the central relationship started driving me crazy. Every time the heroine was with her boyfriend they argued and argued and argued, but it didn't feel like they were getting anywhere. Their situation was, more or less, the same as it had been from the first argument. This created a circling sensation, which I've talked about before. It happens when a plotline isn't really progressing in one direction or the other (experiencing setbacks). I got to the point where I wished they would just break up. At least then things would be changing and evolving (or devolving).

In short, the relationship plotline wasn't experiencing any real progress or new setbacks. It was just hitting the same conflict over and over. . . . 

. . . Remember what I've said in the past: Conflict without consequences is just cleverly disguised filler.

Just as with other plotlines, the relationship plotline needs to be changing, at least a little. As the characters are facing conflicts, they should either be growing closer or apart. . . .

(Register for The Triarchy Method for full information)

Costs in Relationship Plots

Costs are what the character has to "pay" to move forward on the journey toward the goal. This may be physical and mental well-being, time, money, resources, or what have you. The most effective costs come out of the conflicts and consequences of the plot (as opposed to being random bad luck). This reinforces character agency and responsibility, which makes these costs more meaningful (and painful). (Read more about that here.)

While costs are important in any plotline, they can be particularly important in a relationship plotline. If a relationship has no costs, the characters didn't really have to struggle and sacrifice to be together (or, alternatively, apart), and it's the struggle and sacrifice that leads to a powerful relationship arc. The relationship isn't deep, meaningful, or personal without that. It's just surface-level. And the more difficult the journey, the sweeter the triumph. 

Generally speaking anyway. (Yes, as I always say, there are always exceptions.)

In any case, we don't want this journey--this relationship--to be built on nothing. Only by showing costs and sacrifices do we truly convey what this relationship means to the character. Pain-free relationships are easy. Pain-full? That is the refiner's fire. . . .

(Register for The Triarchy Method for full information)

Turning Points in Relationship Plots

I've said this a lot on my blog, but just in case you are new around here, I'll say it again:

A turning point works by (you guessed it) turning the direction of the plot.

This can only happen one of two ways (well, or both of them): a revelation, or an action. 

These are the only two ways to turn a plot.

Another way to look at them though, is . . . 

Revelation = Information

Action = Event

Sometimes that is more helpful.

In a relationship plotline, think of this as a "Point of No Return."

Let me explain.

At the most basic level, the character is either growing closer to this other person, or apart. (And if they want to maintain, something will disrupt that, so they will still be either drawing closer or further apart to try to get back to "normal.")

In a relationship, a turning point happens when it becomes impossible for the relationship to truly go back to what it was previously. The characters may try to go back, but it's never really the same. You can't undo a reveal. You can't undo an action.

For example, in Pride and Prejudice, Mr. Darcy shares he's in love with Elizabeth . . . 

(Register for The Triarchy Method for full information)

Relationship Turning Points: Vulnerability and Reaction

The turning point usually includes a moment of vulnerability. Mr. Darcy is being vulnerable by proposing to Elizabeth. Hermione opens herself up to punishment by covering for the boys. Scully has to risk the awkwardness or pain that might come if Mulder rejects her plea. Saying Obi-wan needs to die puts Obi-wan at more risk. And Gale has to tearfully apologize to the woman he loves.

Notice, too, that the reaction to the vulnerability moves the direction of the relationship. Elizabeth pushes Darcy away. Harry and Ron are shocked, pleased, and accepting of Hermione's sacrifice. Mulder agrees to Scully's offer (I mean, can you get much closer than being a possible baby daddy?). Anakin concedes Obi-wan must die. And Katniss rejects Gale. . . .

. . . The moment works like this:

Action or Revelation --> Character A's Vulnerability --> Accepted or Rejected (or, Neglected) by Character B.

Because of an action(event) or revelation(information), Character A has a vulnerable moment. Character B gets to decide to accept it, reject it, or in some cases, neglect it (that last one isn't usually as powerful--I also think you can argue it's still a form of rejection, but I decided to mention it since it is a little different). That (often) creates the relationship turning point. . . .

(Register for The Triarchy Method for full information)

Voluntary Vulnerability vs. Forced Vulnerability

In my earlier examples, Mr. Darcy and Scully are willingly vulnerable in front of Elizabeth and Mulder. They chose to put themselves on the line.

But vulnerable moments can be forced upon Character A, by external forces, other people, or even Character B. . . .

(Register for The Triarchy Method for full information)

Continue to "Writing Relationships into Plots: Tertiary Principles" (Sample) -->

Related Articles

Writing Relationship Arcs into Plots (Part 1)

The Secondary Principles of Plot: Progress, Setbacks, Costs, Turning Points

The 4 Basic Types of Relationship Arcs

Writing the Influence Character

Read Other Resources on Relationships

The Relationship Arc by Ross Hartmann at Kiingo

Romancing the Beat by Gwen Hayes

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Writing Relationship Arcs into Plots: Primary Principles

Most stories will feature a relationship arc as a key plotline. But in order for a relationship to be a plotline, it not only needs an arc, it needs a plot. 

Showcasing an amusing friendship or a fiery rivalry, or throwing in a love triangle or family feud here and there doesn't make it a plotline any more than having an entertaining protagonist doing random things makes a plotline.

You can have ideas for a riveting relationship, but if it isn't arcing because of the story, it's probably just cleverly disguised "plot" filler.

We usually don't want a protagonist without an arc doing random things. That's not really the protagonist's story.

The same is true with relationships.

Now, real quick, not all relationships in a story will need a plot--that would be near impossible, overdramatic, and would read as soap opera.

This is one of the reasons why there is a difference between a relationship arc and a relationship plotline. 

Recently I did an article on the four basic relationship arcs. For convenience here is a quick recap:

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