  Drama
This week: Edited by: Elisa: Middle Aged Stik  
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| I've been editing the drama newsletter for three years. Along the way, I've seen and read works that have given me new insights into this broad genre. I'm going to take a stab at defining drama again. As opposed to the first time I did this, though, I'll be getting much more specific. Drama can encompass realism and exaggeration, sometimes simultaneously. Can a genre with so many variations really be defined? I'll give it my best shot. |
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In the three years I've spent editing the drama newsletter, I've learned a lot about the genre. When I first started, I attempted to define drama, and I thought it was time to revisit the definition. My first go around focused on the common characteristics among all the subgenres. This time, I'll be defining drama from a different perspective: the balance of all those characteristics.
I have a theory that drama is a genre best defined as a spectrum. On one end there is the almost painfully true to real life tones and conflicts, and on the opposite end is the over the top motivational exploration found in soap operas. Still, these two extremities and everything in between counts as drama. I'll be focusing on four points of the spectrum: realism, a realistic plot, melodrama and the soap opera. All of them are different in the details, yet all of them fill a niche in the broader genre.
The easiest place to start is realism. Realism has a self explanatory name; it essentially involves relaying all details of the story (setting, plot, etc.) in a true to life manner. Likewise, this end of the spectrum will focus more on characterization than many other branches. However, it can be interpreted in many different ways. Though few authors dare to make every last detail realistic, some will make the majority of details true to life. Others will go for a 80% real/20% plausible-to-unlikely mix. There are also different veins of realism. One of the most well known in the world of literature is magical realism, as depicted in the works of Gabriel Garcia Marquez. His settings and plots are true to history and real life, magical elements (such as the scrolls in One Hundred Years of Solitude) play a pivotal role in story development. How much realistic detail goes into a piece varies, hinging primarily on subject matter. For the most part, audiences enjoy realism, although if applied too heavily (a common complaint with Revolutionary Road) it can fall flat. They key to realism is knowing the difference between too much and just the right amount. If you're not used to writing such pieces, ask reviewers what they think of the amount of detail involved. Odds are you'll have to trim it back.
Next up is the realistic plot. The main difference is that other details can be a little fantastic, but the plot must be at least plausible. This doesn't mean the events in a story have to be tried and true. They just have to work in a reasonable amount of time (ideally within the boundaries of real time). If you're not sure if something will work, try imagining that event being put to the test on Mythbusters. If you can picture your scene being tested on an episode of that show, it might not be realistic enough. (In this case, research is your friend.) Realistic plots are a lot more feasible in novels than in other forms of writing, as the concept of real time can be implemented. For those interested in the scripted form, 24 is a pretty good place to see at least plausible plots. Another exercise in flexing your realistic plot skills is to write a short script and make your own film. Using one page as a minute of filming time, see what you can make happen in 10-15 minutes of time. It can be a complete story or one chain of events made to lead into another. Consider the resources you have at your disposal (people to serve as actors, props, etc.) without having to spend more to add stuff. That way, you can focus on the writing and how actions affect decisions characters have to make. It might not be Oscar caliber, but it might make for amusing memories on top of learning more about writing.
Veering away from realism a bit, we now have stumbled upon melodrama. Melodrama has been covered in this newsletter before. In the spectrum, melodrama is in the middle, tilting slightly more toward the implausible or fantastic. It is more plot driven, and outlandish situations are more common in this branch of the genre. Exaggeration of emotional responses and even absurdity in events is also present. Some dictionary definitions describe these exaggerations as theatrical, which is a good (if not totally accurate) way of viewing them. For those of you who haven't stepped on the stage for even a small part, you may not realize how much of stagework is overbuilding on something. Sure, the use of makeup is pretty obvious, although the actor has to step away from the super bright lighting for anyone to see that the makeup is caked on so the face be be visible on stage. Other examples of exaggeration to create a realistic performance onstage includes voice projection (namely the stage whisper) and prominent body movements. The exaggerations make up for physical distance from the audience in stage performances. However, the lesser the distance the wilder the movements and emotions become. It's not out of control, but it's much less subtle. You will find melodrama in that balance.
Finally, there is the soap opera. While primarily a form of script writing, soap operas are different from other branches of the drama genre. They borrow a lot of elements from melodrama. However, there's usually a level of absurdity pretty close to that found in existentialist philosophies. Likewise, the soap opera is shaped by the culture in which it is crafted. Soap operas in the United States focus on primarily wealthy (or least financially comfortable) characters, and the episodes take on a more serious tone. Another common trait I've seen when catching glimpses of soaps is the lighting tends to be dimmer than on other dramatic programs. It helps to establish a serious tone and also serves a symbolic role of secrecy and betrayal. In other cultures, soap operas will incorporate comic relief. I've also seen that at least in Australian soaps the lighting is actually more realistic, like if you flipped on a light switch in your own home. This lighting difference is suitable for sprinkling comic relief throughout the storyline(s). Another trait in these soaps is the characters, who are more like us (varying levels of attractiveness and economic stability). Some might argue these soaps are closer to realism. In comparison to their American counterparts they are more realistic. However, the nature of the conflicts (over the top, tightly interconnected to other conflicts, abnormally complex) keep them in the soap opera branch of the genre. Either way, the soap opera extends melodrama's exaggerations over numerous episodes, so the complex conflicts delay any sort of climax (which you will find in a regular melodrama piece). Thus, at least in theory, the larger story of a soap opera is indefinite. Any resolutions in an episode generally occur in regards to less complicated conflicts.
Though there branches in between, these four examples are meant to serve as markers in the spectrum of drama. You can use these as general guides in determining the overall theme of your work, or perhaps you can select a branch to more specifically determine the various aspects of the writing. When you use them in the writing process is up to you. I generally have an idea of what branch I wish to use when I write a piece. As I write, I give it some thought but try to avoid editing in the middle of draft in case something seems too implausible. That way, it allows some wiggle room during the revision process. Sometimes a piece started out with a realistic plot in mind might work better as a melodrama. Or perhaps your super realistic piece makes readers uncomfortable, presenting you with the opportunity to back off on the details a bit (or make larger changes). Keep in mind, though, that all of these things are drama. A story will not be any less of a drama just because it is more plot driven and exaggerated at points. Drama is a broad genre, and there's lots of room in which to play. Enjoy it!
Until next time,
(sig by SilverV) |
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With the holidays being in full swing for my last issue, I understand the sparse feedback. However, I did get one comment....
From Joy  : Thank you for a very interesting newsletter Elisa. The correlation between drama and the economy was a new concept for me, and come to think of it, you are so right. 
I really sat up and took notice of it this past year. However, I had seen it play out to a lesser extent as far back as autumn 2005. It's a good thing, because focusing strictly on 2008 highlighted the dichotomy I depicted in the newsletter. 2008 was unusual in the fact that movie critics and audiences agreed on what films were best, and a couple of those films were dramas at the core. Books, on the other hand, trended more toward melodrama and other genres most associated with escapism. I think the trend will apply more strongly to printed works, but the cinema will provide the most insight to this trend.
My next three issues will focus on antagonists. I've noticed some interesting aspects of antagonists that I feel merit further exploration. I'll also take on things not always thought of as antagonistic (but they are sometimes). Feel free to share your thoughts on antagonists and antagonism with me!
And if you happen to miss or misplace a newsletter, feel free to stop by "The Drama Box" [13+]. |
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Drama: January 21, 2009 Issue [#2845]
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