the monster that went east

one thing i’ve noticed and can’t help but take issue with is how often the uglier aspects of jack’s character (and rhys, for that matter) are toned down or done away with altogether. and i don’t just mean this in an arbitrary “you’re supposed to adhere to canon” kind of way, but rather because keeping his flaws intact will almost always make for a better story.

after all, conflicts are the meat of any story and most conflicts arise due to character flaws. so if you take away the flaws, you’re making your story inherently less interesting.

this is partly why i’m so insistent on writing jack as a terrible father because the dramatic potential (and the potential for growth) is way bigger when i stay true to that aspect of his character. plus it’s just more interesting: it gives me a lot more material to work with, a lot more opportunities for character exploration, and a lot of different angles that i can use to explore that conflict.

alexander hamilton: what are some things you want more people to know about you?

aaron burr, sir: when was the last time you met someone who changed your life?

my shot: talk about something you're determined to accomplish before you die.

the story of tonight: talk about some of the best times you've had with friends.

the schuyler sisters: do you have any siblings? if so, what are they like?

farmer refuted: do you ever send letters in the mail?

you'll be back: when was the last time you were dumped?

right hand man: who do you look up to most?

a winter's ball: what was the last party you went to like?

helpless: when was the last time you had a crush that really hit you hard?

satisfied: what has been the hardest decision you've ever had to make?

the story of tonight reprise: do you have any friends who are married?

wait for it: what's something you're really longing for?

stay alive: have you ever had any near-death experiences?

ten duel commandments: have you ever been in a physical fight with anyone?

meet me inside: talk about a time you got in big trouble with an authority figure

that would be enough: do you prefer an eventful or a peaceful life?

guns and ships: who is your greatest partner in crime?

history has its eyes on you: talk about the best teacher you've ever had

yorktown: talk about a time you struggled but came out on top

what comes next?: are you anxious about the future?

dear theodosia: what's one nice thing you wish you could say to someone right now?

non-stop: talk about something you're talented at, or even just something you can do very quickly and efficiently

what'd i miss: do you suffer from fomo (fear of missing out)?

cabinet battle #1: do you enjoy debating or arguing with people?

take a break: if you could run anywhere for a getaway, where would you go and who would you take with you?

say no to this: what's your biggest guilty pleasure?

the room where it happens: talk about a group you would love to be a part of, whether it's an official group or a group of people

schuyler defeated: how do you feel about changing yourself and your image in order to succeed?

cabinet battle #2: are you a person that helps yourself, or others first?

washington on your side: who is the most important or influential person you've ever been friends with?

one last time: do you have a hard time quitting things or saying goodbye?

i know him: do you enjoy talking smack?

the adams administration: talk about a time you've clashed with authority

we know: do you enjoy gossip?

hurricane: what's the hardest thing you've ever managed to make it through in life?

the reynolds pamphlet: do you prefer keeping secrets, or being an open book?

burn: talk about a time you've felt betrayed

blow us all away: can you hold yourself back when you hear people speaking badly about someone you like/love?

stay alive reprise: have you ever lost anyone?

it's quiet uptown: where do you like to go to think or brood?

the election of 1800: do you think it's important to vote?

your obedient servant: how do you feel about passive-aggression?

best of wives and best of women: do you prefer sleeping alone or with someone else?

the world was wide enough: talk about a time you had to make a decision and ultimately made the wrong one

i was talking to a friend about twist endings and i realized the basic, underlying ingredients for writing a twist in your story. for horror stories in particular, plot twists are dependent on perspective, specifically the perspective of the narrator. there needs to be something wrong with the narrator’s thinking: perhaps they’re making a false assumption about themself/their situation, or there’s some deep flaw that makes them inherently unreliable.

so there’s the fiction that the narrator believes vs the truth that is hidden from them. the plot twist is the point where the author peels away the fiction and unveils the truth. and imo, really good twists work not because the truth was thoroughly hidden, but because it was in plain sight, unknown to the narrator (and by extension, the audience) because their false assumptions were so ingrained that they couldn’t see what was right in front of them.

plot twists are much more difficult to pull off if, in the brainstorming phase, you start with the fiction (or what’s happening on the surface, e.g. a boy is tormented by a monster) instead of starting with the truth (e.g. the “monster” is human; the boy is the true monster). i think plot twists are likely easier to write, and are more effective in execution, when one works backwards:

-start with the truth, or the reality of the story

-next develop the narrator and the ways in which their perspective hides the truth

-and lastly, develop the fiction or the surface-level story that dominates the narrative

Do you still write DMMD stuff too btw?