thinking again about TvTropes and how itās genuinely such an amazing resource for learning the mechanics of storytelling, honestly more so than a lot of formally taught literature classes
ļæ¼basically TvTropes breaks down stories mechanically, using a perspective thatās notā¦ABOUT mechanics. Another way I like to put it, is that itās an inductive, instead of deductive, approach to analyzing storytelling.
like in a literature or writing class youāre learning the elements that are part of the basic functioning of a story, so, character, plot, setting, et cetera. Youāre learning the things that make a story a story, and why. Like, you learn what setting is, what defines it, and work from there to what makes it effective, and the range of ways it can be effective.
hereās the thing, though: everyone has some intuitive understanding of how stories work. if we didnāt, we couldnātā¦understand stories.
TvTropesās approach is bottom-up instead of top-down: instead of trying to exhaustively explore the broad, general elements of story, it identifies very small, specific elements, and explores the absolute shit out of how they fit, what they do, where they go, how they work.
Every TvTropes article is basically, āHere is a piece of a story that is part of many different stories. You have probably seen it before, but if not, here is a list of stories that use it, where it is, and what itās doing in those stories. Here are some things it does. Here is why it is functionally different than other, similar story pieces. Here is some background on its origins and how audiences respond to it.ā
all of this is BRILLIANT for a lot of reasons. one of the major ones is that the site has long lists of media that utilizes any given trope, ranging from classic literature to cartoons to video games to advertisements. the Iliad and Adventure Time ARE different things, but they are MADE OF the same stuff. And being able to study dozens of examples of a trope in action teaches you to see the common thread in what the trope does and why its specific characteristics let it do that
I love TvTropes because a great, renowned work of literature and a shitty, derivative YA novel will appear on the same list, because theyāre Made Of The Same Stuff. And breaking down that mental barrier between them is good on its own for developing a mechanical understanding of storytelling.
But also? I think one of the biggest blessings of TvTropesās commitment to cataloguing examples of tropes regardless of their āmeritā or literary value or whateverā¦is that we get to see the full range of effectiveness or ineffectiveness of storytelling tools. Like, this is how you see what makes one book good and another book crappy. Tropes are Tools, and when you observe how a master craftsman uses a tool vs. a novice, you can break down not only what the tool is most effective for but how it is best used.
In fact? There are trope pages devoted to what happens when storytelling tools just unilaterally fail. e.g. Narm is when creators intend something to be frightening, but audiences find it hilarious instead.
On that note, TvTropes is also great in that its analysis of stories is very grounded in authors, audiences, and culture; itās not solely focused on in-story elements. A lot of the trope pages are categories for audience responses to tropes, or for real-world occurrences that affected the storytelling, or just the human failings that creep into storytelling and affect it, like Early Installment Weirdness. There are categories for censorship-driven storytelling decisions. There are ālineagesā of tropes that show how storytelling has changed over time, and how audience responses change as culture changes. Tropes like Draco in Leather Pants or Narm are catalogued because the audience reaction to a story is as much a part of that storyāthe story of that story?āas the ācanon.ā
like, storytelling is inextricable from context. itās inextricable from how big the writersā budget was, and how accepting of homophobia the audience was, and what was acceptable to be shown on film at the time. Tropes beget other tropes, one trope is exchanged for another, they are all linked. A Dead Horse Trope becomes an Undead Horse Trope, and sometimes it was a Dead Unicorn Trope all along. What was this work responding to? And all works are responding to something, whether they know it or not
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