When we present a story, we want it to be as unique as possible. We think it should be special to us and have the flavour we want. Yes, we can create a work that we are inspired by or that refers to well-known works, but we are still careful not to create an ordinary one. After all, what makes any work of art interesting is its originality, what makes it different from others.
Therefore, there is something we must acknowledge. As long as you add your own imagination to your creation and do not steal directly from other works, every work can gain uniqueness. Depending on the artist’s creation, it can gain change or importance. As we have already touched on this subject, I won’t repeat it.
On the other hand, it is also true that no written text you can think of is completely unique. Do not be confused, the situation is as follows: No matter what period of history, no matter where it comes from, no matter how many times it has been told, a work is always similar to another work. Sometimes this can happen independently. Rarely can there be two very similar works that are in fact fundamentally uninspired. Nevertheless, it is understandably not easy to recognise them.
So what can cause these similarities (or uniqueness, depending on how you treat them)? If we want to analyse them from a literary point of view, the first thing that comes to mind is that they are caused by clichés. A cliché is a phenomenon that repeats itself over time. It is a phenomenon that leaves its mark on every era (except for a few changes that it may bring about itself), whose accuracy is accepted by society, sometimes ignored, but in the end there is no doubt about its recognition.
I think proverbs can be an example of this. Although they do not have to correspond to our time, if we analyse them word by word, sentences that consist of a combination of stereotyped thoughts, said as if they had seen the future, are actually tailor-made to reflect the truth. That is why, over time, they have been accepted, recognised and regarded as true. So much so that there comes a time when only these sayings are enough to explain the situation.
When we look at the stories, we find the same situation. The stereotypical phenomena are engraved in the works. Let’s make this more concrete by talking about some clichés.
1. Love at First Sight
I assume you know what I mean as soon as you read the title. The immediate and intense romantic bond between characters when they first meet is a common cliché that is often criticised for oversimplifying complex emotions and relationships.
In my opinion, there is no harm in using it if the work is not based on romance, or if the main plot of the story can continue without elaborating on the characters’ bond.
When I see astronauts exploring an alien planet, I care about what they find. And if they form a bond in that environment, I have no problem with that happening quickly. As another example, if two people bump into each other, drop their books, and when they look up they like each other, so be it. So the real story here is not how they fall in love, but what happens to their lives after they fall in love.
2. The Chosen One or the Person/Event Described in Prophecies
This is another cliché, of course. And I am sure you can think of examples from well-known works. It is a phenomenon in most adventure-oriented works. This narrative can seem a bit artificial to me. Especially if it is too obvious to the reader/audience, it can lose its flavour.
We have a chosen main character, usually very young. We follow his life. In fact, there is a trivial narrative; it is criticised or left in the background; it is the scenes that do not give an impression of the main character. However, this is the stage where he is introduced and then trained through various unexpected events. As you watch him grow, the bond you formed at the beginning is strengthened and you adopt him. You enjoy his development, and your enemies also have something in common. One day, trouble arises and only the presence of this chosen one can change the situation for the better. There is no other choice; either the Chosen One must act, or evil will engulf everyone.
I find this a little irritating, but also understandable. The life of each individual (even if only for a moment) can have unexpected effects, or on the contrary, it can stand in the background as an outsider because it has nothing to do with the situation. Of course, since my point of view here is more realistic, thinking like I mentioned in a fantastic narrative would not add any value to the work. Nobody will want to read/watch the life story of an ordinary person.
There is also someone who appears in the prophecies, who we usually recognise at the beginning of the story, and who is probably a baby. It is the person described in the stories and is expected to appear for many years. The prophecy is learned from someone and is usually said to affect someone’s leadership. “A baby born this year will be a troublemaker in 20 years and will have the power to depose you from your throne”.
Photo by Paweł Furman on Unsplash
3. The Misunderstood Character Adopts Evil
Here’s another one! It must be remembered that there must be villains in the game. Not everything revolves around good or main characters. As every narrative has a starting point, it needs an opponent with a contrary mentality to create an obstacle or to turn the situation around. This is one of the values that permeate the narrative. I will write about narrative structures in the near future.
This “evil” person can sometimes be someone whose presence is an afterthought. Sometimes it can be someone we know very well and/or someone we think might change sides because of their opposing views. Characters do not always have to agree, and this is the best part. They add variety to the plot, and if they go against the accepted view (especially if the readers/audience don’t like it), they create more impact and reach a fan base.
Therefore, it is inevitable that authors will resort to this method. Although this is a cliché, I am in favour of including it in an original way, although I think that it should rather be a phenomenon that must be included in the flow of the story.
4. Last Minute Effects and Deus Ex Machina
Two phenomena that I have mentioned in my previous articles appear here. In my opinion, these are perhaps the two clichés that annoy people the most. However, it is all about how clichés are used.
Imagine, there’s a story that’s as beautifully crafted as possible, and it’s a masterpiece. And then you get to the last chapters and it’s just a fait accompli. “Wait a minute? What happened there?” These are the events that unfold without even giving you the opportunity to question them. The answer to these questions, which are touched upon at the beginning of the work and which have been in the nagging corners of your mind for a long time, is inadequate, unpleasant and not at all fulfilling, especially for a well-crafted work. It is considered simple and unsatisfactory.
Of course, if the infrastructure is in place, it will be enjoyed. The important point here is that it should be well integrated into the events that are developing in the main narrative, and give an idea of why they are developing. Otherwise, it is irrelevant and cannot offer any evaluable point of view. As a result, a great work can end badly and be remembered as such. Remember that no matter how well and how long you speak, it is the single mistake you make that will be most vividly remembered.
A deus ex machina can also have this effect in a narrative. I would like to analyse it with the attitude of our first statement. While the main point of the narrative is clear, the deus ex machina, created in such a way that it prevents the narrative from affecting it, but resolves it at once, will not catch the reader’s/audience’s eye. Because that is its function. Used too much, it can be annoying and detract from the quality, but used correctly (perhaps combined with a comic element), it can add a nice flavour to this rapid transition. It can convince you that the narrative itself, rather than the resolution of that confusion or obstacle, is the part you should be focusing on.
It’s about embracing concepts that are appropriate to a unique narrative. If your work stands out for its uniqueness and differs from clichéd narratives, then that’s great. On the other hand, clichéd and stereotypical situations are not always bad. Depending on the value of your use, they can help you forge a whole new shape. So it is very important that they are handled well, used in the right places and in the right way, and that they give consistency to your story.
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