Welcome class. Please take one copy of the syllabus and pass the rest along.
Suggested Reading: Never Let Roald Dahl Keep You from Understanding How Stories Build Meaning
Required Reading: One Star Review by Nick Winney
Spoilers: As Good As It Gets and Toy Story
This is part 2 of my exploration of meaning, but part 1 (Never Let Roald Dahl…) isn’t necessary to understand today’s essay. However, Nick Winney has agreed to our using “One Star Review” as an editorial case study for how we can put meat on beautiful bones. Reading his story first is highly recommended.
Meaning has Four Rs
Repetition
Reflection
Recontextualization
Resolution
In the first essay, I discussed a story’s “punch line” (recontexualization) and mentioned themes and motifs (both of which are aspects of repetition and reflection). Today, we’ll add resolution, by which I usually mean the denouement.
Denouement has at least two meanings, the modern and the classical. Here, I mean the modern meaning, the post-climax story wrap-up. In the classical sense, the denouement is the entire last act.
If you’ve finished a story and just want it to have more weight, begin by reviewing the resolution.
As Good As It Gets
Let’s look at the final moments of As Good As It Gets (screenplay by Mark Andrus and James L. Brooks).
Carol is on the verge of walking away from her strange, budding relationship with Melvin, when he stops her by saying: “Hey, I’ve got a compliment for you.”
She’s still hesitant, but he breaks into his speech about how he’s the one who sees how wonderful she is. They kiss. It’s a failure, but Melvin says, “I know I can do better.” They kiss again, and this time, it shows promise.
They walk off together and discover a bakery is open. Melvin backs up for the man sweeping the entrance and in doing so, steps on a sidewalk crack, something he’s spent the entire movie avoiding. Melvin notices the moment, and walks into the bakery with Carol.
That’s the resolution. So, how does it help create meaning?
The most obvious part is the speech which keys into Carol’s need to be appreciated, but it’s one, less-subtle part of the whole. Negotiation and persuasion gurus tells us that the most powerful persuasion technique is to make the other person think the idea is their own. You present two pieces of information and allow them to make the connection.
The movie begins doing this when Melvin says, “I have a compliment for you.” This reflects an earlier scene where Melvin has to rescue his dinner with Carol after accidentally insulting her. She demands a compliment, and if it’s not good enough, she’s leaving. He goes into to a long monologue about how he hates medication but because of her, he started taking his pills.
At first, she doesn’t understand, but he explains: “You make me want to be a better man.”
This is echoed again after the first attempt at a kiss, when he says: “I know I can do better.” It comes up for a final time when he realizes he’s stepped on a crack, and he’s okay.
She needs someone who appreciates her. He needs someone who inspires him to be better. That is the core of the story’s meaning, and exactly how we phrase that meaning will depend on which of the story’s themes resonate the most with us.
Improvement is a series of small steps, not an instant transformation.
We need relationships that bring out the best in us.
We can overcome selfishness and learn to put other people first.
For another quick example, the end of Toy Story has Woody say, “Buzz! You’re flying!” And Buzz replies, “This isn’t flying; this is falling with style.” It’s a repetition of Woody’s line from the beginning of the movie, and it shows how Woody now believes in (respects and loves) Buzz and how Buzz now embraces his role as a toy. It’s not just a random call back but a repetition central to the story’s meaning.
This aspect of storytelling is so crucial that if you change the resolution, you change the meaning. Carol and Melvin’s actions at the final uncertain moment in their relationship tell us how to view all that’s come before. If Buzz replied to Woody that he could fly all along, that they can all be more than a child’s play thing—the entire movie changes.
If we’re editing to put meat on a story’s bones, it only makes sense to start at the end. We do that by asking ourselves the right questions:
Does the story mean anything in its present state?
If it has meaning, is it a meaning we want and could it be made stronger?
Is there a better meaning we’d like to build from what we’ve written?
Out answers will inspire our work: reflecting meaningful moments. Meaning is made through repetition.
Many times, we’ll only now fully understand our story and what we hope to say, and that probably means rewriting earlier material.
One Star Review
Nick Winney’s story One Star Review is a delight. It’s well written, moves fast, and it’s fun. That’s enough. The end.
I had the nerve to reach out to him because I found the story through a Note where he’d claimed it had been turned down for not having enough story, and I thought that was nonsense. It has plenty of story. It sounds like what they needed was a little more meat on those beautiful bones—some meaning to give the tale coherence and weight.
That never happened, however. The “not enough story” line was Nick’s own, but if I wanted to dissect the story, he was all for it.
I’ve done this a few times before, but this one is different. I’ve recently decided that our writing needs clarity with conviction. The conviction is about being true to ourselves and writing our story in the style we think serves the story best. Given that context, our next job is to tell the story as clearly as we can. Nick does that.
I’m not giving a line editorial today. I only want to consider how we might approach the story if we wanted to build more weight… depth… meaning.
The Story’s Current Meaning
For me, these lines are important to understanding the character:
Henderson, with his wanky Audi. Such a dickhead. Barely able to string a sentence together, let alone argue a point. These people can vote. These people get to run franchises and people like me, who can make them look like the clueless twats that they are, even after a dozen shots? We get to work in their shit sandwich shops for minimum rate on zero hours contracts. Something is going wrong with the world.
Along with Debs placating words meant to ease the pain of the termination:
“Don’t take it out on me; I’ve let you off loads of times. You’ll get a job somewhere else easy. You’re too smart for sandwich prep anyway, you can do better than…than… this.”
Is Nick really as smart as he thinks he is? Probably not, but he thinks he’s better than others and the world is cheating his greatness and rewarding mediocrity. In his mind, he’s absolutely justified.
The Current Resolution
It was glorious chaos. I took a photo.
When I got home, I went online and left a review: “One Star - Not enough pigeons.” And posted my photo.
Fresha social media replied. It was probably Debs. “The person that left this review is a former employee who maliciously attracted pigeons into our shop on market street. We would like to apologise for any inconvenience to our wonderful customers while we cleaned the shop.”
I had another idea.
After week of it, they called the police. “It’s a free country,” I said, dropping the whole sack of grain at the door and retreating to a safe distance.
A week? These people are saints.
Building Meaning
As we look for connections to build upon, the segments I highlighted under Current Meaning are important, but there may be others we want to consider. Personally, I’m fond of:
“They say its good luck, getting shit on by a bird,” I said “but the birds will tell you it takes years of practice.”
That line’s humor hides its thematic resonance. Nick believes Henderson arrived at his position by unmerited luck, but I’m sure Henderson would tell us it took years of hard work. There’s a great deal in common between people and pigeons.
We could focus on echoing the idea that some people get all the luck, and Nick is just giving them more—enough more to potentially drive them out business. By proxy, it’s Nick who’s shitting all over them.
I hope you can see I’m not trying to change the story, only highlight aspects to emphasize their importance. Maybe Nick’s story doesn’t need it, but this is the same process I just went through with my own.
Rewriting Earlier Material
Do we not change anything? I don’t want to because Nick’s story reads so well, but let’s assume we haven’t a choice. There’s pigeon being held to our heads. We have to make a change. In that case, I’d look here:
I rolled my eyes and sighed. Looking up to the exposed pipework of the ceiling, dusty spider webs hung down, the aircon wafting them gently in the direction of the door.
These are perfectly fine lines, except our space is limited. I know they’re in the prep room, but I want a view of salad bar before it’s introduced in the climax. If we’re talking about the exposed pipework, I want there to have been a time when a bird flew into the restaurant and used those pipes to roost. It would foreshadow events to come and build a greater cohesion.
What we need, though, is to use one of our reflected passages to hide a kernel of the true meaning, at least what the story means to us.
For that, I’m looking to this passage:
“Was it the Christmas lunch thing? Was it that?” Debs looked even more uncomfortable.
“It’s that isn’t it.” Debs looked away and shifted on her feet. I rolled my eyes and sighed. Looking up to the exposed pipework of the ceiling, dusty spider webs hung down, the aircon wafting them gently in the direction of the door.
“That’s what you were talking about the other day when he came in, isn’t it. He told you to sack me, first chance you got, and this is it isn’t it.”
I know what I want Debs to say, but she’s not going to tell Nick that he can’t shit on people and get away with it. She’s not even going to admit the Christmas party had anything to do with Nick getting fired, but we can put all that in Nick’s mind. He’s heard it before. People get embarrassed when they’re bettered and talk like you’ve shit all over them, a bunch of mindless fools self-deceived into believing they’ve earned what luck has thrust upon them. In the end, Nick’s always the one getting crapped on.
In his mind, anyway.
What this accomplishes is tying the pigeon poop to a line about self-deception, which has been Nick’s problem all along.
The meaning becomes something like: people can look like lucky fools, that we’re the smart ones working hard for no reward, but judging others is a self deception that makes us the fool.
A Note on Recontextualization
In One Star Review, the punch line is Nick’s use of the pigeons to get revenge. It’s the engine of meaning for the story because it takes all of his pain and turns it into violence against those who don’t deserve it. It cements Nick as the villain, not the hero, of the tale.
With the story written and that climax in place, we look to the resolution to interpret what just happened. Nick doesn’t learn. In fact, he escalates his behavior while the story’s points of reflection highlight thematic elements, reminding us how it all ties together.
This Essay’s Resolution
Roald Dahl often didn’t do this kind of work in his adult stories, and he’s a beloved author. It’s not required. However, if you want to create more meaning in your work, try building on the work of your climax* by connecting thematic points through reflection and repetition and then pulling it all together in the resolution.
— Thaddeus Thomas
*That’s assuming your climax is your recontextualization point. It doesn’t have to be.