It’s always fun to remember those moments when a magic trick of some sort is explained to us. This happened to me several decades ago in, of all places, a course on Literary Theory, in which revealed the basic conceit of classic detective fiction. It seems that, for years, I had willingly been paying attention to the author’s elaborate patter and ignoring the obvious simplicity of the genre’s trick.
In classic detective fiction there are only a few basic pieces that any author is allowed to use, and fair play dictates that an author may not introduce any new structural elements. The real difference between the masters and pretenders of the genre can be found in the way they employ, rearrange and manipulate these few essential narrative elements.1
Over the years, I have been reminded of that lesson while observing different narrative forms played out across a variety of media. I have watched literary, film, and TV projects succeed because they understood the need to put the essential elements of their products together coherently, with the right and unique emphasis on each one. I have also watched many projects disappoint and fail utterly because too much attention was paid to only one element — special effects, characterization, or even story — without the proper treatment of other components. (more…)