8 Writing Lessons from Supernatural (Part 1 of 2)

by Misha Crews

I was first introduced to Supernatural by my friend Michelle Carlbert, who I met at Comicon in 2010. If you're not familiar with it, the show is about two ridiculously handsome brothers cruising around in a vintage car slaying demons. (I write this with tongue firmly planted in cheek: that's pretty much the premise of the show, but it transcends that shallow description.) The brothers, Sam and Dean Winchester, are played with heartfelt authenticity by Jared Padalecki and Jensen Ackles. Although the concept seemed fun, I kind of doubted that there would be much artistic merit in the show itself. I was wrong about that (first time for everything) and I've made up for that error by talking about Supernatural at pretty much every available opportunity to anybody who will hold still long enough to listen.

After reading Nicole Christoff's post Muppets and More, and  Evie Owen's post on the movie It's Complicated, I started pondering the ways in which popular television and movies have influenced my writing. And since I'm going to my very first Supernatural convention in May, this seemed like the perfect time to dive into the lessons I've learned from a show which has become an unexpected source of inspiration.

1. The core is in the classics. In the case of Supernatural, this means urban legends and religious mythology. And in modern popular fiction, we've seen a huge resurgence in mythologies over the past few years: vampires, super heroes, werewolves. We've also seen the classics being resurrected over and over again: especially with books like Rebecca, Pride and Prejudice, and A Christmas Carol. And of course, how many times have we read modern versions of Shakespeare? Not just Romeo and Juliet, but Hamlet, Taming of the Shrew, and too many others to mention? Incorporating the classics allows an artist to touch a nerve that resonates on many different levels with her audience, whether that means viewers or readers.

In this clip from the show, Sam and Dean slay a dragon. It doesn't get much more classic and mythic than that!

2. Don't be afraid to go deep. Over the nine years that Supernatural has been on the air, Sam and Dean have been to both Heaven and Hell – literally. And they've saved the world on at least three occasions (probably more – apologies to the superfans out there for not knowing the exact number!) In a show where the protagonists have battled every type of entity, from angels to demons and back again, you'd think that their interior highs and lows might not be that important for the writers. Not so. One thing that this show definitely demonstrates is how the plot's external ups and downs are mirrors of the characters internal ups and downs (and vice versa).

3. Conflict, conflict everywhere. Writers are always taught that conflict is the fuel on the fire of any great story, and Supernatural knows how to work conflict into their plots. Personalities clash at the least convenient times, and old hurts are woven seamlessly into new plot twists. In this clip from Season 1, Sam and Dean have an argument that encapsulates their entire history up to this point. As a result of the argument, the brothers split up for the remainder of the episode, and that period of separation has ramifications which we're still feeling today, nine seasons later.

 

4. Family is not just the heart of the story, it's also the bones. The heart of this show is the relationship between Sam and Dean. The family bond is is both their greatest strength and their most dangerous weakness.

And in addition to influencing the characters, the individual episodes and season-wide story arcs are also built around family. The brothers are together, then apart. They're at odds, then in accord. In fact, the entire first season was structured around the two of them reuniting after a long rift and looking for their father. So family is not just the heart, it's also the bones: it's the structure around which the framework is constructed.

Here's a video that emphasizes the importance of family in this show. And it's interesting to note that the family isn't just restricted to blood relations. As Bobby Singer (the wonderful Jim Beaver) so eloquently says, "Family don't end with blood."

On Monday, April 7, we'll be back with lessons five through eight. In the meantime: are you a Supernatural fan? In what way do you think the show has influenced your writing?

Identity vs. Essence

I spent this past weekend with Michael Hauge, the screenwriter, in his Story Mastery class. One topic seemed to catch the attention of many attendees. It was the discussion of a character living in their identity versus living in their essence.

Identity is the false self we present to the world to protect us from the fear that grows from a belief created by an emotional wound. In order for the character to achieve their goal, they must face this fear. The way for the character to do this is to live in their truth. Michael Hauge calls this truth the character’s essence.

Michael describes this character journey as moving from what is safe (identity) to destiny (essence). He said “A character can be safe and unfulfilled or can attempt to fulfill their destiny and be scared shitless." The character arc is the journey between living fully in their identity and living fully in their essence.

In his book, Writing Screenplays That Sell, he states, “The character’s transformation from someone stuck in his inner conflict to someone who has found the courage to overcome it is his arc. It’s an arc from fear to courage, from inner conflict to true self-worth."

At the end of his Saturday lecture, he told us that the notion of identity vs. essence applies to real life as well. He said that given the choice, most people choose to live in their identity rather than live in their essence because they choose safety over potential happiness. He challenged us to apply this to our own writing life. In other words, he told us to complete the following sentence:

I’ll do whatever it takes to achieve my goal, just don’t ask me to __________________ because that’s just not me.

At lunch today, many of us said fear held us back. But Yvonne said that fear is too easy an answer. I agree. Fear may be the result but if fear is keeping you from your writing goals, then there must be an underlying cause. In other words, fear is the result of something else and that is really what’s keeping you from achieving your writing goals.

I’ve been thinking all day about what my answer would be. And I still don’t know.

What are your thoughts on the subject, either for yourself or for development of character arc? What are some good examples of this in movies or books?