That Holiday Feeling

Ferias Ex Machina….

As Christmas is only a few days away now traditional Holiday themes are inundating all narratives on all mediums but why?

In a traditional narrative whether it is still, sculpted, cinemagraphic or literary a composition is orchestrated in such a way as to draw the viewers into the piece. There is a level of intrigue as the thrill of uncertainty keeps the rapt attention of the audience. This is not the case for many 'Holiday' narratives.

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The majority of 'Holiday' narratives are composed with layers of positive themes; selflessness, family, change of heart, unconditional love and other similar themes.

While many narratives can utilize similar themes, Holiday compositions typically feature these themes at a relative superficial level. The dramatic twists and turns that otherwise would create a thrilling piece are sedate compared to traditional narratives. These narratives often rely on the Ferias Ex Machina. 


Ferias Ex Machina or "Holiday out of the machine" is where a seemingly unsolvable/inextricable problem is suddenly and abruptly solved with the contrived and unexpected intervention of some new event, character, ability or object particularly in a 'Holiday' composition. These are where the characters will have a revelation, change of heart, a random bystander offers help because it is the season, etc.

In a traditional narrative composition, if the Ex Machina approach is used it makes for a superficial or failed piece by modern standards. So how is it acceptable for Holiday compositions?

Many narratives span extensive time periods either within the singular narrative or within a series and inevitably draw on the 'Holiday' themes. Much like a straightforward Holiday composition, the narratives fall to the same superficial level of device yet, since it is 'Holiday' themed it is generally accepted by the audience despite the Ferias Ex Machina approach.

What do you think? Is Ferias Ex Machina a suitable device for a holiday narrative or should a piece strive to be more than a 'Holiday' composition?

Merry Christmas….

Macro-Composition

Every composition has a set of defined elements from depth of field to subjects to the very contrast of the details in a piece. There is however, no set scale for any piece.

The challenge of any creative piece is utilizing all of the elements to form a connection with the audience, to give that emotional bond that keeps their attention, makes them want to understand. In a narrative this can mean perspective in the piece or scale of the subject matter (Will it affect the world? or Just a few lives?) or this can mean the very length of a piece.

Building a connection between the audience and the composition can be achieved through a variety of methods but the strongest is creating the 1:1 connection, a Macro-connection.

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In photography, establishing a 1:1 connection between the audience and the subject is achieved by focusing intently on the minute details of a larger subject. The Macro-composition is created by selecting the details of a larger composition that best represent the larger piece and then making them larger than life, a direct 1:1 ratio.

Eg. The larger composition is a broken down and forgotten home, now overgrown with trees and is slowly collapsing as autumn sets in with the early morning sun. The Macro would be a close up shot of the neglected flowerpots along the fading stucco wall with a few fall leaves resting on the pots with a hint of the early morning sun.

Creating a Macro-composition in a narrative can be one of the more difficult things for a writer to accomplish. It is often easier to express the larger implications of a narrative by breaking the 1:1 connection. In a third-person perspective it is common for global effects to be viewed by jumping to an outside narrative character that can witness these. This breaks the 1:1 ratio and the essential 'spell' that the audience is under however, and the last thing any writer wants to do is break their audience-composition connection.

There are a number of ways to express a larger composition within the details of a given scene or event without breaking the Macro-compostion. To borrow the phrase from Rohe ~ "The Devil is in the Details."


Controlling the focal point of a composition and through a clever use of details it is possible to express the larger composition without breaking the Macro 1:1 connection. These practices are easily attributable to Macro-Compositions, telling an entire narrative in a few precisely chosen details and words.

One of the strongest practices comes from utilizing video as art. The Macro-Challenge consists of creating 4 video clips under 15 seconds each, the catch is they need to be 'Non-Symbolic' but convey an emotion. In short, it means to convey love the cinematographer can not use hearts, flowers the color red, people etc. Through this practice the cinematographer learns to take explicit care in developing every 15 seconds.

In a narrative, the desire to focus on larger details can inhibit the audience-composition connection or even break that connection if the wrong focal points and details are selected. The solution is to utilize the Macro-Challenge of cinematographers. Many of these challenges are currently floating around including Twitter-Fiction and Flash-Fiction among the many other variants. Taking specific care to craft a narrative in a sentence or two encourages a conscious selection of words and details. As the short sentence is perfected then that same approach can be brought to the paragraph, the chapter, the novel and ultimately the series.

Every composition, every narrative has a Macro-perspective embedded in the piece. Utilizing precise details can convey a larger composition without ever breaking the 1:1 connection with the audience.

Drawing the Paranoia

Suspense, anxiety, fear….

While every story is its' own thriller, a roller-coaster of suspense, tension and excitement it is the writers' ability to wield the elements to enhance the connection between the narrative and the audience that defines the nature of the piece. Through closer examination of these elements it is possible to not only further enhance a piece but also further define the audience of a piece.

"Being prepared for almost anything, he was not, by any means, prepared… for nothing" - Charles Dickens, A Christmas Carol.


Suspense is an imperative to any piece, it defines the need for an audience to continue through a story. It embodies the questions that need answers. Will the character fall in love with the protagonist? Did they do the right thing by buying that house? Who committed the murder? Will they stop the antagonist? These are only a few of the many questions that are crafted for not only the audience but for the characters in a piece to answer. These are the driving force that keeps a piece moving forward but what is the defined use?

The element of suspense is a feeling of uncertainty and strong anxiety about the outcome(s) for certain actions. Most commonly it is utilized in the build-up right before a grand or dramatic moment to enhance the impact of that moment. In a romance it can mean the silence before the love interest responds to the almighty ILY from the protagonist. In a mystery it can be the interrogation of a suspect, while in a thriller it can be a race to stop something from happening. There is more than one way to utilize suspense in a narrative though.

One of the most powerful uses of suspense is not genre specific but it does require an artful use and a delicate balancing act. Suspense can be established and rather than releasing the tension through excitement, the excitement of the piece only serves to further enhance the suspense. In classic horror and thriller fashion it is known as "Nothing is Scarier." In short this trope means that as the suspense builds it is more powerful if the excitement or release moment comes without an actual release. This same device can be utilized in any genre, it is not horror or thriller specific but these are genres that use it openly. In a diametric example, Romance this could mean the protagonist admits the ILY to the interest but before the interest can respond something intervenes. The audience is left with that suspense while something adds an additional layer to the suspense.

There are roughly three variants of this device that are very common to horror and thrillers. These are the classic, full and has been variants. In the classic horror example suspense is built as the audience anticipates something to jump out from the dark and does. This is almost viewed as cliche now and it utilized in almost every horror and thriller. Abstracting this is simply suspense building up to a release point that is inevitable and often expected. The second full variant of this is often the most powerful of the three variants. The suspense is built as the audience anticipates something bad to happen, a monster to jump out of the dark but something intervenes to prevent release point. The audience still anticipates the attack, the monster but it doesn't come. Abstracting this variant we have suspense building to the point of release but the release point never comes. This is a very powerful element for most mystery, thriller and horror narratives. The final is the has been variant and is now quite common in horror stories. Often this is seen horror movies as a character expecting something in the darkness, another character distracts them and then the 'whatsit' attacks. Abstracting this variant suspense is built to the point of release but something intervenes to delay the release point.

Suspense is the key element in a taught story. It is the basis for many thrillers and horror stories but the elements are not exclusive to a single genre. As a writer draws the suspense of their piece it is possible to turn any story into a suspenseful page turner regardless of genre. What are the suspenseful elements of your piece?

Sustaining Curiosity

First words, sentences and chapters.

In crafting a narrative there is an extensive amount of emphasis that is placed on the opening of the piece. Perfecting the hook of a narrative is one of the most important components of a piece but when the hook is set what comes next?

Whether it's the theme, conflict or the gestalt of the piece that piques the interest of an audience the piece doesn't end after the hook. The creator must continue to evolve their piece but also match the design of the hook. In many instances a vast amount of effort will go into refining the first chapter or hook so that an audience will be engrossed.  Unfortunately the same effort is neglected for the proceeding chapters.

To sustain the curiosity of the audience it is necessary to orchestrate the premise in such a way as to nudge the reader to follow a character through a series of events. This is no different than taking the first hook and replicating it across pages where every page leads to the next.

The standard methods of creating narrative flow ensure cohesion between components however, the most notable methods to maintain interest in the piece is to never duplicate a situation or event. Every chapter should open with a new situation and not re-visit the events that brought the character to that point.

A supporting method to continue the cohesive flow of the narrative is to end each chapter with the hook, a 'cliffhanger.' If an audience is continually asking 'what is next' then it is possible to sustain their curiosity.

Every narrative is it's own mystery carefully crafted to sustain the curiosity of the reader. Like a guide casting breadcrumbs to lead their party to an unknown destination, the creator keeps the plot hidden to give them a chance to speculate. When the final pinnacle is reached it will ever the more breath-taking.