What Reality TV Can Teach Us About Writing

I'm a fan of reality TV. American Idol, The Biggest Loser, Project Runway, Tabitha's Salon Takeover, Tough Love, Hoarders. And when I spend time not writing, I try to think about what my current procrastination activity can teach me about writing. And reality TV has four things going for it that we can apply to our writing: casting, editing, trouble, and high stakes.

Casting
The folks who go on reality TV are recruited usually for one of two reasons. They have extreme talent (American Idol, Project Runway) or they are a hot mess (American Idol, Project Runway). The characters on these shows are selected because they are extreme. They are not run-of-the-mill, easy to get along with, happy, well-adjusted people with no special skills or obstacles to overcome. Those people (average folks like you and me) don't make good television. They don't make good writing either.

So make sure your characters are fighting for a dream (American Idol), have awful social ticks they need to correct (Tough Love), or are facing death if they don't get their act together (Biggest Loser).

Editing
So many people who come onto these shows thinking they are nice, normal, run of the mill folks complain that the show is edited in a way that makes them look worse than they are. That the show only televised their worst moments and left all the sweet stuff on the cutting room floor. So while I feel bad for these characters because they are real people, I don't feel bad about doing the exact same thing to fictional characters!

You need to show the worst of your characters. You need to show them when they are sweating through an uphill climb, their large flabby belly flapping in the wind. When they lose their shit and start screaming at someone who broke the sewing machine. When a strong, well-composed young man cries like a baby when Simon tells him he's not a good singer.

Trouble
One of my favorite episodes of Project Runway is the group challenge! In a game where folks usually design their own garments, the group challenge creates a protagonist (team leader) and antagonist (not the team leader). The team leader gets to call the shots and wants to show their vision on the runway. Well, the other guy wants to show his vision too, but he's not in charge. Instant conflict!

High Stakes
On Tabitha's Salon Makeover, she's not just visiting salons that give bad haircuts -- the show also looks for salons where the owner is facing bankruptcy. Usually without the staff's knowledge. But when everyone learns that if they don't start doing better business, the owner might lose her house, everyone becomes invested in a single goal and bonds together. And what higher stakes could their be than death? The Biggest Loser has everyone literally fighting for their life.

So with some careful thought to what type of characters you include in your story, crafty editing, lots of trouble, and high stakes, you have the ingredients for a story that will pull readers in and keep them turning the pages.

Homer Simpson & Character Development

I was watching The Simpsons Twentieth Anniversary Special this weekend, and a quote by creator Matt Groening struck me as a tip to apply to creative writing. If you're not familiar with Homer Simpson, he's kind of a doofus. He's lazy and terrible at his job. He often shirks parental responsibility. He wastes the family's money on crazy schemes. He spends too much time at the bar and often forgets the name of his youngest child.

But, viewers love him. At the end of the special, they addressed the question of why, when Homer does so many awful and destructive things, does everyone love him? Matt said that someone suggested that viewers love Homer because Marge (his wife) loves Homer. Well, isn't that sweet?

But, Matt contradicted this assertion. He said that he believes that viewers love Homer because Homer loves Marge. And that, my friends, is how you offer your audience a well-rounded character. If you know The Simpsons, you also know that Homer and Marge are crazy in love. When Homer gets in a jam and Marge gets mad at him, Homer makes his sad, Homer whimper and realizes he's been a doofus. And he feels bad about it and know he's disappointed Marge.

If Homer went through all his hijinks not caring about his consequences, he wouldn't be so appealing to an audience. But because he balances out his screwballness with sincerity, because he loves his wife and hates letting her down, he's likeable. He's relatable.

And when Homer and Marge walk off into the sunset together, you know he's truly in love. And that makes for a character we all can root for.

Creating Trouble for Your Characters

I love my story's characters. Even the mean ones. I want the very best for them, and I want to see all their hopes and dreams come true. And with fiction, this is very easy to do.

Lose your job? Hey, how about you pop by the 7-11 and I'll make you buy a lottery ticket on a whim. I'll even make it a winner. Striking out on the dating dance floor? Well, I can whip up a man who meets all your requirements. Want to bop around Europe? Wouldn't you know it, the value of the Euro just plummeted and I can get you there for a song.

Problem is, all these easy outs don't make for interesting writing. It's clear that as an author you'll have a more complex relationship with your characters than anyone who reads about them. But, to create compelling writing, you really have to care more about your readers than your characters.

Because creating trouble for your characters is what your readers are thirsting for. They want to see the very worst of your characters. They want to read about people who are down on their luck. Stuck between a rock and a bigger rock. Choosing between crappy option A and crappier option B. It's what keeps the reader turning the pages, to find out how will Billy get out of this mess?

And without the readers engaged enough to keep turning the pages, those characters don't get a chance to tell their story. So fall in love with your characters, sure. But love your readers more.