Authors can sometimes get sidetracked as they get sucked into the process of writing their story. A great idea often supercedes the story’s requirement of being consistent. In my review of Taladega Nights I point out some inconsistencies in the story that could’ve been averted with Dramatica.

First off, have to say, that I love everything Will Ferrell is in. Now, I haven’t seen everything (I skipped Bewitched), but there’s just something about the way he can pull off his characters without cracking a smile that just gets me everytime.

That being said, the film itself makes some gross errors in the story department. I still had a great time, but found myself shaking my head at what mistakes they made.

 

****spoilers alert****

Cardinal Rule of Storytelling #32 - Make sure your opening act turn is of the same type as your closing act turn

I’m sure all will agree that the Inciting Incident of the story happens when Larry Dennit, Jr. (played by Greg Germann - the guy from Ally McBeal) brings French Foreign Racer Jean Girard (Sacha Baron Cohen) to NASCAR. Everything is fine and dandy for Ricky before this event. Oh sure, he’s got some personal problems with his best friend Cal Naughton, Jr. (John C. Reilly) - mainly that he never lets him win - but overall, things are going great for Ricky -he’s got a “red hot smokin’ wife” and tons of cash.

But then Larry has to go and mess it all up for him.

Some may say that this is actually proof of an Action driver - an action took place, Girard enters NASCAR. But when you are trying to determine the driver for your story, you have to find out where the main emphasis is. The emphasis in this story is on Larry’s decision to bring Girard on (I believe he even says something to the effect of “It’s my decision to make”). This is a Decision driver that forces Ricky Bobby and his friends to take actions against the new foreign influence.

And the act-turn decisions continue - his best friend decides to move in with Ricky’s wife, Ricky decides not to race anymore. Again, the huge crash is not the Act turner - it’s Ricky’s decision to not continue on because he thinks he’s paralyzed.

And so, because everyone knows the screenwriting rule that all act-turns must be of the same type, you would ultimately expect that some decision will end it all -

But they DON’T DO THAT!

The whole story falls apart when they turn Ricky’s footrace against Girard into the Concluding Event. An Action?! But we’ve had all these Decisions and now you’re switching it on us?

Even if you’re not a fan of Will Ferrell or NASCAR or comedy, you still have got to check it out just to see this gaffe in action. (pun intended)

Ricky beats Girard and all is good again. Of course, because you can’t race on foot in NASCAR, Ricky’s friend Cal finally wins a race by default - another gross error. How can the main relationship be resolved by some chance occurrence? Where is the meaning in that?!

They missed a great opportunity to have the concluding event be meaningful for all four Throughlines. If Ricky had won, and then the NASCAR rule had been brought up (that you have to actually be in a car), but then Ricky’s popularity with the crowd and with all of NASCAR results in some grand fight over whether or not he should win, THEN he could look over at his best friend, who has always been there for him, and make the DECISION himself to back the NASCAR rule.

That would’ve solved the inconsistent driver problem, the Main Character’s Resolve (which really wasn’t there either), and fulfilled the Main Relationship throughline all in one great swoop.

Share This

Somewhat related to this article

• plot-driven or character-driven stories?→

• The Best of StoryFanatic in 2007→

• facelift→

• even the fluffy get a chance→

• User Group Analysis for Next Week→