Tag Archives: new scientist

A Satisfying Plot 5: Questions and Puzzles

My favourite Coen brothers’ film is Intolerable Cruelty. George Clooney and Catherine Zeta-Jones as battling divorce lawyer and divorcee, Miles Massey and Marilyn Rexroth. Following their first courtroom encounter, they meet for dinner:

(MR) What was your performance about this afternoon?
(MM) What did your lawyer say?
Freddie thinks you’re a buffoon. He says you’ve been too successful. You’re bored, complacent and you’re on your way down.
But you don’t think so.
How do you know?
Why would you be here?
Why did you ask me?
Can’t I be curious?
About what?
Do you ever answer questions?
Do you?

Now firstly, what makes this funny is the charm of two comic actors going at a great script. But also, it constantly denies us any sense of resolution. And we do like a resolution. It is said that Mozart’s wife would get him out of bed in the morning by playing the first seven notes of an octave. As if we are in a constant state of willing things to complete. Uncertainty followed by certainty.

In games design, it is called a Ludic Loop. Anyone who has played Tetris will know the great satisfaction when, after sliding and turning a series of shapes, a four-block slides into place and four rows flash on-and-off and then disappear. But more than this, as soon as that puzzle has resolved itself, new ones are immediately created. More loops of anticipation and resolution (or frustration), each accompanied by a thrilling release of dopamine in the brain.

It will be familiar to anyone currently hooked on Candy Crush. There is a story in New Scientist about a woman who was playing it on the toilet, so addicted that when she finally got up after four hours, her legs collapsed beneath her.

Stories constantly set up puzzles or ask questions, and then, often when you least expect it, answer them. Not just once, but constantly throughout the telling. ‘Who is this?’ ‘What is going to happen?’ ‘How will he/she get out of this situation?’ ‘What is x hiding?’ ‘Why did he/she say it in that way?’ A detective story is not just one question of ‘who killed y?’ but a constant flow of questions and puzzles; answers and solutions.
And literary fiction? Spot the uncertainty or anticipation being set up in these first lines:

• It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.
• It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York.
• If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.
• They say, when trouble comes close ranks, and so the white people did.
• As Gregor Samsa awoke one morning from an uneasy dream, he found himself transformed in his bed into a monstrous vermin.
• All children, except one, grow up.
• It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love.
• The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the hills, resting.
• It was the day my grandmother exploded.
• He was an old man who fished alone in a skiff in the Gulf stream and he had gone eighty-four days now without taking a fish.

And then, take your favourite story and follow through the way the author keeps your sense of uncertainty or anticipation alive; occasionally rewarding you with a resolution or a point of certainty, but not before setting up another question or puzzle.

The New Scientist article points out that Candy Crush was created without consciously using the principle of the Ludic Loop and goes on to suggest that once it is properly adopted we’ll all be hooked longer and longer on to more and more video games. I’m not so sure. The distance between adopting a new principle and creating Candy Crush, is about the same as reading a series of posts called, ‘A Satisfying Plot’ and writing Intolerable Cruelty. What is needed are ill-defined qualities like ‘creative ability’ or ‘individual spark’. Science is yet to make much progress there. Though perhaps, when it does, we really will be queuing round the block to get the autograph of Autobot 5.

The quotes are from:
Pride and Prejudice
The Bell Jar
A Catcher in the Rye
Wide Sargasso Sea
Peter Pan
Love in a Time of Cholera
Red Badge of Courage
Crow Road
The Old Man and the Sea

Character: The Nudge

According to New Scientist, in 1999 the authorities at Schliphol Airport in Amsterdam had a problem. One of the most expensive jobs was keeping the floor of the men’s toilets clean. Instead of posting polite signs reminding the users to pee straight, they etched a picture of a fly into each urinal. The cleaning bill fell by 80%.
It is what is known as a ‘nudge’ after Carl Sunstein’s book Nudge: improving decisions about health, wealth, and happiness. A nudge is something that influences our behaviour or thinking without our being aware of it. Men pee straighter when they have something to aim at.
Writers often use nudges to suggest to the reader that they should feel one way or another about a character. Bertie Wooster, for example, is an over-privileged waster. Someone who, if he appeared on Made in Chelsea, would be the butt of the joke of even that bunch of top-draw bananas. So why do I like him? For a start he’s funny, but even more it’s because Jeeves likes him. Jeeves is from below stairs, he is wise, and has good judgement. If Jeeves likes him, so do I.
TV and film producers cast people with particular facial characteristics to influence our judgement. Writers use other tricks.