I was going to call this blog “Saul Goodman wants to review your contract” but then no one would read it because contracts are boring. And everyone knows that Susan Spann is the lawyer you want to work with. Duh.
Who is Saul Goodman? Come on, guys, he’s the lawyer in Breaking Bad. And if you don’t know what Breaking Bad is, it’s one of the most electrifying television shows ever produced that will devour the soft parts of your soul and leave you gasping like a meth addict overdosing on linoleum.
Better Call Saul is a spin-off/prequel to Breaking Bad and I’ve been watching it. At first, I wasn’t going to even bother because I like new content and Breaking Bad left me both satisfied and scarred. I had to seek PTSD counseling after that brain-spilling final season.
I can dig a good spin-off. I followed Joanie and Chachi to their own show from Happy Days. What’s Happy Days? It’s exactly like Breaking Bad only set in the 1950s and deals with soda jerks instead of meth addicts. Compare and contrast Tucco and the Fonze for homework.
While watching Better Call Saul, I pondered what I could learn about storytelling. What follows are my insights. In pseudo-legal document/outline form.
- In which, Aaron Michael Ritchey, hereafter known as the party of the first part, declares that voice trumps story.
- Part of the thrill of Better Call Saul is that it uses the same vision and voice of Breaking Bad. Even though the story is less intense, part of the reason why I like Better Call Saul is that I get to step back into the crime-ridden sleaziness of Albuquerque’s underbelly. The desert, the filth, the desperation, the violence, it’s like going home. If your home is San Quentin. But that was part of the wonder of Breaking Bad. This is one of the reasons why Roger Ebert gave The Godfather Part III a favorable review…it wasn’t that it was a good movie, but it felt like visiting family. In this way, voice can trump story.
- In pursuant to section one, the party of the first part, points out the importance of a “stakes character.”
- So as an audience, we know that the hero isn’t going to be killed. They are safe. Yes, a bunch of horrible things might happen to them, but they won’t be killed. And in a prequel, this is doubly true since we know Saul and his cronies live long enough to be in the next show. However, a stakes character is a secondary character that we like, that is in danger of dying, and that the hero loves.
- In Breaking Bad, the lives of Walter White’s family and friends were at stake, and in some ways, you could argue that Jesse Pinkman was a stakes character.
- Saul has his mentally ill brother, and really, the whole show seems to be revolving around Saul and his relationship to his family. It’s powerful and makes the show work. Saul might not die, but his brother? Well…
- Without any extraneous words, the party of the first part, hereafter known as the blogger, points to the power of the franchise/series.
- Better Call Saul wouldn’t have been made if it hadn’t been for Breaking Bad.
- That’s not to say Better Call Saul isn’t a good show on i’s own, but it relies so much on the built-in audience of Breaking Bad that I don’t see anyone jumping right in without watching Breaking Bad.
- This might have meant death for Better Call Saul in past years, but now, we have Netflix and other streaming service so if you are curious about the new show, you can watch the old show in a massive binge.
- People like to lose themselves into other worlds, however vile and troubling the world might be. The more content available, the more people can binge and the more they want. That is why I’m working on The Juniper Wars Series, which will have a massive amount of content, including short stories written by other authors set in the world.
- And since I’m working with WordFire Press, we are nimble enough to release books as close together as possible. Notice, Netflix releases their own content in one lump dose do people can binge watch. I don’t watch shows until I can watch as many as I want. Weekly? Please, girlfriend. This isn’t the days of Joanie loves Chachi.
- The blogger posits that spin-offs are powerful because if you have good characters, people want more of that character.
- So in essence, write good characters, and if people like that character (Who didn’t love Saul Goodman in Breaking Bad?) write more stories for them. We now have so many platforms for fan-fiction as well as the ability to publish multiple books and multiple stories whenever we want.
- Well, hopefully. If we own the rights.
- Be careful of contracts that limit you. And if you are signing away your characters and world, your intellectual property, make sure that the contract includes Auric Goldfinger amounts of cash and make sure they will provide you minions.
- I have a minion clause in all my contracts. But no one ever signs them so I never get minions. Dammit!
So yes, I’ve been enjoying Better Call Saul. And when I’m either drawn or repulsed by a story, as a writer, it’s my duty to ask why. Why can’t I stop watching? What is going on that has me hooked?
Then I try and use those same techniques in my own work. Funny, though, seeing what other writers do (or don’t do) is a hellluva easier than putting those techniques into my own books.
But that’s the challenge, people. If it were easy, anyone would/could do it.