many different types of storytelling irony, and how you should employ as many as possible. Irony is the heart of meaning, and it should suffuse every aspect of your story.
This means that you have to keep upsetting your heroes’
expectations, but it doesn’t mean that your heroes have to keep failing. In this post about The Apartment, I showed how a chain of seemingly negative ironic
reversals turned out well for the hero, and how a chain of seeming positive
plot turns turned out poorly.
Audience love to see characters succeed or fail in ironic
ways. That’s what keeps stories
interesting. If a girl says to the
glum boy she likes, “I’m going to take you to the carnival and cheer you up”,
then the audience is not going to want to see either a straightforward success (he
loves the roller coaster and thanks her for a fun time) or a straightforward failure (he hates the rides and says thanks
We’d rather see an ironic failure (He loves the rides, and
starts to cheer up, but from the Ferris wheel he sees his ex kissing a new guy
and becomes more depressed than ever) or an ironic success (He hates the rides,
and tries to sneak away, but as he does so he sees a carny kicking a mangy dog
out of the camp, so he rescues the grateful dog, who proceeds to make him
Romeo doesn’t go to that party because he wants to meet
someone new. He goes to win
Rosalyn’s affections. He finds the
love affair he’s looking for, but he does so ironically, by doing the one thing he
didn’t want to do, seeing past his former infatuation toward someone new.
This is another thing to beware of when it comes time to
turn your beatsheet into an actual screenplay. The broad strokes of the scene may be, “He goes to the
party, meets Juliet and falls in love”, but when you’re painting in the
details, you’ll have to make it more interesting than that. Try to have every plot point, positive
or negative, be an ironic reversal of what the audience (and the character)
thought was going to happen. Your
audience will love you for it.