We'll get back to the WWYKs one of these days. Right now, I'm too strapped for time. But in the meantime: MacGuffins.
MacGuffin is an interesting term because apparently there are two different definitions running around out there. Both trace back to exactly the same story, but the people using each one don't seem unaware of the other group. Would lead to endless fun at pitch meetings if people who went to pitch meetings used pretentious writer-only jargon.
Here's the story that started all the trouble: the term MacGuffin allegedly comes from Alfred Hitchcock named for Mrs. MacGuffin, who was a childhood neighbor, schoolteacher, or god-knows-what. None of that clears up WHAT IT IS?
But there is an interview many of us remember with Hitchcock explaining the term in relation to Psycho. The movie begins with secretary Marion Crane being entrusted to take a $40,000 cash payment from her employer's client to the bank. She steals it, buys a car, and is on the run. The audience at that time was caught up in this exciting story, thinking "$40,000… $40,000… $40,000…" So much so that they barely noticed when checks into a rundown motel and has an innocent conversation with the soft-spoken proprietor, Norman Bates. $40,000… $40,000… $40,000… Right up until she takes a shower, and the rest is history.
Many people hearing that story come away thinking the MacGuffin is a particular kind of red herring. That it's an intensely gripping piece of misdirection in the opening act of a story that delays the audience knowing what the movie is really about. Kind of like the Croc kidnapping at the opening of Hush. Or the fascinating little mini-dramas that unfold in the opening of a Law & Order episode leading up to finding the body.
This is a really good concept that describes a fabulous storytelling technique which could use being encapsulated in one single word. "Red herring" and "misdirection" are too broad. Still takes three sentences to explain what you mean. But "I like what you did with stealing the opal at the beginning as a MacGuffin" that works.
Small problem: Hitchcock gave a lecture at Columbia University where he described it differently. The MacGuffin is "a plot device that advances the story" - uh, as opposed to WHAT? A plot device that washes characterization's car? A plot device that does structure's taxes? Let's try again.
The MacGuffin is something that is important to the characters but not to the audience… the plot revolves around it but we ultimately don't care. Uh, that would be EVERYTHING. We're all walking out of the theatre and paying $4 a gallon whether Carrie ends up with Mr. Big or not, whether Indy or the Russian chick gets the crystal skull brain-exploding download, and whether Tony or Obidiah get the dayglow heart thingy.
We already have words for plot device and motivation, but that seems to be the more official definition for MacGuffins.
At least up until Star Wars. I'm usually supportive of George Lucas when he remembers all that Joseph Campbell mentoring, but according to Wikipedia (pfft) he's on record as saying R2D2 is the driving force/MacGuffin in Star Wars. CHECK PLEASE!
Back to writing, consider the importance of both kinds of MacGuffins. The former can be overdone, so familiar there is no longer any surprise (c.f. Law & Order) but that doesn't make them any less entertaining (c.f. Law & Order). The latter, well, it doesn't need a special word, but you do need it.
MacGuffin is an interesting term because apparently there are two different definitions running around out there. Both trace back to exactly the same story, but the people using each one don't seem unaware of the other group. Would lead to endless fun at pitch meetings if people who went to pitch meetings used pretentious writer-only jargon.
Here's the story that started all the trouble: the term MacGuffin allegedly comes from Alfred Hitchcock named for Mrs. MacGuffin, who was a childhood neighbor, schoolteacher, or god-knows-what. None of that clears up WHAT IT IS?
But there is an interview many of us remember with Hitchcock explaining the term in relation to Psycho. The movie begins with secretary Marion Crane being entrusted to take a $40,000 cash payment from her employer's client to the bank. She steals it, buys a car, and is on the run. The audience at that time was caught up in this exciting story, thinking "$40,000… $40,000… $40,000…" So much so that they barely noticed when checks into a rundown motel and has an innocent conversation with the soft-spoken proprietor, Norman Bates. $40,000… $40,000… $40,000… Right up until she takes a shower, and the rest is history.
Many people hearing that story come away thinking the MacGuffin is a particular kind of red herring. That it's an intensely gripping piece of misdirection in the opening act of a story that delays the audience knowing what the movie is really about. Kind of like the Croc kidnapping at the opening of Hush. Or the fascinating little mini-dramas that unfold in the opening of a Law & Order episode leading up to finding the body.
This is a really good concept that describes a fabulous storytelling technique which could use being encapsulated in one single word. "Red herring" and "misdirection" are too broad. Still takes three sentences to explain what you mean. But "I like what you did with stealing the opal at the beginning as a MacGuffin" that works.
Small problem: Hitchcock gave a lecture at Columbia University where he described it differently. The MacGuffin is "a plot device that advances the story" - uh, as opposed to WHAT? A plot device that washes characterization's car? A plot device that does structure's taxes? Let's try again.
The MacGuffin is something that is important to the characters but not to the audience… the plot revolves around it but we ultimately don't care. Uh, that would be EVERYTHING. We're all walking out of the theatre and paying $4 a gallon whether Carrie ends up with Mr. Big or not, whether Indy or the Russian chick gets the crystal skull brain-exploding download, and whether Tony or Obidiah get the dayglow heart thingy.
We already have words for plot device and motivation, but that seems to be the more official definition for MacGuffins.
At least up until Star Wars. I'm usually supportive of George Lucas when he remembers all that Joseph Campbell mentoring, but according to Wikipedia (pfft) he's on record as saying R2D2 is the driving force/MacGuffin in Star Wars. CHECK PLEASE!
Back to writing, consider the importance of both kinds of MacGuffins. The former can be overdone, so familiar there is no longer any surprise (c.f. Law & Order) but that doesn't make them any less entertaining (c.f. Law & Order). The latter, well, it doesn't need a special word, but you do need it.
