The Case of the Missing Heart

October 31, 2008

When one speaks of emotions or “heart,” what they are really describing is the relationship between things. One can’t experience love or sadness without the context of that emotion as it relates to something else. Emotions exist as a result of an inequity between two separate things, whether they be objects or in our case, characters. The nature of emotion requires a relationship.

When a film or novel seems cold, or lacks heart, what it is really missing is that heartfelt relationship between two characters.

The Relationship Throughline

Jack somehow left out the most important part of the story equation.

In the Dramatica theory of story this relationship between two characters is referred to as the Relationship Throughline. In other story theories or screenwriting books this throughline is sometimes called the C story line or the “heartline.” Put simply, this throughline explores the emotional meaning of a story’s message.

The relationship in question always revolves around the Main Character and one other Primary Character. This other character (sometimes called the Impact Character or Pivotal Character) stands in direct opposition to the Main Character’s point-of-view, representing the greatest challenge to the MC’s approach towards solving the story’s central problem. By providing a unique perspective that connects thematically to the Main Character’s personal issues, this character “impacts” the central character, forcing them to the moment of crisis.

But while the Main Character will have their way of seeing the world and the Impact Character will have theirs, this does not completely fulfill the needs of the Relationship Throughline. As Chris Huntley wrote in this Dramatica Tip from May 2004:

Many writers confuse the relationship throughline for the characters in it. Though the characters are party to the relationship, the Relationship Throughline is not about the characters as individuals…it is about the relationship.

So while you may have your own personal problems or issues, and your significant other might have his or her own issues, the two of you also have a relationship that carries with it its own separate set of issues. These relationship issues might spill over into the personal and may possibly even be informed by them, but it is important to clearly identify them as separate, especially when writing a story.

An Author needs to explore what is wrong with this relationship; why it’s growing or why it’s falling apart and how that impacts the two parties in question. By doing so they will have supplied their audience with an emotional argument, or message, that will coincide with the more plot-oriented logistical argument of the “headline” or A story.

But most importantly, they will have given them something to feel.

Jack’s Missing Heart

Most of Tim Burton’s films, while always visually amazing, quite often seem to be missing something. Without the knowledge of the importance of the Relationship Throughline, many will chalk this lack up to his films simply being “dark” or “quirky.” Case-in-point: The Nightmare Before Christmas.

This is a perennial favorite, something that has to be watched every Halloween season. Fifteen years after its initial run, one can still find it running in limited engagement every October at the famous El Capitan Theatre in Hollywood, CA. It is simply put, a technical marvel. It is a technical marvel. But even that simple description accurately reveals what many feel is missing from this work – namely, heart.

Every time Jack and Sally (Main Character and Impact Character respectively) are just about to get together and have some meaningful contact, somebody or something interrupts them. One time would be understandable, maybe even two, but these undead lovers don’t connect emotionally until the very last scene! Jack doesn’t even really verify her existence until the very end. It’s a very frustrating experience.

Too little too late.

Some would argue, “Yes, but what about all those other great romantic films where the two characters don’t finally get together until the very end? It’s a very common device.” Chances are, if those films are indeed complete stories, there is a reasonalbe amount of emotional development throughout. Although they might not meet each other physically until the end, their relationship grows, ebbing and flowing until that final heartfelt scene. A relationship can’t just “pop” into existence, it needs to develop into fruition.

Nightmare lacks this development and therefore suffers from a lack of heart.

What follows is a montage of every interaction between Jack and Sally - nothing has been left out. Note how often the two get interrupted, but more importantly pay attention to the overall feeling of the piece. That cold frustration should have been replaced by the warmth that comes with a deeply explored and heartfelt relationship throughline.

Happy Halloween!