Have you noticed that the very successful talent search shows like American Idol, America's Got Talent, and their UK counterparts are using all the elements of traditional drama to hook viewers? Admittedly, often they're doing it badly but the ratings suggest it works very well. They cast the contestants as basic archetypes:
The Orphan - a young contestant who has recently lost a mother, father or grandparent and is "doing this for Gran." Lots of weeping.
The Hero - the firefighter, police officer, or soldier who serves us all but has a hidden dream of becoming a star. Humility on tap.
The Animus/Anima - the masculine image in a woman's psyche or vice versa - the androgynous contestant. Lots of mascara.
The Mother - the contestant who is older than most of the others and becomes their mother figure. A dress that could have come from Sears or Marks & Spencer.
The Trickster or Fox - the cheeky contestant who dares to talk back to Simon Cowell or another authority figure. Spiky haircut optional.
The Scarecrow - the unattractive one who turns out to have talent. Hi, Susan Boyle.
The problem is that often the stories are so unsubtle that they grate, and one of the shows, X Factor, has cut back on the sob stories. Now what they really should do is hire some better writers.
(For how to write good stories, see my book, "Your Writing Coach," published by Nicholas Brealey and available from Amazon and other online and offline booksellers. For more information see www.YourWritingCoach.com)
