Father Christmas by Raymond Briggs

Father Christmas Raymond Briggs

This month I wrote a post on Teaching Kids How To Structure A Story.  Earlier in the month I looked at a wordless picture book, The Snowman by Raymond Briggs. Today I continue with a selection of mentor texts to help kids see how it works. Let’s look closely at Father Christmas, a seasonal picture book by the same author-illustrator. It’s not Christmas here, but it’s never wintry at Christmas Down Under. I prefer to read wintry books in our actual winter. This is just as much a winter tale as it is a Christmas one. Father Christmas is also a very British tale. You’ll soon see why.

At first glance, this picture book also seems to break the main rules of storytelling. It works because it is short. Father Christmas is partly making use of a comedic structure rather than classic dramatic structure.

STORY STRUCTURE OF FATHER CHRISTMAS

WHO IS THE MAIN CHARACTER?

Father Christmas.

What’s wrong with him?

Sometimes the foreign translations of a picture book give you extra clues about the story. The Japanese title means ‘Father Christmas The Cold-blooded Creature’ (or ‘Person who feels the cold easily’). The Japanese publishers put the thing that’s wrong with him right there in the title. More specifically, this is his weakness. He doesn’t like the cold. But I’d say his weakness is a little different.This is not your usual Jolly Santa, the guy most kids are exposed to — the man who lives to give. This Father Christmas’s weakness is that he’s grumpy by nature.  Or is it really a weakness? Is he really that grumpy?

This is a comment on a specific cultural milieu — this old man is proficient in the art of grumbling. He is cranky as a matter of habit, not because he has all that much to complain about. This is grumbling almost as a mantra to self, a reminded that although things may be terrible now, they may get better later. Father Christmas is grumbling to no one in particular, but he is drawing us in with his grumbling. We are invited to grumble along with him as a form of phatic communion. At the end of the story he has broken the fourth wall by directly addressing the reader, so we know we were supposed to hear him grumbling. He was inviting us to feel the cold with him, creating the weather as the mutual enemy to bring two characters (him and us) closer together.

This feels very British to me.

WHAT DOES FATHER CHRISTMAS WANT?

Father Christmas wakes up dreaming of a summer beach so we know right away that he wants to be on holiday somewhere. Sure enough, in another book in the series, Raymond Briggs takes him off on holiday. I haven’t read that one, though I’ve no doubt he grumbles about everything while on holiday, too.

OPPONENT/MONSTER/BADDIE/ENEMY/FRENEMY

His opponent is the cold weather. Father Christmas expends a lot of energy just keeping warm — tending to the fire, looking after the animals (who can’t be out in the elements), filling his belly with hot cups of tea.

WHAT’S THE PLAN?

goodbye cat goodbye dog

We already know what Father Christmas does at Christmas time because this is a well-known cultural narrative. He delivers presents to children all around the world. We watch him do this, but Raymond Briggs’ new spin on it: Father Christmas considers this work, just like anyone else doing shift work on a freezing cold night would feel like they are doing work.

BIG BATTLE

As you can see already, this is another mythic structure, in which the main character goes on a journey. This is not your classic mythic structure, however. Father Christmas is a modified version of that — known as a home-away-home story. A character leaves home, has an adventure, then returns home again. This home-away-home story usually takes place over a single day, and the child (or childlike) character usually goes to sleep at the end.

In general, a series of minor battles end in a big one. But sometimes, when there’s no fight or argument or near-death experience, the story includes something that stands-in for a battle.

In Diary of a Wombat, Jackie French used the ‘accumulation’ technique, where several objects pile up/come together.

Raymond Briggs uses a variation on that. After visiting a number of ordinary houses to deliver presents, including a caravan which he has trouble getting into, Father Christmas visits the Palace of Westminster, presumably to deliver presents to the most important children in the land. We have an accumulation effect going on, but it isn’t a piling up of objects. Instead, it goes from ‘ordinary to extraordinary’, or ‘ordinary to grand’. This stands in for the big battle scene, which exists to let us know the journey is coming to an end.

WHAT DOES FATHER CHRISTMAS LEARN?

Nothing. Because this story is comedic, not dramatic. Father Christmas is the ultimate recurring character. He appears year after year and never changes. Therefore it makes sense if he doesn’t change. It also makes sense if he’s a bit grumpy about that. Which is the gag.

However, the story still works as a complete story. Why?

In lieu of a character arc, in which Father Christmas learns something, we see Father Christmas on an emotional arc. When Santa gets up he’s grumpy because there’s so much work ahead of him. But over the course of his day he overcomes many small hardships, stopping in between to enjoy his snacks. Finally at the end he is happy to be home, but before bed he’s unhappy again, because he knows he’ll have to do it all again next year. The unrelenting nature of work would appeal to adults more than to children, I’m guessing. This story therefore appeals to a dual audience. Young readers also know what it’s like to do something they don’t want to do, and everyone (in most parts of the world) knows what it feels like to be uncomfortably cold.

HOW WILL LIFE BE DIFFERENT FROM NOW ON?

It won’t, but Father Christmas is home safe in bed, which is enough to close the story on. It’s not original, but it works, time and time again.

 

FURTHER NOTES ON THE STORY STRUCTURE

Did you pick up the main ways in which this story is not typical dramatic structure?

  1. The only opponent is the weather. Usually there is a human opponent, or a monster as well.
  2. The main character doesn’t learn anything.
  3. His life won’t be any different from before. He’s basically an automaton.

This is because the story is a comedy. Here’s the thing about comedic structure: It only sustains its audience for 5-10 minutes before we tire of it. That’s why comedic structure can work in picture books. They’re short. When Father Christmas was adapted into a short film, and by short I mean over 20 minutes, the script writers wisely decided to combine two of Raymond Briggs’ Father Christmas books. There is simply not enough in this picture book to sustain 20 minutes’ worth of entertainment.

Desperate Housewives Storytelling Tips

Desperate Housewives ran for eight seasons from 2004 to 2012. This show is a great example of a ‘cozy mystery’.

TAGLINES

Taglines are for the marketing copy. 

Season One: Everyone has a little dirty laundry…/Secrets. Romance. Murder. All On One Street.

 

THE LOGLINE/PREMISE

For maximum narrative drive the premise should be all about the plot. A premise that works will contain some sort of contrast.

“Secrets and truths unfold through the lives of female friends in one suburban neighborhood, after the mysterious suicide of a neighbor.”

The contrast in this logline is that ‘friends’ have ‘secrets’ in the ‘suburbs’, an arena we generally associate with ‘knowing everybody’s business’ and ‘nothing interesting ever happens’.

GENRE BLEND OF DESPERATE HOUSEWIVES

drama, mystery, satire

When Desperate Housewives first aired in 2004 it was the tone which drew me in. I hadn’t seen anything with quite that balance of 1950s housewife satire, comedy and mystery. It’s easy to forget that now because we’ve since seen a number of TV dramas with a similar vibe: Pretty Little Liars for one was pitched as ‘Desperate Housewives For Teens’. Like Desperate Housewives, there is a cast of four distinct female archetypes who are friends. There is also a slight supernatural overtone to the story, with a dead person pulling strings/narrating omnisciently.

The women on this show aren’t real women — nothing like it. An excellent example of the ‘unreality’ of the characters can be heard in the audio commentary to episode 15, season one. Marc Cherry is especially proud of his writing of this episode (and it was the first time they shifted to their new, more expansive set), so he guides DVD owners through the episode they called Impossible.  In this one, John’s roommate Justin blackmails Gabrielle into having sex with him by becoming their new gardener. Gabrielle turns the gardener down, both for sex and for free garden work with obvious strings attached, but her husband lets him in and he surprises her while she’s in her own bathroom upstairs. The male writer and producer tell us on the audio commentary that actress Eva Longoria did an excellent job of ‘taking control of the situation’ but was ‘rooted to the spot’ for the first few takes, terrified at the prospect of finding a well-muscled young man confronting her for sex in her own space. The scene is meant to be played as comedy. Longoria’s acting made it somewhere there, but I did watch this episode the first time thinking that it’s not good comedy material, and a ‘real woman’ would not react with Gabrielle’s bravado — not with genuine bravado — in that particular situation. From my perspective, the male writer on this occasion simply did not understand how terrifying this scenario would be for a woman, and seemed a bit mystified about why Eva Longoria had trouble acting her part in it.

The men are archetypes, too. Even the children are preternaturally scheming/mature/creepy, harking back to a time before the concept of childhood existed. In this ways and many others, Desperate Housewives is a series of fairytales.

The show was originally pitched with ‘comedy’ in its genre blend but none of the networks were interested. When it was re-pitched as ‘satire’ suddenly it found a home. Networks had assumed it was just another soap. But they realised the audience was ready for a ‘self-aware’ version of the daytime soap, and changing the genre from ‘comedy’ to ‘satire’ did the trick.

OTHER SHOWS SIMILAR TO DESPERATE HOUSEWIVES

Continue reading “Desperate Housewives Storytelling Tips”