When I talk about formula, I’m not talking about the chemical equations and bonds that make up the world of scientific endeavors. I am instead talking about those formulas – or blueprints – that make up the myriad ways in which we tell a story. Those particular events – or sequences of events – that make up a familiar and, thus, comforting way of conveying plot or character development.
While, typically, the general school of thought is that strictly adhering to or following such formulas can be a bad thing, I would argue that in certain cases, it can actually be a great strength. What are those cases? In which ways can it benefit both the creator and the viewer?
Let’s explore.
What IS Formula?
I suppose that no discussion of formula would be complete without first examining what exactly a formula is. Perhaps the best way to do this is to talk about it in practice – by exploring those ways in which it’s used throughout the media landscape. After all, while terms in the abstract can be beneficial at their most basic level, putting them into practice – or seeing them used as such – is arguably the best way to truly understand them.
As mentioned earlier, formula in media is quite simply a repeatable way to achieve a particular goal. Perhaps that goal is a sequence of specific notes and chords in music, or an often repeated series of moments or events in narrative media. In all cases, the primary factor here is that it is a tried-and-true way of eliciting a particular response from the viewer of the art in question. In essence, a sort of “artistic shortcut” to achieving a specific emotional or mental response.
One clear example of this methodology made manifest is in the genre of romantic comedies. Oftentimes, viewers of such media are intrinsically – whether they are cognizant of it or not – already aware of the tropes and typical plotlines that pervade the medium. The big city girl moves back to her hometown and reacquaints herself with a man from her past (likely her years in high school). The woman starting a new job who has a, at least in the beginning, antagonistic relationship with her boss. Someone moving home to take care of an aging or sick relative, only to rediscover what truly matters in life. All of these are likely very familiar plotlines to those immersed in this beloved genre.
Bear in mind, I’m not saying that these are BAD things – just that they are FAMILIAR. Nor am I saying that this genre is the only one afflicted by this particular type of repetitive storytelling. I should also clarify that I’m not calling this type of storytelling “repetitive” in the sense that it’s boring, but only in that it has been done many times before. That very fact, and the fact that it’s so “easy” – relatively speaking – to repeat, is exactly what makes it formulaic.
So, when boiled down to its most basic essentials – A formula is a standardized and usually familiar way of crafting a piece of art to connect with an audience.
Why Formula is Bad
While the discussion of why formula is bad might seem completely antithetical to the topic at hand, it is actually very relevant. After all, no discussion of the benefits of formula can be complete without talking about the other side of that particular coin. And, let’s also be clear, the other side has a lot of points in its favor. There is a reason, no doubt, that calling something “formulaic” is often seen as a complaint.
In fact, one impetus for looking down on formula is the fact that, from an audience’s perspective, it removes a great deal of the mystery regarding the story being told. After all, how invested can you truly be in the outcome of any series of events when you already have a very good idea of what the ending will be? By discarding the sense of suspense that comes from watching a story unfold before your eyes, it causes a disconnect within the viewer. It leaves them more hyper-aware of the fact that the piece of art that they’re viewing is just that – a piece of art. Characters feel less like real people and more like cogs in a much larger machine. In those instances, they come across more akin to plot devices than fully realized individuals in their own right.
Another downside of formula in media is that, rightly or not, it can often cause the viewer to feel as if less effort or work went into the creation of the art in question. This isn’t really a surprise, given that (typically) working from a certain set of “instructions” is easier than “flying blind.” A good, if wholly different, example might be that of building something from Legos. Crafting something as complex as the Death Star is made considerably easier by having a step-by-step guide, whereas building something much less complex than that – with nothing more than one’s own intuition – is seen as a greater accomplishment.
It’s no surprise, then, that the same is true for the creation of any work of art. Following in the direct footsteps of things that have come before you would, on its face, seem to be a much less difficult task. With that being the case, consciously or not, it’s perhaps less surprising then that the effort put forth by the artist in crafting these types of media is often devalued when compare to similar efforts put forth in less “formulaic” stories.
Modern Formula
Let’s also be clear that formula is not always as simple as the mere replication of particular events and character archetypes. Sometimes, it’s much more subtle than that. A good example might be that of the Marvel Cinematic Universe (or MCU).
While each of these stories is, in many regards, very different from the others – all of them typically deal with different characters, from different backgrounds, fighting a variety of villains in a myriad of settings –, they also all share a great deal of similarity. Whether it’s in the actual construction of the story beats (the typical “hero’s journey” being the most common) or just in the expected types of quippy dialogue espoused by both the heroes and villains throughout the runtime (be that before, after, or even during fights).
This is also not me picking on the MCU – they just happen to be an easy and clear example that most people tend to have a good deal of familiarity with. It also doesn’t hurt that they are perhaps, at least at this moment, still the dominant force at the box office (Though that does seem to be waning just a bit with the introduction of Phase 4 and the myriad marvel television shows on Disney+).
No matter the complaints levied at these films, or those like them, it’s nevertheless clear that their reliance on a certain type of formula has not managed to hinder their success. That said, simple financial success – while certainly important, particularly to the studios and investors involved – does not in and of itself excuse “bad behaviors” (At least, not from a creative perspective). If it did, we would likely have a world filled with endless remakes, reboots, prequels, sequels, and spinoffs. (Oh… wait…)
The Upside of Formula
And now, after having laid the necessary groundwork, we have finally reached the heart of this issue. While I certainly don’t discount the many negatives presented above regarding relying on formula, I also feel that – depending on the story being told or the goal of the art in question – the use of formula is not always a bad thing.
While presented in a negative light earlier, I would argue that in the case of romantic comedies, formula is an intrinsic and necessary part of the genre. The audience for these movies typically already knows the types of emotions and feelings that they’re looking to get out of them. In fact, it’s exactly WHY they love these movies. They know what to expect. While individual moments or events might still be a surprise, the ultimate conclusion to the “will they won’t they” presented throughout the story is typically a given – and, for many of the viewers in question, is a decidedly GOOD thing.
Art is, after all, often used for sheer escapism. People want to be able to leave behind the problems and realities of their own lives and, instead, be transported somewhere else. While there is no doubt a thrill to being constantly kept on the edge of your seat, waiting to see just how something is going to turn out, there is also a pleasant safety that comes with never having the result be too far in doubt. Like the warm embrace of a soft blanket, this can be comforting. Whether it’s wishing for similar events to transpire in their own lives, or just enjoying the fact that they could or do so for others, viewers of this particular genre oftentimes enjoy living vicariously through the characters on screen. By being able to remove the uncertainty and confusion that comes with the real-time experience of their own lives, viewers are then able to fully relax – both physically, emotionally, and mentally.
This does not mean that any given story doesn’t still have its twists and turns, ups and downs – it certainly does. Just that there is less inherent stress over the ultimate destination and resolution of these issues. It’s similar to, though certainly different from, the same reason that many of us enjoy re-watching our favorite films. While we might already know what’s going to happen, we can still find ourselves utterly immersed in re-experiencing it. The difference is, in that case, we already know every single line of dialogue or event that may occur. When watching a formulaic movie or TV show, there are still the occasional surprises – be they in plot or merely in structure.
Unlimited by Genre
And, lest you think that this is a phenomenon unique to merely the genre of romantic comedies, almost all of the exact same principles listed also apply to nearly every other genre. A good (and completely opposing) example is that of the genre of horror. How many movies have we seen where a masked killer picks off an unsuspecting group of (typically young) people? How many spooky woods or haunted mansions have graced our screens? How often has the call been coming from inside the house?
While many of these films have rightfully been derided as being clear carbon copies of those that came before them, there is a reason that they still keep being made – because we keep watching them. And let me be clear, this isn’t me saying that that’s a BAD thing. For almost all of the same reasons listed above, viewers of this particular genre enjoy the comfort of having a general idea of what to expect from the story being told. Whether that’s blood dripping from a knife or two people who are meant for each other finally kissing in the rain, viewers are enticed by the notion of experiencing a story that is both new and unique while simultaneously being expected and familiar.
An example from my own life is that of the Friday the 13th franchise (and slashers, more broadly). While it can be argued – and I certainly do – that each of these films has a distinct and unique flair all its own, it’s also unquestionably true that they all follow a very similar and basic formula (with potentially the exceptions of Jason Goes to Hell and Freddy vs Jason, structurally). Nevertheless, I still enjoy watching each of these films (usually in the form of a series-long marathon, no less) quite often. Despite – or perhaps because of – the fact that each of them plays out so similarly to one another, I still manage to be transported back to Crystal Lake (or space) and enjoy the ride. I’m comforted by not just the tone and mood they set, but in knowing just what to expect from a Friday film. As a result, I’m always thrilled when each new entry lives up to that expectation.
I’m also well aware that what works for one person – in this case, me – may not be the same thing that works for anyone else. Just because theslasher genre represents a cathartic and enjoyable formula in my case, doesn’t mean you might not find them off-putting. And that’s okay. Not every formula works for (or speaks to) every person – but every person likely has a formula that does speak to them. In fact, I’m sure you can think of a genre (or series) of films that you enjoy, despite already having a deep familiarity with it. That is YOUR formula – and I’m sure one that hits home with not only you, but a great many others as well.
One way that I’ve heard of describing the public’s desire to enjoy such formulaic media was by comparing it to food. While everyone certainly loves visiting a new up-and-coming steakhouse to try the specialty filet mignon, there are always those times in which you just want a McDonald’s hamburger. While nothing particularly fancy or groundbreaking, you know exactly what you’re going to get. There’s a comfort to the expected familiarity. While this particular burger might taste marginally different from the ones you’ve had in the past, you have a pretty good idea of what you’re in for. And that’s EXACTLY why you seek out that particular burger as opposed to looking for a restaurant or chain with a different taste.
Put simply – you know what you want and are happy to get exactly that.
Conclusion
It should also be noted that, despite everything mentioned up until now, just because something is formulaic does not necessarily mean that it’s easy to make. Just as it’s difficult to replicate the exact flavor of a McDonald’s hamburger in your own home, succeeding at accurately re-creating a particular formula in media is not necessarily a simple endeavor. While there is a certain safety net that comes with working with pre-defined boundaries and expectations, finding a way to do so that is still satisfying and semi-unique is its own particular type of challenge (and should be respected as such).
At the end of the day, every story is unique. Some attempt to break the bounds of what has come before, while others are content with playing in the same sandbox. Again, that’s not necessarily a BAD thing – there are, after all, infinite ways to re-tell the same story (hence, the well-known expression that there are really only 7 stories in existence). As long as both the artist and viewer of said art are aware of what they are attempting to create or enjoy, respectively, there’s nothing wrong with staying within a particular set of rules.
In fact, it might rightly be argued that it’s a positive thing. After all, if the artist is creatively challenged and satisfied by the work being put forth (limits can be exciting and sometimes even lead to some truly original ideas), and the viewer is pleased by experiencing a new variation on a well-worn classic, then there really is no downside. If anything, the continued creation of such formulaic media allows those forms of art that push and break the boundaries to stand out just that much more.
Never mind the fact that having such a preponderance (and variance) of choice when it comes to what media you want to watch can only be a GOOD thing for the audience. Whether that’s by revisiting a particular story you already love, riding the rollercoaster of something entirely new, or finding a story that manages to straddle the line between both (by finding a new way to tell a familiar tale) – having the ability to experience whatever type of art you want (and thus be able to suit the mood and tone that you’re looking for) only gives the viewer greater control in tailoring their OWN journey.
So, ultimately, while strictly following a particular formula might not be best for all stories, doing so can be a wonderful way of ensuring that a given piece of art meets the expectations of both those that make it and those that enjoy it.
As long as it does that, one can hardly classify it as anything less than a success, formula or not.
Chris