(00)7 Lessons Writers Can Learn from James Bond

Universal storytelling principles behind the most successful movie series ever.

The sumptuous music of John Barry, the stunning set designs of Ken Adam, the directorial skills of Terence Young or Guy Hamilton, the innovative editing of Peter Hunt, the screen presence of Sean Connery, the zangy theme tune by Monty Norman, memorable actresses, spectacular stunts, and exotic location scouting – a fortunate convergence of individual talents built up the abiding popularity of Ian Fleming’s literary creation, the British MI6 agent James Bond.

Most writers don’t have access to such a talent pool, nor do most authors write action-packed spy capers. Also, 007 stories in particular seem so specific a category that authors might not consider that their own works have much in common with them. So one might be tempted to think that most writers can’t learn anything useful from James Bond.

Many people say there is a James Bond formula. Guy Hamilton, director of four of the early Bond movies, has said not. But there are certainly recurring scene types and structural elements that bear examination. A closer look reveals at least seven dramaturgical principles that any author could consider applying.

1. The Kick-off Event
2. The Real Reason for M
3. The Real Reason for Q
4. A Timely Death
5. The Antagonist
6. Revelation and Confrontation
7. Humps

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McGuffin

In storytelling, a McGuffin (or MacGuffin) is something that the protagonist is after – along with most other characters in the story.

The use of a McGuffin is a device the author employs in order to give a story direction and drive.

Easy to spot McGuffins are the Ark of the Covenant in Raiders Of The Lost Ark, the statuette in The Maltese Falcon, private Ryan in Saving Private Ryan, the ring (more specifically, the act of its destruction) in Lord Of The Rings. Note how in these examples, the McGuffin is in the title of the story. The McGuffin is embedded in the narrative structure and becomes what the story is about, on the surface at least.

Typical genres that have McGuffins are comedy, crime, adventure, fantasy and other quest stories. But conceivably, a dressed up McGuffin might be found in any genre.

Nor does a McGuffin have to be an object. It could be a person or a quality. In a story of several characters vying for the love of one other character, that love might be considered the McGuffin. A place might become a McGuffin too – consider the role of the planet Earth in Battlestar Galactica.

In terms of narrative structure, a McGuffin occupies the(more…)