Writing With Mirrors: Reference Page
Here’s a quick outline of the material in my video Writing With Mirrors, for handy reference.
Intro
These ideas based on discussion of mirrors in Plot, by Ansen Dibell.
Mirror: Two elements in the story, related by being either alike or opposite.
Axis: A specific point of comparison in which the two things are similar or different.
Base Intuition: Using a mirror strengthens and enriches both sides, and highlights the axis.
Standard Proviso: There are no rules to writing.
Mirroring For Characterization
Character by Counterpoint: Instead of a character expressing themselves in a vacuum, we meet them in relation to other characters
Examples:
Sherlock Holmes, compared to Watson
Steven Universe, compared to the Crystal Gems (strange; alien; magical)
Steven Universe, compared to his father (human, normal, relatable)
More techniques:
Mirroring by Time, a comparison between who the character used to be and where they are now
Mirroring by Projection, the character represented by something external (e.g. Encanto’s magical powers for each family member)
Mirror Duo, writing with a focus on two primary characters rather than just one; every action or behavior keeps their pinwheel spinning.
Mirrors Defining Conflict
Protagonist vs. An Opposite
Frodo vs. Sauron
Belle vs. Gaston
Professor X vs. Magneto
Protagonist vs. A Parallel
Frodo vs. Gollum
Adora vs. Catra
Protagonist allied with an Opposite
Crowley vs. Aziraphale: angel/demon, heaven/hell
Tense alliances, internal conflict:
Boromir coveting the ring
Raistlin embracing dark magic
Zootopia’s Judy and Nick
Commonality between allies
Crowley and Aziraphale: similar abilities, similar approach to the same problems; shared appreciation of the human world
Reflections Switching Sides
Cypher in The Matrix, along the axis of “accepting harsh truth” vs. “living a sweet lie”
Roy Kent and Ted Lasso, along the axis of “caring about winning games” vs. “caring about the team’s well-being”
Batman vs. Superman, poor attempt at mirroring “has a mom named Martha,” without a well-established axis
Mirroring for Expectations and Narrative Logic
Establish expectations, for plausible consequences and “how things in this story work,” by letting us see things happen to other people first.
Mirroring a character against somebody with their anticipated future:
Frodo vs. Gollum
Katniss vs. Haymitch
Elizabeth Bennet vs. poor matches in Pride and Prejudice
Small Story/Big Story: let the protagonist go through a “small,” limited version of the same story patterns and logic that we’ll see later, larger, and more significant.
e.g.: The opening sequence to Indiana Jones and the Raiders of the Lost Ark.
Mirroring for Depth and Theme
Multiple mirroring gives our story a proliferation of consquences, echoes, and different angles and facets of a common central theme.
Example: The Good Place.
Summary
Using mirrors adds depth and richness to your stories
Immediate, effective characterization
Gives you a wider palette to draw from
Examine the world and characters from a variety of angles
All elements feel interconnected
Using mirrors focuses your story on what’s most important
Mirrors emphasize your axis
The sides are meaningful
And so the conflict is meaningful
The story becomes about similarities and differences, in the specific areas that matter most to you
Making up mirrors is easy
Guiding Questions:
What’s the opposite of this?
What do these have in common?
What’s a different approach to the same thing?
What new event will echo my existing events?
What is important in this story?