As a U.S. citizen, I feel compelled to acknowledge that this past week has been a helluva ride. Both the political landscape and the unchecked spread of COVID in my state (as many others) and across the country have contributed to perhaps the most stressful period of my life.
My primary method of coping has been watching streaming video. There has been the occasional dip into Doctor Who, with my regular reviews or catching up on the last series with the Ladies of WhoFest, but for the most part, I’ve been streaming dramas from Korea, China, or (occasionally) Japan. Not only do these stories distract me from the dumpster fire of the world around me, but they stimulate my mind in new ways.
One thing that has fascinated me so much about them is that these stories from Asian cultures have very different storytelling conventions than the ones I’m used to. As a fiction writer myself, I’ve learned that the art of making a story satisfying to the reader (or viewer) hinges on delivering on implicit promises. Those promises vary from genre to genre.
For example, in romance, it is expected that every story will have an HEA—Happily Ever After—and if it doesn’t, it’s not romance. If you present a story as romance but fail to resolve the protagonists’ storyline with them getting together and building a sweet life together, your audience will riot because it goes against the accepted genre norms. Even in other genres, we’ve come to expect that Good will triumph over Evil and even if not everything is peachy at the end, things are headed in a more positive direction than at the beginning of the story.
At least, that’s how it works in Western storytelling.