Suspension of disbelief

Of course, if you take into account the other series that are connected to St. Elsewhere (due to characters appearing on Homicide: Life On The Street), that's a lot of TV shows going on inside the mind of an autistic teenager:

http://en.wikipedia.org/wiki/Tommy_Westphall

In a 2006 interview, DS9 producer Ira Steven Behr said that one idea they had for the final scene of the DS9 finale was to show a now-elderly Benny Russell on a TV soundstage, watching the series based on his story being filmed/taped.

I followed that link and wow - some people have a lot of time on their hands. My impression when I watched that episode was that the writers were trying to do something clever - changing the entire premise of the show in the last episode. As for the spinoffs - shrug.

Newhart, now that was a show that went out with a bang. That last joke: "Was I in your dream" pause "Of course you were" was classic Bob.

Getting slightly back on topic, do anyone else have any tricks for building plausibility? Personally, I find forms and other mundane details work well. For example:
Get sent to the principal? Take form Blah with you. Give it to school secretary who will check to see if your parents signed off on corporal punishment by filling out and signing form S-CP-P. Then the secretary will add your name to those getting paddled by entering it on form S-F3-CP-42 and checking off that she verified that your parents signed off on it. Afterwards it's entered on your permanent record.
- it might be me, but I find forms make it plain that this is just another in a long line of paddlings. That it's such a common event that there are standard forms to handle it. To me, this adds plausibility.

Goodgulf

I find that bribing the readers works well. Some people will do (or believe) just about anything if it pays.

BTW.....You owe me!

All you have to do is BELIEVE the money is on its way.

First person narrative can work if presented dead pan, without long explanations of why particular actions and reactions are taking place.

Although the Goodbye Mr Brown trio of tales were humorous - well I intended them to be humorous - I think they worked because there was no attempt to explain the odd behavior of any one the characters: they were simply recorded acting as if everything done was perfectly normal At least, normal under the rules of their universe.

I think a single word of rationalization would have brought everything crashing down.

guyde

I agree that sometimes trying to explain too much works against you. Also using first person - IF you create an authentic 'voice' you're a good part of the way there. Actually, the more 'authentic' ALL the characters are, the better off you are.


I've never used the form thing, but I can see where it would work - IF you don't try to explain too much about it - just reference it and let it be. If the ('authentic') characters believe in it an accept it, it's easier for the reader to. Your broader point about 'details' is also a good one. They can make teh characters and scenario sound believable.

Another point - characters must respond in believable fashion to whatever happens. If that something is is rather extreme, then then reaction shouldn't be mere acceptance, particularly when it's, say, a first time spanking.

And finally, it sure helps if the 'action' isn't over-the-top. If you do a great job with everything else, perhaps you can get away with over-the-top action.

Here's a question: what makes a spanking scene "over the top?"

I've seen people write stories describing unbelievably harsh punishments like a 12 stroke caning on top of 50 with the strap on top of 150 with a hairbrush, or literally hundreds of whacks with a wooden paddle--stuff that would send you to the hospital. It's so unrealistic that it's crazy, but from time to time, you see it.