The concept of “magic” in storytelling, as understood by some, often stretches beyond the traditional fantasy realm. This interpretation, particularly when considering figures like Blake Snyder, might surprisingly include elements from science fiction and even theological discussions. Snyder’s perspective, though insightful in many ways, sometimes blurs the lines between narrative devices and philosophical concepts, leading to interesting, if debatable, categorizations.
To understand this, we need to unpack what Snyder might have meant by “magic” – especially within the context of his influential screenwriting guide, Save the Cat. It seems his definition leans towards anything non-natural or extraordinary that plays a pivotal role in a story’s plot. This broad definition can encompass a wide range of elements, from fantastical spells to advanced technology and, intriguingly, even the idea of God.
Aliens, for instance, fit neatly into Snyder’s “magic” box. From a storytelling standpoint, extraterrestrial life undeniably introduces an element of the extraordinary. While the existence of aliens remains firmly in the realm of speculation for many, the serious contemplation of extraterrestrial intelligence extends beyond science fiction novels and into scientific and philosophical discourse. Organizations like SETI (Search for Extraterrestrial Intelligence) and thinkers across disciplines grapple with the Fermi Paradox and the potential implications of encountering life beyond Earth. Regardless of whether “real” aliens exist, their narrative function often serves as a form of “magic” – an element that defies the mundane and propels the story into uncharted territory. They are, by definition, unfamiliar and operate outside our everyday understanding of the natural world, even if they are not strictly supernatural.
However, the categorization becomes more contentious when Snyder extends this “magic” label to the concept of God. To equate an eternal, uncreated, and omnipotent Being with “magic” – in the same vein as aliens or fantastical creatures – represents a fundamental mischaracterization. This perspective suggests a worldview grounded in naturalism, the philosophical stance that the physical world is the sole reality. Within this framework, anything outside the natural realm, including the divine, might be perceived as equally unbelievable or, in Snyder’s terms, “magical” as aliens or wizards.
This naturalistic viewpoint, if indeed underpinning Snyder’s storytelling framework, reveals a critical presupposition. It implies that God is not merely unfamiliar but fundamentally incompatible with the natural universe. This is where the core misunderstanding lies. From a theological perspective, particularly within many faith traditions, God is not within the natural universe; God is the creator of it and its governing laws. Therefore, placing God within the same category of “story magic” as aliens or other fantastical elements misses this crucial distinction. God, in this view, is not a character within the story of the universe but the author of the story itself.
Understanding Blake Snyder’s “magic” through this lens highlights the importance of clearly defining terms when discussing storytelling and its intersection with broader philosophical and theological concepts. While his Save the Cat framework offers valuable tools for crafting compelling narratives, applying its principles to metaphysical concepts requires careful nuance and consideration of differing worldviews. The “magic” of storytelling can encompass many extraordinary elements, but it’s crucial to distinguish between narrative devices and the profound questions about reality they sometimes touch upon.
