Why You Must Use Two of the Best Classic Story Telling Techniques: Deception and Irony

One the most important (and least discussed) ways to create drama in a story is by using disguise and deception. 

Disguise and deception were central to much of the best plotted literature of the 19th century. Witness their importance to Les Misérables, Cyrano de Bergerac, The Scarlet Pimpernel, and A Tale of Two Cities. In Les Misérables, arguably the greatest fiction work of that or any period, crucial to its drama is Jean Valjean assuming a false identity and living in fear of his lie being uncovered by his nemesis, Inspector Javert. If Valjean’s disguise/deception is unmasked, he will be destroyed.

The 1940 film The Mark of Zorro dazzles with its use of deception and disguise and hence irony. The film stars the dashing Tyrone Power as Zorro; Basil Rathbone, one of Hollywood’s most elegant and articulate villains, as Capitan Esteban; and the stylish Linda Darnell as the love interest, Lolita. 

The story opens in sultry Madrid, where the “California Cockerel,” Don Diego Vega (Power), is training in the arts of war when he is suddenly called back to California by his father, the Alcalde (mayor) of Los Angeles. Diego reluctantly obeys, believing that he is leaving behind a life of adventure for a land “where a man can only marry, raise fat children, and watch his vineyards grow.” Arriving in California, Diego finds—teased out in clever and suspenseful ways—a land under the heavy heel of despotism. His father has been deposed and the new Alcalde, Don Luis Quintero, is a bloodthirsty weakling obsessed with extorting money through heavier and heavier taxes, aided by the cruel and vain Capitan Esteban.

After meeting the villains (and Don Luis’s lonely wife, Inez) Diego assumes his first disguise, Diego the fop. Now hidden are the real Don Diego’s quick, confident laugh, resolute bravery and firm sword hand. These are replaced by a manicured hand trembling over a handkerchief and a dandy’s concern for scents and the latest satins and silks. Diego slyly tells Esteban that “swordplay is such a violent business,” then primps himself with his kerchief. Luis sneers to Esteban, “That’s one little peacock that won’t give us any trouble.”

After visiting his father, Diego learns that the former Alcalde and the other nobles will not rise up against the law, even if it is now an evil one. But Diego will, in disguise. The bandit Zorro is born. Keeping his new identity secret, Diego dons black hat and mask, and atop a black horse liberates taxes stolen from the peons while leaving behind his mark, a slashed “Z.” Zorro publicly vows to force Don Luis from power.

The character Don Diego now has three personas in his characterization: the strong (in private) Don Diego, the public foppish Diego and the swashbuckling Zorro. A protagonist with multiple, conflicting personas is integral to the best costumed hero stories. For example, take Clark Kent in the Superman stories. There is the real Clark, a strong and intelligent man mostly only experienced by himself and his parents. Then there is the Clark Kent public disguise, the mild-mannered reporter. And, of course, the public hero in suit and cape, Superman. A similar three-part personality makes up the character Batman. Such triple personas in one character are an important reason why Superman, Batman and Zorro are among the most interesting and popular of the costumed heroes. And the ones with the best plots. Part of this excellent plotting is because we the audience know of the deception while some characters don't (dramatic irony) and this adds layers of clever and fun irony to many scenes. Another part of this plotting is that the three personas are often in conflict. Clark Kent desires Lois Lane but she wants Superman. Diego loves Lolita but she ignores him and has eyes only for Zorro, while Diego's beloved father despairs at his now foppish son. So watch the best Zorro, Superman and Batman films and see how much of the story telling and complications result from the disguise and deception of a major character. 

All writers and producers when outlining their stories should always ask themselves: What deception can I add to my plot? And: How can this deception force my character into an internal conflict and create ironic scenes and humor? By adding a major deception to your script you will be using one of the most important of all the classic dramatic techniques and your story will be much more entertaining to audiences. And attractive to talents and investors.

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Scott McConnell is writer/script consultant based in Los Angeles and Melbourne, Australia. Consult with Scott, a devotee of classic story telling, so he can help you develop or improve your story concept/script.

Scott started in the industry as a story analyst for Nu Image, The Samuel Goldwyn Company, Hallmark, New World Television, Sundance Institute and Concorde-New Horizons, among others. His later producer credits include supervising producer/showrunner (writer/producer/director) for 'Live Life and Win!' and co-writing the series 'Hollywood Boot Camp'. 

Scott’s reviews, film/play analysis and articles on screenwriting have been published in America, Australia and England and many can be read here: