Lessons Writers can learn from Hamilton
Guess who finally watched Hamilton? I love historical dramas and films and now historical musicals. I am a bigger nerd than before and I can't stop singing My Shot. So what can we learn about writing from Hamilton?
Aaron Burr, Sir
I really feel for Aaron Burr during the beginning of the story. Most of us have dealt with a similar issue: working hard yet somebody is always better than you. Even though Burr is technically the antagonist by story's end, most of the audience does get his point. But the problem with Burr, both by the audience's view and Hamilton's is the fact that he doesn't say what he believes in. La Fayette wants the fall of monarchy and better equality. Hamilton wants to make a place for himself in the world. Eliza wants her family to be happy. Burr tells Hamilton to keep his opinions to himself leading to Hamilton to ask, "Burr, the revolution's imminent. What do you stall for? If you stand for nothing, Burr, what'll you fall for?" Every character should have something they fight for. It endears them to the audience and allows us to stand behind them. Without goals and principles, a character will always just remain a name on a page and a collection of actions without meaning.
A different PoV- a different story.
During the Helpless section of the story, we witness the scene through Eliza Schuyler's eyes. We see her sister Angelica crossing the room to Alexander Hamilton to get him to dance with Eliza. Eliza sees Alexander as an honourable gallant, who has stolen her heart. Then in Satisfied, we see the scene from Angelica's PoV. Angelica is less naĂŻve. She notes Hamilton's recognition of their last name, realizing that he's out to get a rich wife. She also realises that Hamilton will never be satisfied in life and that he's not a great catch socially or financially. "I asked about his fam'ly, did you see his answer? His hands started fidgeting, he looked askance He's penniless, he's flying by the seat of his pants". By showing this scene in dual PoV, we are awaken to both sides of Hamilton, the romantic version and the shrewd politician climbing his way up. By choosing a PoV character to tell a particular part of the story, you are moulding the events to the character's preconceived notions and opinions.
Foreshadowing
Hamilton does one thing exceptionally well. It foreshadows the ending very well. Hamilton repeatedly tells us that he isn't going to throw away his shot. We think it means his shot at rising up from poverty and his chance at notoriety in the Revolution. It starts becoming literal as Philip goes off to his first duel, with Hamilton almost begging Philip to fire his weapon away from his opponent. It doesn't do Philip any good. Later on during the duel against Burr, Hamilton intentionally misses his shot just as his son had only to die when his opponent discharged his weapon, killing him. Burr even called back to Philip's duel while describing Hamilton's affect before their own duel. You only begin to realise how profound the echo of My Shot is.
Alluding to a bigger picture
Hamilton may be a musical with no dialogue but that does not mean that there is no tell in the story. The actors do a great job of alluding to a deeper story behind the lyrics. During his last corporeal scene with Eliza, Hamilton's affect tells us that he at least very much suspects that he is not going to make it back this time. Lin Manuel Miranda's subtle expressions are just masterful. His mouth is saying one thing and his eyes are saying something completely else. In another brilliant Lin moment, the scene where Alexander blows up at Washington after the very first duel, you can see how angry Hamilton is. He is shaking despite his polite, yet curt replies. We don't even have to have the "Don't call me son" exchange. Lin's face tells us everything. Hamilton loves Washington like a father and resents him for rejecting his attempt to defend his name. We do not even have to be told, they showed us. There is always a deeper meaning to what a character does or says.
Your Protagonist is allowed do shitty things
A protagonist is not perfect. Most of the stories we read are narrated by people, who are by definition imperfect. If you look at any story the narrator/protagonist is usually a good person but has flaws or has done some questionable things. Hamilton is the good guy of the story, the protagonist, the hero. He's pro-Revolution, anti-slavery and has a troubled past. Even still Hamilton has an affair. It is not his best move or even the most savoury thing. There is no redeeming reason for him to cheat but even still, the audience either forgives him outright or takes it in their stride. Your protagonist does not have to be squeaky clean. They are allowed to make dumb decisions.
Remember History has its eyes on you
The one thing I often find missing in stories and worldbuilding is the media's/public's opinion on your characters or even the world around them. Hamilton hits the nail on the head. Your characters have no say on how they are perceived by their peers or the world around them. It is an interesting component to add in any narrative. What does the public say about your characters and world? "And when you're gone, who remembers your name? Who keeps your flame? Who tells your story? Who tells your story? Who tells your story?"
