Don't spend too much time with the MacGuffin

A MacGuffin, to get that out of the way, is an object which is the focus of everyone’s actions in a story without actually being of much interest to the audience. I could actually leave it at that and end the post here, but that wouldn’t be very helpful, now, would it? Instead, let’s have a closer look at how to handle a MacGuffin.

The MacGuffin is a story device which helps you to start the action. It’s an object which all fractions (usually ‘Good’ and ‘Evil,’ but more is possible) are after and want or need to possess for their own reasons. MacGuffin devices are often found in espionage or heist stories, where the action centres around a piece of technology or an expensive doodad. However, while everyone in the story wants this object, the audience usually cares little for it. They want the action it creates. And that is where the title of this post comes in. Don’t over-think your MacGuffin, don’t spend ages creating it. It will not be worth it in the end. Spend your time with the characters and the story instead, that’s more important.

Espionage action often anchors on a piece of information or technology. That microfilm, that document, that death ray - they’re coveted by all, but they usually don’t do that much in the story. They exist and that makes the heroes and the villains clash. One wants the MacGuffin, one protects it. Or one has stolen it and the other one wants it back. Complex plots can be woven around something as simple as a photograph of a blackboard. The photograph isn’t doing anything, it’s just there and everyone wants it. And so the hero and the villain fight, trying to outsmart each other, each of them set on the ultimate price of that photograph.

Heist action usually centres on a valuable. It can be a piece of art or a piece of jewellery. A lot of money is also an acceptable reason for doing a big heist with lots of specialists, but art and jewellery are a little more likely. And apart from learning to work together and developing the complex plan which involves a certain number of specialists, the heist also has its setbacks and its dangers which spice the story up. There’s less of a direct confrontation, since heists rely on outsmarting the enemy (usually the owner of the coveted piece and their security), but it’s still a fight of sorts.

“One for Sorrow” (out in August, more RL trouble notwithstanding) has the Dresden Collier as its MacGuffin. It was instrumental in the lasting injury of Thomas Crowe, has almost led to the death of his adoptive daughter Inez, and is the piece which they finally target to take their revenge in the way only a jewel thief would take it - by ‘liberating’ the whole illegal collection from its owner and giving all pieces back, including the collier. Yet, the collier isn’t even there when Inez gets injured, not really. It’s just the piece which represents all of those things and thus is the target. The story isn’t about the collier - I never mention its past, for instance, apart from it being the target of Tom’s last coup. The story is about Tom and Inez working together with a lot of acquaintances to teach the owner of the collier (and former partner of Tom) a lesson which is long overdue. About them leaving their comfort zone and doing what they know is right, even though it’s not easy and will not bring in a lot of money.

Sometimes, you can make the audience care about the MacGuffin, though. If the MacGuffin (or its carrier) has a personality which people enjoy. One example of this is R2D2 in “A New Hope” (originally only known as “Star Wars”). Despite looking like a garbage can on wheels, R2 gives the impression of having a personality and a character from the very beginning. Even though we only understand one side of his bickering with his colleague 3PO, it’s clear from what we can understand that they are arguing and that R2 is not above actually insulting the other droid. He’s feisty and knows what he wants. So we as the audience care about him when he gets captured and sold and tricks Luke into setting him free so he can follow his last order.

The characters care not about R2, but about the Death Star Plans in his memory, but the audience likes the little droid and cares about his fate. It’s a testament to George Lucas’ abilities as a director that the audience worries about what is, in-universe, a collection of already outdated technology (there are droids of his type which a much higher production number). And because they care about him, they also care about him not falling into the hands of the evil empire.

However, in most cases it’s not necessary to make the audience worry for the MacGuffin. They should worry and wonder about the characters and what they do, not about an object which might or might not hold the key to the destruction of world as we know it (or just be very, very expensive). Because of this, it’s not necessary to spend too much time with the MacGuffin, neither in the story nor while preparing it. Tell the audience it exists and is important for a lot of people, then just let the story about several fractions fighting for it begin and that’s that. In the end, of course, the heroes will have the MacGuffin, but it will look dire at some point. There will be twists and turns, as with every story. The MacGuffin is just a device, nothing half as important as the characters will make it seem.

Don’t get too worked up about your MacGuffin. Give it what it needs to start the story and just put it aside afterwards. The actions of your characters will carry the story from the beginning to the end, not the MacGuffin.