Annoy The Audience

If you're going to do that, you might as well have two giant middle fingers on the screen and the words "FUCK YOU" flashing too.

When the audience rolls its eyes at the story for doing something that displeases them. One of these things, for example, can be playing an overplayed UnTrash or introducing a terrible role to the story. Because annoyance is less severe than anger, this UnTrash is mildly more forgivable than Angering The Audience. Still, that doesn't make it any more right to do. Getting on the audience's nerves is a great way to make them lose all interest and drive them out. The difference between Annoying The Audience and Angering The Audience is the latter deals more with touching the viewers' emotions personally. Controversial topics and insulting messages are proficient in this area. Annoying The Audience, however, is more tightly connected to the story itself.

As stated earlier, Eye Roll UnTrashes and Roles are key mistakes in storywriting that get under the audience's skin like nothing else. Weak Writing is what they share in common and operates on all levels ranging from seconds-long scenes to the franchise as a whole. The more observant the audience members are, the more they'll be able to peck apart the story and list its flaws. Failing to abide by the World Rules rips gashes in the fabric of Suspension Of Disbelief. For example, a character's superpower may not be perfect, so it will be forced to deactivate under some conditions. If it fails in two different ways after facing the same one problem, the accident that shuts the superpower off will appear more as a blatant Plot Screw than a natural mishap that inconvenienced the character. The critical viewers are likely to pick up on this and may question the creators about the rules of the superpower.

Many roles can Annoy The Audience depending on how they're played and in which context they appear in. The most to do this simply by existing are the Idiot, Chosen One, Pest, and Vermin. They offer nothing new to the table of fiction, have often offensively subpar Entertainment Value, and have behaviors too fake to be convincing. Others such as the Millionaire, Nerd, Geek, Bully, Goodie, Saint, Selective Hater, One Note, Paper Cut-Out, and even the Hero and Villain have similar potential. This is truer if the roles strongly pertain to their Nutshell mirrors, which causes them to be more predictable and less interesting.

The audience can be annoyed by features that don't wholly pertain to the franchise at hand. Outside influences affect their expectations for a story, let it be from the same creator or those other than them. An atmosphere of pessimism hangs over the heads of viewers today who have lost most of their hope for writers to push out truly unique and memorable works. The largest and most well-known storytellers in the form of corporations in film, video gaming, and other sectors of fiction have sullied the market with Predictable And Lame installations to their franchises. They so heavily rely on old story devices and situations that they're no longer asked to improve their act and wow crowds. This cloud of negativity rains down on smaller creators who may have a real story to share with the world. What's worse, some viewers are now conditioned by the cycle of being served up letdown after letdown. When a person who reminds fiction has Endless Possibilities makes the scene, they may be met with shameful criticism by brainwashed viewers. If it isn't the outside world that shoots a story down before it can rise, it might be the creator's past work that betrays them. There might be an installment that's held to such high acclaim that the creator struggles to outdo it. The sting of this situation really sets in if the writer is considered to have had a strong opening to their career. The original installation or series can stand far above future stories that are overshadowed by what came before. An agonizing battle against fans' expectations ensues once the creator succeeds too greatly for their own good.