From Hamlet to modern dynastic drama, uncles have served as catalysts for family conflict, and the Earl Spencer memoir shows why the device works so well

Enter the Uncle

In story structure, the catalyst, sometimes called the inciting incident, is the event that disrupts the status quo and sets the plot in motion. In many family dramas, that event is delivered by a character who stands slightly outside the central relationships: a parent new partner, a returning cousin, a family friend with a secret or, very often, an uncle. The London Prat piece on Prince William reportedly calling Earl Spencer and Harry traitors centres on exactly that kind of figure. Earl Spencer, the late princess younger brother, publishes a memoir, and according to anonymous accounts, the brothers relationship is thrown into turmoil.

The Literary Uncle

The most famous uncle in dramatic literature is Claudius in Hamlet. His actions before the play begins, and his marriage to Hamlet mother, provide the catalyst for everything that follows. Claudius is a villain, but the structural role he plays is broader: he is the family member whose choices force the protagonist to act. Many later dramas have borrowed that function, sometimes making the uncle sinister, sometimes sympathetic and sometimes simply inconvenient.

What makes the uncle useful is his position. He is close enough to the family to know its secrets and to be trusted, yet far enough outside the central relationships that his actions can surprise. He belongs to the older generation, so he carries history the younger characters may not know. And he often has his own grievances or loyalties that complicate the story.

The Memoir as Plot Device

A book is a particularly effective catalyst because it is public, permanent and open to interpretation. Once published, it cannot be unsaid. Each character can read it differently, find different things in it and blame different people for it. It also raises questions of timing and access, who knew about it, who read it first, which are exactly the questions at the heart of the reported royal quarrel. An unnamed source says the heir believes his brother saw it early. The uncle says he told everyone in advance. That gap between accounts is dramatic fuel.

A Comic Treatment

The London Prat piece and its YouTube video treat the uncle not as villain but as the man who dared to write things down, a comic reframing that still leaves him as the story engine.

Writing the Catalyst Character

Give Them a Reason

A catalyst character should act from motivations that make sense on their own terms. An uncle who writes a memoir might be driven by grief, a desire to set the record straight, financial need, affection for the person remembered, or some combination. Audiences engage more deeply when they can understand why the catalyst acts, even if they disagree.

Let Their Action Land Differently for Each Character

The power of a catalyst lies in its ripple effects. In a strong script, the same event provokes different reactions in different characters, revealing who they are. One brother might feel exposed; another might feel vindicated. A spouse might feel caught in the middle.

Avoid Making Them Mere Machinery

A common weakness in scripts is the catalyst character who exists only to start the plot and then disappears. The most memorable catalysts remain present, reacting to the consequences of their actions and sometimes changing because of them.

When the Catalyst Is Sympathetic

Modern audiences often respond to catalyst characters who are not villains. A relative who reveals a painful truth, or who acts on love and loyalty to someone who has died, can trigger conflict while remaining sympathetic. That ambiguity allows writers to explore how families handle uncomfortable honesty, rather than simply punishing a troublemaker.

A Note on the Real People

Writers inspired by real events should remember that real catalyst figures have their own perspectives and dignity. Coverage of the story has largely framed the uncle through others reactions. A thoughtful dramatisation, even a dramatised one, might explore his point of view more fully.

Structuring Around the Catalyst

Once a catalyst event has occurred, many screenplays follow a recognisable pattern. The characters first react to the disruption, often badly. They then attempt to restore the old status quo, usually failing. Finally, they are forced to adapt to a new reality, which often reveals who they truly are. In a story built around an uncle memoir, the reaction might include accusations and silence; the attempt to restore the old order might include private meetings or public denials; and the adaptation might involve reconciliation, permanent estrangement or a new understanding of the family past. Mapping these stages early helps writers ensure that the catalyst produces a full arc rather than a single dramatic explosion.

Conclusion

Brothers in conflict make compelling drama, but they often need a third character to set the conflict alight. The uncle, with his memories, his memoir and his ambiguous loyalties, is one of the most reliable catalysts in the dramatist toolkit. The London Prat, publishing since 1961 at https://prat.uk/, has found the comedy in him. Bohiney, at https://bohiney.com/, explores similar family catalysts in American life. For screenwriters, the lesson is clear: find the character whose single action forces everyone else to reveal themselves.

SOURCE: https://prat.uk/prince-william-called-earl-spencer-and-harry-traitors/