I often read screenplays in which the main character lacks a clear, understandable, and compelling goal that drives the conflict, forces transformation, and pushes the hero toward the climax – which leads to a story that wanders and an audience or reader who quickly becomes bored or confused. The main character needs to have an objective to pursue.
A STRONG GOAL….
IS DRIVEN BY CLEAR & FOCUSED MOTIVATION
The protagonist must be motivated to act to achieve a goal. This motivation can be psychological, physical, or situational, but the audience must clearly understand the motivation. If a reader wonders, “Why is he doing that?” then the character’s motivation has not been established. Frequently, the motivating factor is defined in the inciting incident, when the protagonist is at a crisis point and his entire world is about to change. Something happens that compels the hero to develop a goal and a plan to achieve it.
IS CLEARLY PRESENTED & EASY TO UNDERSTAND
The audience needs to know early in the story (some time in the First Act) what the protagonist’s goal is so they can follow him on his journey. Something may happen later in the story (often around the MidPoint) that forces him to change his goal to what he truly wants or need. For example, in The Verdict, written by David Mamet, the main character’s initial (external) goal is to win the civil case for his client, ultimately the goal shifts and becomes his (internal) need to regain his dignity.
IS COMPELLING
Something must be at stake in the story that is essential to the protagonist’s well being. The audience must be convinced that if the protagonist does not achieve his goal something will be lost (the girl, life on Earth, justice, redemption…)
REQUIRES ACTION TO ACHIEVE
The main character must have a plan and take specific actions to achieve his goal. If he or she doesn’t take action then the audience won’t believe the goal is important to the character and will lose interest. By the MidPoint (at the latest) the hero needs to be acting on the story, instead of his “world” acting on him.
BRINGS THE HERO INTO CONFLICT WITH THE ANTANGONIST
The protagonist’s goals are in direct opposition to the antagonist’s, which creates conflict. A worthy opponent strengthens the hero.
IS DIFFICULT TO ACHIEVE & FORCES THE HERO TO CHANGE
As the character acts to achieve his goal he will face increasingly difficult obstacles, conflicts, and complications that demand the character to confront and overcome his fatal flaw. In most films, the goal cannot be achieved without the hero changing or transforming in some way.
YOUR TURN: What is your main character’s initial goal and does it change later in the story? What is the motivation that compels your protagonist to develop a goal? Are the stakes high enough to sustain the goal throughout the story? What actions does the hero take to achieve the goal? What fatal flaw prevents him from reaching his goal and how is he forced to confront and overcome that obstacle?
Already completed your first draft? Looking for professional guidance to ensure a productive rewrite? I offer comprehensive script evaluation, including an analysis and diagnosis of a script’s weaknesses, detailed development notes to solve underlying problems and enhance the script’s natural strengths, and a story map to guide you effectively and efficiently through the revision process. Want to learn how to write your first script or adapt a book into a screenplay? I’m committed to helping you achieve your writing goals. My online writing classes provide a focused structure and assignments that produce tangible results.
Posted: February 8th, 2010
at 5:00am by Laura
Categories: Character
Tagged with character fatal flaw, character goal, character motivation, how to write a screenplay, how to write a script, screenplay character, screenplay writing, screenwriting, scriptwriting, writing a screenplay, writing a script
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Q: Is it really ever worth a UK writer submitting a screenplay to an American studio or agent? I know you guys have all the money to get films made but that’s not my point. What I refer to is subject matter. In my mind, it is more than the Atlantic that separates us. Our cultures seem miles apart. In other words, are there American studios willing to read stuff without a car chase or explosions every five minutes? – Ian Harris
A: Thanks for your question Ian. To answer “Are there American studios willing to read stuff without a car chase or explosion?” I don’t recall seeing any car chases or explosions in The Blind Side, Precious, Crazy Heart, A Single Man, Up In The Air, or dozens of other successful films that were released this year. It’s apparent that not everything that comes out of Hollywood is an action-adventure film. Yes, plenty of those types of films are produced because they sell tickets, but that’s not the only genre being released.
In my opinion, the bigger challenge for a UK writer (or any screenwriter) is not living in Los Angeles. If you’re serious about being a screenwriter (and you’re not already established) get thee to L.A. Can you sell a screenplay to Hollywood from afar? Absolutely. However, you increase your odds as a first-time screenwriter if you make your home in the City of Angels. Check out Ashley Scott Meyer’s insightful posts on his experiences as a screenwriter relocating to L.A.: Do You Have to Live in Los Angeles to be a Screenwriter? and Moving to Los Angeles and Preparing for the Long Haul.
Author: Jay Parin
Screenwriter: Michael Hoffman
Logline: A historical drama that illustrates Russian author Leo Tolstoy’s struggle to balance fame and wealth with his commitment to a life devoid of material things.
Check out screenwriter Michael Hoffman’s Notes on Adaptation from Storylink
Purchase the Shooting Script published by Newmarket Press.
THE FARM
From the book My Empire of Dirt: How One Man Turned His Big-City Backyard Into a Farm
Genre: Drama
Author: Manny Howard
Screenwriter: Donal Lardner Ward
Logline: A Brooklyn husband and father of two battles a career downturn and finds a renewed sense of purpose when transforming his backyard into a working, urban farm
DARK LIFE
Genre: Adventure
Author: Kat Falls
Screenwriter: Not Announced
Logline: Set in a near-future world in which rising ocean levels and natural catastrophes have led some people to homestead on the ocean floor, an underwater teenage boy and a surface girl join forces to uncover a government conspiracy.
FIRE
Genre: Spy Thriller
Author: Brian Michael Bendis
Screenwriter: Not Announced
Logline: A college student is recruited by the CIA, only to find that he has been trained for a program that creates expendable agents.
EAT, SLEEP, POOP: A COMMON SENSE GUIDE TO YOUR BABY’S FIRST YEAR
Genre: Comedy
Author: Dr. Scott W. Cohen
Screenwriter: Matt Allen and Caleb Wilson
Logline: A humorous look at raising your newborn.
In real life, people act with a reason. And screenplay characters need to do the same. Every character action requires motivation and intention. To create a logical story with strong, identifiable, and understandable characters, a writer needs to be aware of what drives his or her characters’ actions, and create behavior that is consistent with the characters he/she has developed.
So, what motivates your characters to do, say, react, and think as they do?
1. Previous Incidents or Backstory
Past events can influence a character’s actions. In Aliens, the character of Ripley distrusts the “synthetic person”, Bishop, because she previously had a bad experience with a robot (a really bad experience). Ripley’s driven to protect the young child Newt, because she lost the opportunity to mother her own child. How do past incidents or backstory influence your character’s behavior and choices?
2. The Unconscious Dark Side
No one is “all good” or always does the “right thing”. The unconscious dark side of a character can drive him to act in ways that go against his conscious self, whether it be as small as a little white-lie to avoid hurting a loved one’s feelings or as significant as bilking clients out of millions of dollars. What makes the police officer, devoted to justice and helping the vulnerable, take a bribe or look the other way at corruption within his department? The law-abiding, good, decent, and loving father in the film In The Bedroom is driven to kill his son’s murderer in an attempt to alleviate his wife’s suffering. What would make your character lie, cheat, steal, or even kill?
3. How A Character Gains and Processes Information
People experience life differently. Some gain information through direct experience, while some derive information through others’ experiences (note that in films your main characters will most often experience life directly). Some people process information emotionally and base their decisions on feelings, while others process information intellectually and base their decisions on principles and facts. How does your character gain and process information and how does that affect his actions?
4. Personality Disorders or Quirks
Woody Allen’s characters often suffer from neuroses that motivate their behaviors and attitudes. In Lethal Weapon, Martin Riggs’s depression influences his actions – including his willingness to take chances and his flirtations with suicide – and causes conflict with other characters, such as his partner, Murtaugh, who questions Riggs’s sanity (Riggs’s depression is a personality disorder triggered by a past event – his wife’s death). What personality disorders or quirks would explain your characters’ behaviors and choices?
Knowing what drives and motivates your characters’ actions will help you create fully developed, plausible characters, and a solid, logical storyline.
YOUR TURN: What techniques do you use to develop and support your characters’ behaviors and actions?
Already completed your first draft? Looking for professional guidance to ensure a productive rewrite? I offer comprehensive script evaluation, including an analysis and diagnosis of a script’s weaknesses, detailed development notes to solve underlying problems and enhance the script’s natural strengths, and a story map to guide you effectively and efficiently through the revision process. Want to learn how to write your first script or adapt a book into a screenplay? I’m committed to helping you achieve your writing goals. My online writing classes provide a focused structure and assignments that produce tangible results.
Q: I have a question about punctuation in scripts, specifically the dash. I understand it is used in dialogue for interruptions, and also when a thought changes suddenly. I have even seen it used in action and description as well. It always seems to consist of two hyphen marks with a space before and after. From what I’ve read it should be used for emphasis or when several related items need to stand apart from one another. But I’m still a bit confused. Can you identify and show examples of how the dash is most commonly used in dialogue, action, and description? – Robert Hosking
A: Thanks for your question Robert. Generally, punctuation rules are the same for any type of writing (you may see a few variations based on which manual an editor uses, for example the Associated Press or The Chicago Manual of Style).
When it comes to the dash, there are two types of dashes, the em-dash and the en-dash. The en-dash is the width of the letter “n” and the em-dash is the width of the letter “m”. The em-dash can be written as one long extended dash (–) or two single dashes (–), always with a space before and after.
The en-dash is used to designate a range or when one part of an open compound is made up of two words, such as:
“I work from 8-5 every day.”
“The score was 3-1 at halftime.”
“Robert is an Academy Award-winning screenwriter.” (Note that the en-dash signifies the inclusion of Academy in the open compound, whereas a hyphen only includes the joined words.)
The em-dash is used most often to indicate emphasis or interruption. Commas and parenthesis are also used to enclose parenthetical elements. The difference is em-dashes mark a sharper disruption than commas and parenthesis indicate a still sharper one than em-dashes. The em-dash is also used for attribution (such as the usage above attributing Robert Hosking to today’s question) and as part of each slugline. Writing a well-structured, compelling script is the goal – so don’t get too hung up on em-dashes.
Some screenwriters use em-dashes more than others. Shane Black (Lethal Weapon) may be the king of em-dashes when it comes to using them in description and action lines.
EXT. SIMI VALLEY – MORNING
The scorched landscape stretches out beneath a latticework of high-tension power lines. Only scrub grass grows here. Rusted railroad tracks wander into the distance, and nestled beside them, like the last stop before death — sits a lonely trailer home. Battered TV antenna. A dirt yard, which houses a beat-up pickup truck. Dead garden sprouting weeds. The ground begins to tremble … like an earthquake, RATTLING the POWER POLES, as, without warning — An express TRAIN BLASTS BY and streaks past the trailer at seventy miles an hour.
INT. HIGH-RISE APARTMENT – NIGHT
Through billowing curtains, into the inner sanctum of a penthouse apartment, and here, boys and girls, is where we lose our breath, because — spread-eagled on a sumptuous designer sofa lies the single most beautiful GIRL in the city.
She stands, stumbles across the room, pausing to glance at a photograph on the wall: Two men. Soldiers. Young, rough-hewn, arms around each other.
The Girl throws open the glass doors … steps out onto a balcony, and there, beneath her, lies all of nighttime L.A. Panoramic splendor. Her hair flies, her expression rapt, as she stands against this sea of technology. She is beautiful.
On the balcony railing beside her stand three potted plants. The Girl sees them, picks one up. Looks over the balcony railing … It is ten stories down to the parking lot. She squints, holds the plant over the edge.
GIRL
Red car.
Drops the plant. Down it goes, spiraling end over end — until, finally … BAM — ! SHATTERS. Dirt flies. A red Chevy is now minus a WINDSHIELD. The Girl takes another plant.
GIRL
Green car.
She drops it. Green Dodge. Ten stories below, BAM. Impact city. Scratch one paint job. Grabs the final plant and holds it out
GIRL
Blue car.
POW. GLASS SHATTERS. Dirt sprays. A blue BMW this time. The Girl loves this game … her expression is slightly crazed. She reaches for another plant — There aren’t any. Her smile fades — And for a moment, just a moment, the dullness leaves her eyes and she is suddenly, incredibly sober. And tears fill her eyes as she looks over the edge –
GIRL
Yellow car.
EXT. BENEATH THE PIER – NIGHT
FOUR TOUGH-LOOKING DOCK WORKERS are camped out under the pier, warming themselves around a small bonfire, laughing loudly. Christmas decorations dangle above them from the pier, and empty beer cans litter the sand around them. An old collie is tied to one of the pilings. The dog is being tormented by the dock workers. They flick lighted matches at him. Shake their beers and spray him in the face.
These guys are not rocket scientists. The dog cowers, tugging on the rope. Tries to get away. All to the great amusement of its tormentors. One of them turns, laughing –
As a shadowy FIGURE strides calmly up to the fire:
Long hair.
Cigarette dangling from-lower lip.
Shirt-tails hanging loose below the waist.
Nothing threatening in his manner as he plops down beside the men, smiling.
They are immediately on their guard.
RIGGS (FIGURE)
Happy holidays. Mind if I join you?
PUNK #1
Yes.
PUNK #2
Fuck off.
Riggs smiles at him innocently. Strokes the collie’s fur with one hand. With the other, he reaches into a paper sack and produces, a spanking new bottle of Jack Daniels, possibly the finest drink mankind has yet produced.
RIGGS
I need help drinking this. Cool?
The dock workers exchange glances. There seems to be no harm in this. One of them frowns:
PUNK #1
You a homo?
RIGGS
Do I look like a homo?
PUNK #1
You got long hair. Homos got long hair.
PUNK #3
I hate homos. Arrggh.
Riggs shakes his head, laughs.
RIGGS
Boy, you guys are terrific. You make me laugh, you just do.
At which point, appropriately enough, Punk #4 shakes a beer and sprays it in the old collie’s face.
The DOG pulls away, WHINING.
Riggs leans forward.
RIGGS
This your dog? Nice dog.
And then, he proceeds to do a peculiar thing: He starts to talk to the dog — in what seems to be the dog’s own language. Very weird, folks… He coos, snuffles, barks softly, then withdraws, listening, his ear to the dog’s muzzle. Riggs nods. Frowns. The others look on, puzzled. Then Riggs looks at each of the four dock workers.
RIGGS
Huh – You know what? He says he doesn’t want you to spray beer in his face. He says he just hates that.
A pause. Uncomfortable. Then –
PUNK #1
Oh, he does … ?
Screenwriter David Marconi also likes the em-dash, as noted in this scene from Enemy of the State
INT. CRYSTAL CITY, VIRGINIA, TALL OFFICE BLDG. – DAY
A well-appointed big-city law office filled with citations of merit and pictures of a wife and child. ROBERT DEAN, a likable young lawyer, sits behind his desk with his back to an OLDER MAN. He stares at a commanding view of Washington, D.C. as he listens to a tired, smoke and whiskey voice.
OLDER MAN (L.T.)
I don’t know how much longer we can hold out, Mr. Dean.
DEAN
I don’t know, either, L.T. Maybe you guys should get yourself a labor lawyer.
L.T.
Well that’s why I’m here, Mr. Dean. ‘Cause you’re a labor lawyer.
DEAN
Good point.
L.T.
Last night, Larry Spinks, he works the Steel Press, he goes to a bar with his wife Rosalie to have a glass of chianti ’cause it’s his birthday, and these two guys, these Guido mother-fuckers, they jump him when he goes to the bathroom.
DEAN
L.T., in this office I’d prefer you say Italian-Americans.
L.T.
I’m sorry, Mr. Dean. But Larry’s in St. Lukes now, so I’m a little — I’m not myself. The Union bosses say unless we take Bellmoth’s offer, it’ll only get worse.
DEAN
That’s because your Union bosses are those Guido mother-fuckers.
L.T.
I don’t under –
DEAN
The Union’s trying to railroad you into accepting terms worse than what you have now.
L.T.
Why would the Union –
DEAN swivels around in his chair and faces L.T.
DEAN
Because they’ve been paid off by Bellmoth.
L.T.
Mr. Dean –
DEAN
My name’s Bobby. I’m your lawyer. Don’t do anything ’till I talk to you.
DEAN gets up and walks a grateful L.T. to the door, calling to his secretary as they go –
DEAN (CONT’D)
(calling)
Martha! Larry Spinks, St. Lukes. Send him a case of chianti from the firm. And send his wife Rosalie some flowers.
I’m committed to helping you achieve your writing goals. I offer focused guidance and a structure with assignments and deadlines that produce tangible results.
Classes are conducted in an online platform (similar to Blackboard), which allows participants to interact with one another – recreating the live writing workshop experience. And for anyone who is shy about sharing his or her project, information can be sent directly (and privately) to me.
No need to worry about attending class at a set time. Each week during the course, you can check in to read material, submit assignments, and engage in discussions – at a time and place that is convenient for you.
Class size is limited to allow for personalized attention and feedback customized to your individual project. Please enroll early to ensure registration in your preferred class.
For more information and to enroll in a class, please visit Scenario Writing Classes
ABOUT A SCREENPLAY: HOW TO WRITE YOUR FIRST SCRIPT
$369
Begins April 19, 2010 (8 weeks)
By the completion of this workshop you will have a detailed outline, logline, synopsis, and the first 20 pages of your script.
* Examining the Three-Act Structure
* Laying the Foundation: Format, Outlines, Beat Sheets, Loglines, 17-Point Structure
* Formulating the Plot and Constructing Scenes and Sequences
* Character Development
* Dialogue
* Theme and Through-line
* Understanding Your Genre
* Selling the Screenplay: Understanding the Players, Treatments, and Pitches
BOOK-TO-FILM: HOW TO ADAPT A BOOK INTO A SCREENPLAY
$369
Begins June 21, 2010 (8 weeks)
More than 70% of produced films are adaptations. Over the past decade, 7 of the 10 Academy Award winners for Best Film have been adaptations. And yet, many film adaptations fail. Why? Because translating a narrative format to a visual medium is an art. In this class you will learn how to effectively adapt a book into a screenplay.
By the completion of this class you will have a three-act structural map, a character breakdown, and an extended script outline to follow to complete the screenplay.
* Understanding the Difference Between Books and Screenplays
* Analyzing the Source Material
* Creating the Story in a Three-Act Structure
* Inciting Incident, Turning Point, Midpoint, Resolution
* Identification of adaptable characters
* Focusing on the main plotline
* Selection of minor characters and subplots
* Key elements, visual images, style, conflict and character development
* Addressing ways to dramatize inner conflict and create emotional impact
* Creating The Extended Script Outline
* Optioning Film Rights for Source Material
SCREENPLAY CONSULTING: HOW TO WORK AS A SCRIPT READER & STORY ANALYST
$369
Beings June 21, 2010 (8 weeks)
By the completion of this workshop you will have several coverage samples, a character breakdown, development notes, and literary analysis for your portfolio. Participants should have experience writing screenplays.
* Types of Coverage, Who Uses Coverage
* Examining the Story Elements of a Screenplay
* Analyzing the Material
* Providing Constructive Feedback
* Writing the Coverage Report
* Writing Other Types of Reports: Development Notes & Character Breakdowns
* Evaluating Books for Adaptation
* Attracting and Working with Clients
* Contracts, Rates, and Business Essentials
Author: Christopher Isherwood
Screenwriter: Tom Ford and David Scearce
Logline: After the sudden death of his partner, an English professor tries to go about his typical day in Los Angeles.
Check out a podcast interview with co-writer Tom Ford at Creative Screenwriting
Download a free copy of the screenplay from My PDF Scripts
THE AVERY CATES PROJECT
(From the book The Electric Church)
Genre: Science Fiction
Author: Jeff Somers
Screenwriter: Trevor Sands
Logline: Set in a near future where Earth is run by a federation of nations and governed by council, a bodyguard/assassin is forced by the police to kill the founder of a church that transforms people into pliant robots.
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* Understand the publishing industry
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Download a Free Chapter (Chapter 4: Finding & Selecting An Agent), view the book trailer, read the full Table of Contents and purchase the eBook at Get A Literary Agent
(Print version of the book will be released in February 2010 and will be available at retail bookstores and online booksellers Amazon and Barnes & Noble.)
