People asked me how I write a script, so here we go with Part 4. This is a follow up to Part 1, which focused on story concept, Part 2, where we looked at brainstorming, and Part 3, which talked about research. PART 4: CHARACTER DEVELOPMENT
I’m compartmentalizing my creative process, which is misleading. Because as I’m brainstorming and doing research, characters emerge, plot ideas pop up, themes evolve. So do not think of it like, first I do brainstorming for 2 weeks, then I move into research for another 2 weeks, then into characters. No, it's best, I think, to follow one's instincts. And at some point, you will have accumulated enough story ‘stuff’ that key characters will spring to life. Then it’s time to dig into them.
I create individual files (in my computer) for the primary characters. I spend time with each of them, ‘sitting’ with them, my fingers on the keyboard as I try to with engage them. Sometimes I'll take a walk with them, imagining us in conversation. As with brainstorming, I try not to pre-judge; here my task is to let the stuff flow. This allows the characters to be free to evolve into what they are to become.
Think on that word: evolve. It had never occurred to me until recently, but it's implied in the word "development," isn't it? So as we develop our characters, in the best of all creative worlds, we're letting them evolve into being.
The single biggest key I find about working with characters is to be curious about them. Ask them questions. Interview them. Talk with them. That works for some characters; others I find myself writing a narrative of their past. I don’t know why that is – again, I just follow my instinct.
Whenever an attitude, action, or line of dialogue pops up associated with one of my characters, I’ll follow my curiosity: Why do you think that? Why do you believe that? Why do you act that way?
At some point, I apply seven questions to my characters to try to see what narrative functions each might play in the story:
* Who is my Protagonist?
* What do they want(External Goal)?
* What do they need (Internal Goal)?
* Who is keeping them from it? (Nemesis)
* Who is connected to the Protagonist's emotional growth? (Attractor)
* Who is connected to the P's intellectual growth (Mentor)?
* Who tests the P by switching allegiances from ally to enemy (Trickster)?
I believe that these five narrative functions represented by this group of primary archetypes -- Protagonist, Nemesis, Attractor, Mentor, Trickster -- occur in most every movie. Once I can identify the core function for each character, I can use that as a lens through which to interpret each of them, thereby tying them directly and intimately to the Protagonist's journey.
In Part 5, we explore the plotting.
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7 comments:
Thx Scott. Enjoying the read.
Glad you're enjoying it, UV. After I'm done slogging through my thoughts, I'm starting a thread called "How THEY write a script," interviews available online with notable screenwriters on their writing process. The first one we look at -- Shane Black. Look for that toward the end of next week.
Will do. You mentioned trawling occupations for inspiration - have you seen the low budget Aussie comedy "Kenny" about a porta-loo fitter. The comedian who starred got about 400K from a supplier of portable toilets for film finish.
Re the bedside pad for stray thoughts, I was at a talk given by author Janet Evanovich who admitted she never used one, had forgotten a few things she really wished she'd remembered. She finally submitted to the pressure to have pen and pad handy for the 3am blinding insight.
She duly went to bed, woke as predicted, grabbed pen and paper and wrote it all down.
When she woke, she found she had written "Must not forget this. Must not forget this".
That is a great story about Janet Evanovich! Definitely goes into my repertoire. Because of tape recorders and voice mail (call up / record thoughts), I manage to keep most ideas. However, I still to this day have problems when I go out for a run. I'll think of something, then say to myself, "Okay, remember that," then sometimes, get back, and it's just gone. Poof!
BTW, I've found running is a great way to work through story problems. Something about changing perspective or increased blood flow, I don't know, but very often when I'm stuck story-wise, a run un-sticks me.
Re Kenny: Have not caught that, but will do.
Re "trawling occuptions": Burg & Myers used to occasionally go through the yellow pages, looking at occupations, putting interesting ones on a list, anything to try to spark ideas.
Reminds me one time in a screenwriting class, I gave out index cards to the students -- one set for "occupations," the other for "locations." Then we dumped then into two hats and drew them out in pairs. We actually hit this combination: "Kindergarten" and "Policeman." That's right, Kindergarten Cop! Too bad it was after the movie had been released!
Hi Scott,
Your blog is so rich in content and the niche is unique, why not monetize your blog?
At this point, I'm just feeling my way around. Welcome to any suggestions as I've been told money is not necessarily a bad thing -- especially with my oldest son entering college in the fall!
Hi Scott,
Thanks a lot for all the good advices. I really like your post about the Narrative throughline. It helps a lot.
It's great to find a place like that for someone who's trying to make his way into the screenwriting world.
Oh, by the way, one of your favorite movie is Jean de Florette...that is very good choice :))
Cheers,
Julien
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