Post by George Willson on Oct 22, 2005 18:07:11 GMT -5
The core of great films is the characters and their relationships with each other and the story. While most films have a decent storyline, one of the biggest flaws they run into in the both the independent and major arenas is a lack of good characters or character development. Here's a way to make some good movie people somewhat drawn from my own observations and The Screenwriter's Bible <-- if you write screenplays and don't have a copy, get one! It's my number one resource for nearly everything.
First, you need a central character. Books and TV shows and multiple characters, but movies usually have one that we follow around. This character wants something specific. Whatever that is is the goal. The character, conscious of this desire, strives for it throughout most of the story. To create the drama, the character must be opposed by at least one other person.
In most good stories, this character also has an inner need, and it is usually something they don't know about until the Crisis (Click here for the thread with the act structure). Whatever this need is will bring true happiness or fulfillment to the character. Whatever this need is will be blocked by some sort of flaw, usually a selfishness, that emerges from some kind of past trauma whch will come out in the backstory.
The main plot is driven by the goal or Action story; the main subplot is driven by the need or Emotional story. This emotional story is concerned with character relationships and is what often lacks in a lot of films. People come for the action, but they gauge whether they like it or not based on the emotion. The clever combination of these two is what creates a truly unique film.
For an example, PoisonX wanted a zombie story. There are hundreds of these, so I infused one with a love triangle between a woman, her long lost love, and her devoted husband. How often is that done?
So, your central characters needs most or all of the following:
This list works not only for your main character, but the primary opposition should also have these things as well. A good villain will be just as rounded as the hero, and have needs and goals of their own. You essentially have two stories running simultaneously as one. The villain has a need and goal that they want to accomplish. The hero has their own needs as well. These needs and goals must inevitably clash, but while the hero must grow and learn, the villain doesn't necessarily need to, but if they fall, the fall must be justifiable within the character created. Create a way for the villain to succeed if they overcome their flaws within the story's framework, and so the fall of the villain happens because they refused to grow with the hero.
Some other things to consider for your character's end.
And finally, something for the overall idea:
Thought I'd add some writing advice to this writing thread. I know creating characters is too often overlooked in favor of a cool plot, but characters are the heart of the story, and a story with good characters and relationships is a story that gets awards. I thought American Beauty was an insane movie with a really whacked out plot...but hey, it had solid, well-rounded characters.
First, you need a central character. Books and TV shows and multiple characters, but movies usually have one that we follow around. This character wants something specific. Whatever that is is the goal. The character, conscious of this desire, strives for it throughout most of the story. To create the drama, the character must be opposed by at least one other person.
In most good stories, this character also has an inner need, and it is usually something they don't know about until the Crisis (Click here for the thread with the act structure). Whatever this need is will bring true happiness or fulfillment to the character. Whatever this need is will be blocked by some sort of flaw, usually a selfishness, that emerges from some kind of past trauma whch will come out in the backstory.
The main plot is driven by the goal or Action story; the main subplot is driven by the need or Emotional story. This emotional story is concerned with character relationships and is what often lacks in a lot of films. People come for the action, but they gauge whether they like it or not based on the emotion. The clever combination of these two is what creates a truly unique film.
For an example, PoisonX wanted a zombie story. There are hundreds of these, so I infused one with a love triangle between a woman, her long lost love, and her devoted husband. How often is that done?
So, your central characters needs most or all of the following:
- An outside goal the audience will care about.
- A powerful, personal motivation for achieving this goal.
- An opposition character in a position of strength, capable of doing great damage (physically or emotionally).
- The will to act against opposition, learn and grow.
- Human emotions, traits, values, and imperfections that people can identify with.
- A personal point of view of life, the world, and/or self, giving rise to attitudes.
- Details, extensions, idiosyncrasies, and/or expressions that are uniquely theirs.
- A life and voice of their own.
- A key event from the past that has given rise to a character flaw.
- An inner need that they might be unaware of.
This list works not only for your main character, but the primary opposition should also have these things as well. A good villain will be just as rounded as the hero, and have needs and goals of their own. You essentially have two stories running simultaneously as one. The villain has a need and goal that they want to accomplish. The hero has their own needs as well. These needs and goals must inevitably clash, but while the hero must grow and learn, the villain doesn't necessarily need to, but if they fall, the fall must be justifiable within the character created. Create a way for the villain to succeed if they overcome their flaws within the story's framework, and so the fall of the villain happens because they refused to grow with the hero.
Some other things to consider for your character's end.
- How does your character grow or change throughout the story?
- How is your character different?
- What does the character know now that they didn't know at the beginning?
- What is their perception of reality at the beginning?
- How does that perception change at the end?
- Is the protagonist likable? (not a requirement, but we have to relate to them somehow to care)
- Will the audience idenitify with the central character on some level?
- Does your central character have depth, with both strengths and weaknesses?
And finally, something for the overall idea:
- What is the theme or message of your story? All the good ones have this in them, and it reigns subconsciously throughout.
- What are you trying to say?
- Will the end of your story say it for you without being too preachy? Sometimes, the theme won't come to you until you're already writing it.
Thought I'd add some writing advice to this writing thread. I know creating characters is too often overlooked in favor of a cool plot, but characters are the heart of the story, and a story with good characters and relationships is a story that gets awards. I thought American Beauty was an insane movie with a really whacked out plot...but hey, it had solid, well-rounded characters.
