Movie Outline Screenwriting Blog

How often in life do you meet someone that is flawless?  Conversely, how often do you meet someone that does not have a single good bone in their body?  Never.  It’s impossible.  We human beings are very complex creatures and that’s what makes us so fascinating.  And that’s also what makes good movie characters so interesting.

We, as an audience, or as a reader, are usually not drawn to flat, two-dimensional characters that do what they say they’ll do and practice what they preach.  Most of us try to be good people and do good things but we all have flaws – it’s human nature.  Sometimes our own selfishness, jealousy, preconceptions and prejudice creep into our words and actions and it doesn’t make us bad people.. just human.

The same should be applied to the characters we create in our screenplays and novels. These people may inhabit an imaginary world but that world usually reflects our own, even if it is set on another planet, often there is a common thread of humanity that runs through the narrative.  If there wasn’t then we would find it extremely hard to identify with anyone or anything and the movie wouldn’t engage us on any level.

So the next time you sit down in front of your computer and fire up your screenwriting software, think about your central characters and their psychological make-up.  What makes them tick?  What are their hang-ups?  Are they coffee addicts?  Are they gym freaks?  Do any of their hobbies take over their lives to such a degree that they alienate friends and family?  Do they have bad habits?  Do they lie or cheat?  Do they drink or smoke?  Do they gamble or steal?  It doesn’t have to be a big flaw, even a small flaw can make a character appear more three-dimensional.

The other great thing about introducing flaws, even if they are just for you to know as the writer, is that they give you the opportunity to create comedy and conflict.  And if you use these flaws when developing your character arcs they will subtly influence character actions and their dialogue.  Sometimes creating a backstory for your character can help when deciding on a flaw because it gives you a sound logical reason for their behaviour and choices.

For instance, say your hero was bullied as a kid.  Maybe he was always picked on at the same place, and thus the image of this place was then burned into his/her memory and associated with bad things.  The place could be anywhere.. a hot dog stand, a library, a swimming pool.  The point is, as an adult (in your movie), this character can then have a hang up about eating fast food, reading books, or going swimming.  The hang up could be that he/she comfort eats hot dogs when he/she gets depressed, or throws up if he/she smells fast food.  He/she may have a bizarre hatred for book readers and book clubs, or read so much that he/she doesn’t have a social life.

And remember, the same principle can be used in reverse when writing your antagonist or one of his/her henchman.  Maybe your baddie kills people without a thought but has a love for flowers or pets.  Maybe he/she has a penchant for blades and making people bleed but when he accidentally knocks over a young school girl in his car, he feels bad and takes her to the hosipital and waits by her bedside.  It’s all about layers. Obviously, certain genres require an absolute “baddie” but even then it’s far more interesting to shape your characters using many contradictory layers.  Make them ambiguous in intent so the audience are constantly reassessing their motives and objectives.

Writers’ Block.  It’s a killer.  We’ve all been there, happily tapping away at the keyboard at our latest and greatest movie script in a creative stream of consciousness when suddenly we reach a dead end. A brick wall faces us and we have nowhere to turn.  We try idea after idea but nothing makes any sense.  We start to get frustrated but can’t give up because it’s such an important scene.  Damn!  We have to solve this.  The pressure mounts.  And mounts..  But nothing.  Nada.  Zip.

“What am I gonna do?!” we think or perhaps exclaim out loud.

The whole script hinges on this particular plot point or piece of dialogue. If we can’t solve this we might as well trash the script.  Oh my God, I’m never gonna get that friggin’ Oscar! Okay, okay, calm down. Really, dude.  Take a breath.  It’s not that bad.  There is a solution.  All hope is not lost.. even though it may feel like it.

So, the solution.. what is it?  Simple. Actually, there are three:

1.  STEP AWAY FROM THE COMPUTER!

That’s right, folks, sometimes we get so caught up in the moment and our own self-imposed frustration that our mind ceases up and can’t process clearly.  The best thing to do in those situations is to take a break and do something else.  The script’s still going to be there when you get back.  I usually make myself a coffee and watch some TV.  Other times I take out the trash or put the washing on.  Whatever.  It doesn’t matter.  It’s simply the fact that you focus your mind on something other than writing for a while and this unclogs everything and gets the creative juices flowing again.

It works.  Trust me.  Been there, done that.  In fact, most of my best creative writing ideas have come away from the computer.  It’s the same principle as setting yourself a problem to solve as your head hits the pillow at night and then waking up the next morning with a clear head and 90% of the time a solution.  Somehow our subconscious brains keep on working behind the scenes and help us out.

2. MOVE ON TO ANOTHER SCENE

That’s right.  If you can’t figure out the solution just move on to the next scene or rewrite an earlier scene.  It’s the same principle yet again. By doing this you will be opening your mind to new ideas which will undoubtedly present themselves once you have disengaged from the stumbling block in question.  Sometimes focusing on another issue is the answer. Sometimes you may not get an answer right away but don’t stress yourself out by creating even more pressure, that’s just counterproductive.

3. REWRITE THE SCENE FROM A DIFFERENT PERSPECTIVE

Your third option is to rewind a few pages and then attack the troublesome scene from a new angle.  If the hero in the original draft jumps into his car and goes to the bank in order to confront his adulterous wife, maybe he is forced to take the bus because his car won’t start.  Maybe he has an accident on the way and ends up in the emergency ward.  Maybe he gets to the bank and she’s not there.  You see where I’m going here?  All of these ideas will give you new avenues to explore and whether or not they will end up in the final screenplay is not the point, it’s the process that is important.

So what is a character arc, you ask?  Sounds complicated.  Well, it doesn’t have to be, although a complicated character arc may be just what your screenplay needs. A character arc could also be described as a journey that a person goes on during the course of your movie, or the development in their personality they experience or the evolution of an aspect of their persona – such as emotional, physical or psychological.  All of the above are valid character arcs that could help to engage an audience.

Why does a character need an arc?  Well, it may be intentional that your protagonist (hero or heroine) doesn’t, and if so, that’s fine, so long as it is clear that is the case and that the rest of the story and theme support this choice.  But more often than not a film will lose an audience if the lead character does not go on some kind of transformational journey.

Think of Luke Skywalker in the first Star Wars movie and also in the complete franchise.  He starts off as a naive farm boy with foolish hopes of exploring the solar system. He struggles with authority and even the notion of responsibility and “The Force”. But as the story progresses, obstacles are thrown in his way which he must summon up an inner strength he did not know he had in order to overcome, and by the end of the movie he is living his dream, fighting villains and saving a Princess.  That’s his arc.  That’s his journey.  Without it the movie wouldn’t have been so engaging.

And what’s more, he’s not the only one in the story with an arc – and that’s a key point.  When writing a script, don’t make the mistake of focusing all of your attention on the hero’s arc.  Sometimes it is equally as important to plan an arc for the antagonist (villain) and supporting characters so that they too read as three-dimensional, real-life characters that have their own lives outside of the movie we see and that they are not simply there to support the hero in his quest.

To sum up: if you want your audience to truly identify with your protagonist then create a complex journey for them to take. Everybody has hopes, fears, dreams and flaws.  Make sure your central character has too.  What is their goal?  Is it emotional or physical?  What do they really want? How will they change throughout the story?  What obstacles force them to change?  Ask yourself these important questions as the narrative progresses so that each key event of the story not only serves the plot but is intrinsically linked to the overall “theme” and your central character arc.