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Archive for the Category "Characters"

5 Big Things To Sweat About Author: Trevor Mayes May 30

Sweat The Big StuffSweat The Big Stuff

I’m sure you’ve all heard this inspiring set of rules before:

  1. Don’t sweat the small stuff.
  2. It’s all small stuff.

The truth of the matter, however, is that when it comes to screenwriting, that message couldn’t be further from the truth. While the devil may be in the details, your script lives or dies in its broad strokes.

Prom Date

Here’s a quick metaphor to illustrate what I’m trying to say…

STUDENT

Is my prom date’s dress hot or what?

CONCERNED FRIEND

I guess. But dude, your date is a chimp.

STUDENT

Okay now you’re just being rude.

CONCERNED FRIEND

No, I mean your date is literally a chimpanzee. Does your dad work for the circus or something?

STUDENT

The zoo.

CONCERNED FRIEND

Ah.

Awkward silence.

STUDENT

Smokin’ hot dress though, right?

It doesn’t matter how hot your scenes are, if your script is a chimp!

5 Things

Here are five BIG things you should sweat over, long before worrying about things like correct formatting, clever descriptions or upping the tension in a particular scene:

Concept

Concept is probably the most important aspect of your script. If you have a fantastic one, readers/producers will be more likely to forgive minor problems.

When you tell people about your concept, do they ooh and ahh? Do their eyes light up? If it’s a comedy, do they smile or laugh? Do they immediately connect with the material. Make sure you have a winning concept before you start writing your screenplay.

True story. I once had a woman pitch me the following sole movie concept: “It’s about a black Hollywood producer who has a small dick.” FAIL!

Character Motivations

By the time a reader reaches the second act of your script, he/she should be able to answer at least two fundamental questions. The first one is: “What does the protagonist want?” Make sure the answer to this question is clear and primal.

“My protagonist is just kinda going with the flow at this stage of the script.” FAIL!

Rooting Interest for Your Main Character

The second question a reader should be able to answer by the start of the second act is: “What do I want for the protagonist?” Depending on your story, this may, or may not, be the same thing as what the protagonist wants. But either way, at this stage, the reader should be rooting for your main character(s).

Moreover the reader should have an implicit understanding of where the story is going, and care about that direction.

READER: “I hate the protagonist, so I don’t care if he finds his lost doughnut… not that I would have been at all interested in that anyway.” FAIL!

Overarching Story

Have you provided a solid structure and an engaging plot?

Do cool or powerful things happen in your story? Have you fulfilled the promise of the premise? Have you executed a story that maximizes the potential of the concept? Thrilled the audience? Shown them something they’ve never seen before, or in a way they’ve never seen it?

“Yes, it’s a global apocalypse movie, but we learn what happens through first person accounts only. It takes place entirely in one interview room.” FAIL!

Theme

Is your movie about something? The movies that leave an impact on us are the ones that teach us something, or, at the very least, have something to say that will resonate with audiences. Something specific.

“The theme is danger.” FAIL!

***

Do you have all of these bases covered in your script? Or are you taking a chimp in a pretty dress to prom?

Any “big stuff” you would add to the list? Please post in the comments section.

Need someone to review your screenplay? Please take a look at my script services.

Category: Characters, Concept, Plot, Structure, Theme, Writing  | One Comment
A Perfect Getaway Author: Trevor Mayes May 26

Don’t worry — NO SPOILERS!

A Perfect GetawaySince watching A Perfect Getaway (written and directed by David Twohy) a few weeks back, I’ve been itching to write about it. This film actually managed to pull off something that many of my screenwriting friends and clients have been trying to pull off themselves…

It’s quite possible that you, yourself, may have thought about doing this certain daring something, at one point or another, in one of your scripts.

Something that to my knowledge had never been done before.

So what is this something?

Well unfortunately I can’t tell you that. That would ruin the best part of the movie.

On IMDB, A Perfect Getaway scores a respectable 6.5/10 — but really, if you’re a screenwriter, you’re probably going to enjoy it more than mainstream audiences. After all, you’ll be able to appreciate what was accomplished and the finer strokes needed to accomplish it.

Not only that, but one of the main characters is a screenwriter. And, right there in the movie, we get a lot of insider banter about the mechanics of writing a thriller. In fact the movie plays off of these various screenwriting conventions.

If you enjoy tense thrillers, hot bodies and tropical locations, I highly recommend checking this one out. Don’t let someone else ruin the surprise for you. As a screenwriter, or as a movie afficionado, you’ll really appreciate what Twohy was able to pull off. It’s one for the ages.

If you already know what it is I’m talking about, and know of any other movie in the history of cinema that’s done what this movie’s done, please send me an email and let me know.

Need some help with your screenplay? Please take a look at my script services.

Category: Characters, Movie Reviews  | 2 Comments
Quick Tip: Don’t Sweat the Backstory Author: Trevor Mayes May 08

Quick Tip

Don’t get hung up on writing character backstories. What’s important is knowing how your character will react to situations right now.

We all react differently to trauma and events. For example, someone who grows up in an abusive household may become an abuser themselves, become a crusader for the abused, or just carry on unaffected and lead a normal life.

Backstories are therefore irrelevant for the most part. What matters in your screenplay is how your characters react to things at this moment in their lives.

The only time a backstory will be important is when an aspect of your character’s past will be brought up, or depicted, in the movie — and will have a direct bearing on the plot or another character.

A Simple Rule

If you know what your character would say and do in any situation, you’re ready to start writing the dialogue and actions for your character.

Category: Characters, Pre-writing  | One Comment
Reader Question: Passive Protagonists? Author: Trevor Mayes Apr 21

Officer Hoyt - A passive protagonist?A reader asks about Passive Protagonists:

I was reading on your site and was wondering what your thoughts were on “passive protagonists” who get drug into hairy situations like Officer Hoyt in Training Day. I am writing a movie where the guy gets involved in a situation and has no choice but to continue on kind of like Officer Hoyt. Is it possible to make a good movie with a reactive protagonist like this?, because that is exactly what I am trying to do.

 
Let’s break the question down into two parts:

Part 1: Thoughts on “Passive” Protagonists like Officer Hoyt (Ethan Hawke) in Training Day

First things first. What is a passive protagonist?

A passive protagonist is a main character that displays some or all of these traits:

  • has no strong desire
  • doesn’t make decisions
  • doesn’t pursue a goal
  • reactive, instead of active, as a rule
  • allows someone else to dictate their fate

You get the idea.

Are any of those traits, ones that you would respect, like or enjoy in a friend, business partner, lover, person you want to hang around with, etc.? Of course not. That’s why readers/audiences don’t embrace that type of character either.

A Common Mistake

It’s extremely common for beginning writers to craft screenplays with passive protagonists. One of the reasons why many screenwriters (including myself) have fallen victim to this trap, is that on first glance, many beloved movie characters seem to be passive.

In Star Wars, for instance, Luke Skywalker:

  1. hangs out on the family farm
  2. doesn’t protect is his aunt and uncle
  3. gets dragged on a mission by Obi Wan
  4. is put in his place by Han Solo
  5. is given help by Obi Wan to save the day

But let’s take a closer look. Luke actually:

  1. yearns to join the rebel alliance, but decides to help his family on the farm for now. He’s also proactive in finding his missing droid, which leads him to Obi Wan.
  2. races to save his aunt and uncle as soon as he figures out they’re in danger
  3. makes the choice to go on the adventure with Obi Wan
  4. comes up with the plan to save the Princess, takes action, and convinces Han to help him
  5. makes the decision to listen to Obi Wan’s advice, and in doing so saves the day

It turns out, Luke is actually a very active and willful character, determining his own fate.

Officer Hoyt

If we look at Training Day‘s Officer Hoyt (Ethan Hawke) using that same lens, he’s actually not a passive protagonist.

Officer Hoyt:

  • has made the choice to work for crazy Alonzo Harris (Denzel Washington) to advance his career
  • is passionate and excited about that decision
  • makes the choice to take the hit off that pipe
  • takes action when he sees two guys raping a girl in an alley
  • makes the choice not to take any money from the murdered cop
  • goes after Alonzo on his turf

See I mean? Officer Hoyt is the one making the major decisions that determine his fate in the movie, even though at first glance it may appear that he’s getting dragged along for the ride.

Part 2: Can a protagonist be reactive?

Sure they can. In fact, most protagonists are reactive — for at least ONE key moment in the story. Whether you refer to it as the Call to Action, Call to Adventure, Catalyst, Inciting Incident, Opportunty… typically this is an event that happens to the protagonist.

It’s one of only three places1 where the protagonist can appear to be somewhat reactive or passive. But overall, your protagonist must be a “willful character” for readers/audiences to embrace her.

It’s okay for your protagonist to be forced into a hairy situation at the outset. Just make sure your protagonist quickly begins to take action, or makes the critical decisions from that point on.

That’s really the secret to great screenwriting — coming up with situations where your protagonist is forced to make difficult decisions.

Can anyone out there think of a recent movie that featured a true passive protagonist — successful or otherwise? Please post below.

Want me to personally read your script and let you know if it’s ready to go out? Please take a look at my professional script services.
  1. For more information, please see my previous article on passive protagonists ↩
Category: Characters  | 2 Comments
What’s in a name? Author: Trevor Mayes Mar 21

Brent + Hildred?That Wily Shakespeare

In Shakespeare’s Romeo and Juliet, Juliet makes the argument:

What’s in a name? That which we call a rose
By any other name would smell as sweet.

Bollocks to that!

If the play had instead been called Brent and Hildred, or Addison and Payton, or any other combination, I’m not sure it would even have survived for us to study in high school.

A name is part of the package, not separate from it. A great name can make a character, or person, more special. Why do you think Frances Gumm changed her name to Judy Garland, or Mark Vincent changed his name to Vin Diesel?

Name Choice

In screenplays, you only have a small amount of space to introduce your characters. Ensuring they have the perfect names can immediately:

  • give the reader a heads-up as to what your characters are all about
  • help a reader keep track of numerous characters
  • suggest a character’s station or status in life
  • enhance a character’s personality and identity
  • make your main characters stand out from the pack

The Name Game

And why do well-chosen names make characters pop? Because that’s the way it works in real life. There’s a power in an aptronym — a name aptly suited to its owner.

  • Of course Megan’s last name is Fox.
  • Of course Usain’s last name is Bolt (world record holder for the 100m and 200m sprint)
  • Of course Tiger’s last name is Woods (these days his name has a double connotation).

The other night I saw a commercial for a show called “High Society” on the CW network. It’s a reality show about Manhattan socialites and their less than upper crust behavior.

The main celebutante is a woman by the name of Tinsley Mortimer. Tinsley Mortimer! Seriously, could she be anything other than a socialite?

Final Thoughts

Here’s a great quote by George Axelrod (The Seven Year Itch, Breakfast at Tiffany’s, The Manchurian Candidate) on the subject of character names:

Someone said to me recently, “Computers are wonderful. You can just push a button and change a character’s name.” Change a character’s name! In my opinion, you’ve got to go to court and throw the whole script out if you have to change a character’s name. The name is part of his identity.

H/T to this Go Into The Story post for the quote.

Speaking of Go Into The Story, Scott Myers (I love that guy’s blog!) has this terrific article on character names that I highly recommend reading. In addition to discussing the importance of appropriate character names, he lists some of the pitfalls to watch out for.

The moral of the story: make your names count.

What are some of your favorite character names, or appropriately named people?

Want me to personally read your script and let you know if it’s ready to go out? Please take a look at my professional script services.

Category: Characters  | 9 Comments
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