INNER DRIVES: What’s My Character Motivation? Driving the Character Arcs
Source: @scriptmag and Pamela Jaye Smith
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"The INNER DRIVES offer an excellent paradigm for moving your character through various states of mind, emotions, and actions.
There are basically three approaches to character arcs: up, down, or static. Each approach has its own particular Opposition and Assistance.
Your heroine’s Inner Drive and Goal will be one of these:
1. Static Aspiration – to hold or perfect the current Center
2. Upward Aspiration – to attain a higher Center
3. Fall & Redemption – to regain a Center from which she was tempted or displaced
Both the Assistance and the Opposition can come from their current Inner Drive Center, a higher one, or a lower one.
These stories will often be about sports, skills, or relationships. Your character’s goals and desires will be variations on the same Inner Drive. They could be in competition with someone else on the same Center or, seeking to master some aspect of the Center which has eluded them.
Most martial arts films are about holding one’s own against all comers, which is not to say they aren’t fun and exciting.
Romantic comedies are about achieving goals and satisfaction on the romantic Centers, Sacral and/or Aspirational Solar Plexus.
Many stories are about someone desperately wanting something they do not have, be it a person, a position, or possessions. It makes for good storytelling to watch them yearn and strive against the challenges and obstacles.
Evita Peron was a streetwalker (Sacral) who marries a dictator (Lower Solar Plexus) but then works to help the ordinary people (Aspirational Solar Plexus).
Indiana Jones is also forced up from self-centered Lower Solar to self-sacrificing Aspirational Solar by outside circumstances as Raiders of the Lost Ark propels him to battle the Nazis for possession of the Ark.
FALL AND (sometimes) REDEMPTION
Your heroine is either tempted down or forced down into a lower Center by her own weaknesses (addictions, foibles, etc.), by other people (temptation, abduction, war, etc.), or by events (floods, hurricanes, depressions, comets, etc.).
WEAKNESS – The character falls, explores the new Center, but then rises even higher than where they were before, even though they had not had that in mind in the…..”
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“Our thanks to Master Cat! Cory Milles for this perceptive blog:
From the early days of hand-drawn cells to its recent offerings of CGI, Disney animated films have always connected with audiences in a powerful way, and with good reason: they never fail to hit the beats. Here is a sampling of some great examples (all artwork ©Disney):
Wreck-It Ralph (2012) — As video game bad guy Ralph sits in a support group, Bad-Anon, he proclaims that he wants to break more than buildings; he wants to smash the stereotype of the role he seems to be stuck in. One of the characters declares that Ralph can’t change the program, implying that we can’t change who we are predestined to be. This is the Theme Stated, and it is what Ralph will debate and discover on his journey.
After bonding with his companion Vanellope and overcoming his badness, he learns that all is not as it seems, and to protect Vanellope, he must act in a way that will destroy their friendship. As he demolishes the car they built together, All Is Lost for Ralph as Vanellope yells at him, telling him that he really is a bad guy deep down. The death of their friendship and the death of Ralph’s character growth is at hand. Later, to save Vanellope, he must sacrifice himself. As he plummets to the ground below, he Digs Down Deep and recites the Bad Guy Affirmation: “I’m bad, and that’s good. I will never be good, and that’s not bad. There’s no one I’d rather be than me.” Ralph has realized that it doesn’t matter who others think he is; he knows deep down.
UP (2009) — The Set-Up is masterfully done in only a few minutes of scenes set to emotional music, introducing the audience to Carl Fredricksen and his wife Ellie. During those brief minutes, we watch as their relationship develops from a childhood friendship to a devoted marriage, sharing in their joys and hardships. As his wife passes, Carl’s motivation is completely clear, helping us understand his actions, making us sympathize with him. We know what he wants, but we also know what he needs. And all in under six minutes.
Carl finally realizes what he needs during his All Is Lost moment. After ridding himself of Russell, the boy who accompanied him on his journey, Carl sits alone in isolation, flipping through the scrapbook his wife left for him. He has what he wants, but only recognizes what he needs as he reads one final note scrawled by Ellie. In his Dark Night of the Soul, Carl understands that he needs to live on, ridding himself of the past that has weighed…..”
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Source: @jeannevb @scriptmag
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"Every once in a while, I need to have an editor rant. Perhaps I’ll call it “clarification” instead of a rant, because rant implies anger, and I’m not an angry person.
A few things happened this past week I feel need… clarification.
I’ve been mulling over how people approach life and their careers. Some people grab life by the throat and go after what they want, making changes along the way to grow and improve. Others are only open to hearing what they want to hear, not what they need to hear.
People are so odd sometimes, fighting evolution and staying stuck in old patterns that don’t work.
One of our columnists, Kevin Delin, wrote an article about tossing the famous and much-loved structure of Save the Cat!, and instead, writing in a way that is uniquely intuitive to you personally. The reactions were many, but what I found fascinating was how they varied widely on Twitter versus Facebook. Our Facebook readers were aghast that I would post such an article. Yet the Twitter audience applauded Kevin’s out-of-the box thinking.
There’s a lot we could analyze about why those two platforms reacted so differently, of which I have an opinion, but that’s a discussion for another day.
What I also found interesting was how some people attacked me personally for posting it. Then again, people also email me expletives that are so raw and vulgar, if I happen to miss correcting typos in an article, they’d make my Sicilian grandfather blush. You haven’t lived until you go through an editor’s inbox. Some days, it takes a tougher skin than sitting with a Hollywood exec.
Again, not “ranting,” just… clarifying.
Maybe I should clarify my overall philosophy on why I post what I post on ScriptMag. We now have over 50 contributors, for whom I have great respect. Do I personally agree with every post I publish? Hell no. Nor do I want to. I’m sure a few of them don’t agree with some of my Balls of Steel articles.
We all write our columns based on our opinions and our personal experiences in the industry, hoping the information we …..”
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Source: @scriptmag @jeannevb
"Always on the hunt for writers taking control of their own destiny, I was fortunate enough to be introduced to Guinevere Turner writer of American Psycho, The Notorious Bettie Page, and now a full-on indie filmmaker with a new project at hand. Once I watched her IndieGoGo video, complete with puppets doing drugs, I was hooked.
Let’s dive in and see what makes Guinevere Turner tick…
JVB: What’s your current project about?
GT: My current project, Creeps, is about two best friends, a gay man and a lesbian, and a week that they spend trying to stay sober. (They like their drugs and alcohol). Really it’s kind of about the way we create family in our LGBT culture. It’s about a whole kind of alternative family group of friends and their lives in a week.
JVB: After writing films like American Psycho and The Notorious Bettie Page, what inspired you to go indie?
GT: Ha that’s a hilarious question. They are indie to me! They were both extremely challenging to raise money for. A movie with the word “Psycho” in the title, that isn’t really a horror film at all, and a movie with one of the sexiest women of the century that is more of an intimate character piece. Not easy to sell. But what’s making me go DEEP indie now is a.) That is where my filmmaking instincts started (Go Fish), b.) My movie Creeps is also a hard sell (LGBT functional addicts who aren’t that nice), and c.) The whole crowdfunding option intrigued me and appeals to my thrill-seeking, risk-taking side. So why not go for it? If not now, when?!
JVB: Having co-written Creeps and other scripts, what’s your process working with a co-writer?
GT: It depends on who it is. I personally really like to be in the same room (I loathe talking on the phone anyway), and I like for there to be only one computer that gets passed back and forth. I know some collaborators pick scenes and go off and write them separately, but that doesn’t work for me. It’s about the conversation in the room, and brainstorming. And who types…..”
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Source: @Variety @Variety_AJM
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Billed as a three-week event, “Mob City” is one of TNT’s most ambitious series efforts to date. The net plans to roll out two episodes at a week starting Dec. 4, hoping that the condensed six-episode season will generate more buzz in a short period of time when most of its competitors are in holiday-light mode.
“It’s semi-binge-viewing, I guess,” Darabont says. “The audience really gets to see if they’re digging what they’re seeing…It’s so smart. If the show is successful, it will be due in large measure not just to our efforts, but to TNT’s because they’re marketing the hell out of it.”
Darabont’s interest in film noir has rattled within him for years. But the spark that led to “Mob City” came from a happenstance purchase while leaving the city that would become his muse.
"I found the book in LAX,” Darabont says of John Buntin’s “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City,” the inspiration for the series. “I was leaving town for a quick week of R&R in 2010. At first, I thought it was a collection of short stories, but I realized it was nonfiction on the plane, and I couldn’t put the damn book down for two days.”
Darabont began developing “Mob City” with……”
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