#Screenwriting #Craft Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count  by Christine Autrand Mitchell      As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.      There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.      We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.      Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.      You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.      A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.      Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples: • Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper. • Give her a quirk, whether in wardrobe or action. • Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy. • Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set. • Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.      It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience. —————————— Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions.  Catch up with Christine || twitter || facebook || blogspot || imdb —————————— Read more TLL articles on the craft of Screenwriting
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#Screenwriting #Craft

Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count 

by Christine Autrand Mitchell

     As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.

     There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.

     We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.

     Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.

     You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.

     A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.

     Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples:

• Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper.

• Give her a quirk, whether in wardrobe or action.

• Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy.

• Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set.

• Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.

     It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience.

——————————

Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions. 

Catch up with Christine || twitter || facebook || blogspot || imdb

——————————

Read more TLL articles on the craft of Screenwriting

#Screenwriting #Craft Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count  by Christine Autrand Mitchell      As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.      There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.      We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.      Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.      You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.      A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.      Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples: • Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper. • Give her a quirk, whether in wardrobe or action. • Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy. • Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set. • Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.      It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience. —————————— Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions.  Catch up with Christine || twitter || facebook || blogspot || imdb —————————— Read more TLL articles on the craft of Screenwriting
View Separately

#Screenwriting #Craft

Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count 

by Christine Autrand Mitchell

     As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.

     There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.

     We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.

     Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.

     You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.

     A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.

     Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples:

• Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper.

• Give her a quirk, whether in wardrobe or action.

• Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy.

• Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set.

• Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.

     It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience.

——————————

Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions. 

Catch up with Christine || twitter || facebook || blogspot || imdb

——————————

Read more TLL articles on the craft of Screenwriting

From the Best of Blake’s Blogs: “The Shard of Glass” Source: blakesnyder.com #screenwriting #film #screenplay “Lately, I have been talking a lot about the “death moment” of a script. In the script consultations I do, and in class talking with groups of writers, the “All Is Lost” moment on page 75 is becoming the most important part of the story. I’m beginning to think it’s the key to cracking what your story is really about. Since all stories are at their essence “The Caterpillar and the Butterfly,” the “death moment” is the cocoon stage for your hero, where the old way dies, lies in state for a time, then breaks him out into an amazing new way of being. It’s painful, scary, and full of self-recrimination for a hero — and should be. At the heart of that beat is the hero not only being “worse off than when this movie started” – and very often in jail, evicted, fired, abandoned, or left alone by the death of a mentor — but forced to face an ugly truth about himself that he’s been resisting. Most stories involve a blind spot or flaw the hero is not aware of. And this is the part of his transformation that is so important; it forces him to look at that flaw, usually something so buried in him that it hasn’t been looked at for a long time. That’s the “shard of glass,” that sharp-edged incident, bad behavior, tough truth or wrong done and absorbed that the hero swallowed a long time ago. Skin has grown up around its hard corners, but it’s in there — deep — and it must be pulled out and looked at and dealt with if the hero can get to that vital butterfly stage…..”
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From the Best of Blake’s Blogs: “The Shard of Glass”

Source: blakesnyder.com

#screenwriting #film #screenplay

“Lately, I have been talking a lot about the “death moment” of a script. In the script consultations I do, and in class talking with groups of writers, the “All Is Lost” moment on page 75 is becoming the most important part of the story.

I’m beginning to think it’s the key to cracking what your story is really about.

Since all stories are at their essence “The Caterpillar and the Butterfly,” the “death moment” is the cocoon stage for your hero, where the old way dies, lies in state for a time, then breaks him out into an amazing new way of being.

It’s painful, scary, and full of self-recrimination for a hero — and should be.

At the heart of that beat is the hero not only being “worse off than when this movie started” – and very often in jail, evicted, fired, abandoned, or left alone by the death of a mentor — but forced to face an ugly truth about himself that he’s been resisting.

Most stories involve a blind spot or flaw the hero is not aware of. And this is the part of his transformation that is so important; it forces him to look at that flaw, usually something so buried in him that it hasn’t been looked at for a long time.

That’s the “shard of glass,” that sharp-edged incident, bad behavior, tough truth or wrong done and absorbed that the hero swallowed a long time ago. Skin has grown up around its hard corners, but it’s in there — deep — and it must be pulled out and looked at and dealt with if the hero can get to that vital butterfly stage…..”

What do I do if I’m less interested in my Protagonist than other characters? Source: @GoIntoTheStory “screenwriting #film #character “This is actually a question that arose in the current prep workshop I am leading. My response: It’s kind of ironic that in many movies, the Protagonist is not necessarily the most interesting character. Per your references, Lecter is more interesting to most folks I would guess than Clarice in The Silence of the Lambs. Sam Gamgee over Frodo and certainly Gollum over them both. But that does not necessarily translate into them functioning as the story’s Protagonist. They can, of course, but not required. You concern points to several significant issues. As it’s late at night, let me hit on one of them. We can return to the subject if you remind me tomorrow. What do I do if I’m more interested in another character as compared to my Protagonist? This is not easily answered. For example, it is critical if our story has a Nemesis character in the classic sense of the word that we make them a worthy foe. More often than not, that means making them multidimensional, fascinating characters. In that process, we can find ourselves much more intrigued by them than our Protagonist. That goes with other characters as well… Mentor, Trickster, Attractor. I remember going up for the project Jonny Quest, a rewrite of an existing script. The script was really well written. One problem: It was clear the writer had a much greater affinity for Race Bannon than Jonny. That’s a problem when the project is called…..”
View Separately

What do I do if I’m less interested in my Protagonist than other characters?

Source: @GoIntoTheStory

“screenwriting #film #character

“This is actually a question that arose in the current prep workshop I am leading. My response:

It’s kind of ironic that in many movies, the Protagonist is not necessarily the most interesting character. Per your references, Lecter is more interesting to most folks I would guess than Clarice in The Silence of the Lambs. Sam Gamgee over Frodo and certainly Gollum over them both. But that does not necessarily translate into them functioning as the story’s Protagonist. They can, of course, but not required.

You concern points to several significant issues. As it’s late at night, let me hit on one of them. We can return to the subject if you remind me tomorrow.

What do I do if I’m more interested in another character as compared to my Protagonist?

This is not easily answered. For example, it is critical if our story has a Nemesis character in the classic sense of the word that we make them a worthy foe. More often than not, that means making them multidimensional, fascinating characters. In that process, we can find ourselves much more intrigued by them than our Protagonist. That goes with other characters as well… Mentor, Trickster, Attractor.

I remember going up for the project Jonny Quest, a rewrite of an existing script. The script was really well written. One problem: It was clear the writer had a much greater affinity for Race Bannon than Jonny. That’s a problem when the project is called…..”

#3linesorless #Screenwriting #Craft Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count  by Christine Autrand Mitchell      As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.      There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.      We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.      Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.      You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.      A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.      Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples: • Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper. • Give her a quirk, whether in wardrobe or action. • Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy. • Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set. • Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.      It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience. —————————— Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions.  Catch up with Christine || twitter || facebook || blogspot || imdb —————————— Read more TLL articles on the craft of Screenwriting
View Separately

#3linesorless #Screenwriting #Craft

Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count 

by Christine Autrand Mitchell

     As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.

     There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.

     We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.

     Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.

     You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.

     A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.

     Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples:

• Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper.

• Give her a quirk, whether in wardrobe or action.

• Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy.

• Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set.

• Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.

     It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience.

——————————

Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions. 

Catch up with Christine || twitter || facebook || blogspot || imdb

——————————

Read more TLL articles on the craft of Screenwriting