When I began writing movies, I had a hard time getting to the 90-pg. mark. My scripts were tight, well edited, and well structured. However, they were too short. I thought of it as a length problem at the time. I felt that I needed to come up with more ideas.
I was looking for that hidden gem somewhere in my clever writer’s mind, a treasure that I could uncover and, in turn, share with the world. But the issue with my writing was emotional, not intellectual.
I couldn’t afford “The Character Map” book when I first came across it. I didn’t even have room in my budget to eat more than peanut butter and jelly sandwiches every day and simple meals cooked at my apartment.
When I finally bought and read the book, I learned about myself in each of the six areas described on the map. For example, I wore a mask when I was around the girl who I was dating. I also realized how my brother’s gift of encouraging people that I wanted was already a nascent seed in myself. And I had a fear of being considered unlovable. True feelings don’t always feel good. But they are true, and a true foundation is the only kind that can be built on successfully.
I felt that I couldn’t focus on the principles that I was learning in the book at first. They brought up emotions about my self that seemed to distract at the time. The book’s character insights were helping me to face my true self, as I acknowledged the feelings that I had buried deep down because of pain I experienced in the past. Interestingly, I periodically met with a counselor during this same season of my life. The Character Map allowed me to take what I was learning about the depths of my self and to understand that characters on the screen could be just as complex.
At first, it was an exercise to think through the different aspects of the Character Map. I asked myself the questions outlined: what is my character’s mask? Greatest fear? Dark side? In time, I was pleasantly surprised how my characters began to come alive on the page.
The best moments in the new draft of my script were no longer the clever moments, carefully crafted with smarts (my “strongest trait,” as the character map describes it). Now there was a new layer to my script. It came out of my instincts, my emotions. And with practice, less of my emotion was stopped up between my initial gut instinct and the character’s lines and actions on the page. My characters began to express their passions, becoming alive and active in my imagination. The mask over my True Self began to crack, breaking apart.
I was given a way of structuring the emotions that I gave my characters. The Character Map gave me a way of charting my course, marrying the craft of screenwriting with the characters’ raw, uncharted desires.
As I have continued to grow as a screenwriter, I have applied the questions of the Character Map. They are ingrained in my process. And with my most recent screenplay, I have found that my characters are both bursting with emotion and acting according to a logic that is consistent with their personalities. There is a freedom in charting the depth of a character (their mask, their fears, etc.) because this depth of understanding allows me to improvise my characters’ actions in a scene. Knowing my characters as well as I now do, I can imagine with clarity what it is they might do in the situations that they are in.
“The Father” is the most recent film that I have written, and after eight feature-length screenplays, it is resonating with its readers in a deeply emotional and meaningful way. The main character, Jack, wakes up on a public sidewalk, wondering how he got there. He realizes that he has lost his memory. He wants to get back home. So much of this story takes place in Jack’s head, as he remembers, so there is a danger of losing the audience with the meticulous nature of putting the expositional puzzle pieces together.
However, with the Character Map questions there becomes an opportunity for writing a character that is so deeply known by the audience that the story can turn with the rising or diminishing of his greatest fear.
There is also the new and dynamic nature of an antagonist who has his own character map. This character is no longer a “bad guy,” with two or three dimensions at best, he is now a full-fledged and intricate enigma with his own greatest fear, weakness, strongest trait, and of course, a dark side. As Hitchcock said, “If I have a great antagonist, I can make a hero out of a milquetoast.” This is crucial to writing a great character-driven film.
The minimalist screenplay that I am now writing tracks the inner journey of a character with success. The antagonist can now affect the protagonist by bringing out the protagonist’s greatest fear. The protagonist can be hindered in his quest by his own strongest trait. And so a whole host of wild and engaging possibilities arise that I couldn’t have hoped to wrangle in before.
The bottom line is that the emotion of my characters is colored vibrant on the page by their masks, fears, traits, and dark sides. The short film version of my project is impressing readers, the premise is holding the attention of strangers, and the concept trailer just released is getting emotional responses and audiences are watching it multiple times because of its intriguing characters.
The intricacies of a character — living or fictional — can be mesmerizing. The Character Map has helped lead me to those hidden gems somewhere in my writer’s heart, a treasure that I can uncover and, in turn, share with the world.
Evan Atwood is an award-winning filmmaker and screenwriter, who lives in Milwaukee, WI and works as a photojournalist to pay the bills. He has written, produced, and directed the short films “Forgiven,” and “The Neighbor,” which have both won awards for excellence. He is currently developing his first feature-length film, “The Father” (igg.me/at/thefatherfilm).
Links to short films:
“The Neighbor” — https://youtu.be/9RozideZw-s
“Forgiven” — https://youtu.be/gwPtvDM2a_0
Fund Raising for The Father – igg.me/at/thefatherfilm
]]>Michael Tucker at Lessons From The Screenplay has just released another brilliant video essay, this time discussing when a Character’s mask slips, they take a leap of faith and they embrace what they really need to do in order to become their best self.
Jamie Foxx’s character in Michael Mann’s 2004 film Collateral goes on this kind of journey, brought out of his shell by force thanks to the film’s antagonist, played by Tom Cruise.
No matter what structure you choose to follow when crafting your script, at some point there will be a moment after your setup and before your conclusion when something has to change. Tucker’s video essay provides a great example of a film that does this well:
]]>Last year I presented my workshop at the Copenhagen TV Festival in Copenhagen, Denmark. I’ve split up the video recording of this workshop into several sections, relating to key components of my methods for crafting better character and help to bring your story to life.
For the last few weeks, I’ve been presenting these sections to you. I hope you’ve found them useful. Here is the final part, focusing on numerous examples of the different Character Types, with the wrap-up section coming soon:
]]>Audiences don’t care about what, they want to know about who!
I’m doing something a little different for the next few weeks. Last year I presented a workshop at the Copenhagen TV Festival in Denmark. I’ve split up the video recording of this workshop into several sections, relating to crafting better characters and help to bring your story to life.
Here is the second section, which discusses “Who vs What”:
Next week I’ll be sharing some great character examples.
]]>We know it doesn’t feel real, but it has to seem real.
I’m going to be doing something a little different for the next few weeks. Last year I gave my workshop at the Copenhagen TV Festival in Copenhagen, Denmark. I’ve split up the video recording of this workshop into several sections, relating to different key components of my methods for crafting better character and help to bring your story to life.
Here is the first section, which discusses the three components of authenticity. I’ll let you check out the video below to discover what those three components are:
Next week I’ll be sharing with you the concept of “Who vs What”.
]]>Writing Exercises
As well as a relevant video essay I’ve found, I’ve given you writing exercises if you need some motivations to start a new script or novel. It’s exercises like this that form part of my One Hour Screenwriter course, which will help you write an entire feature film script in 22 weeks. You can purchase it at the shop here. You can also read testimonies here that show my methods have worked lots of different kinds of writers.
This week, as this series of Writing Exercises comes to a close, it’s time to think about the person behind the typewriter- yourself.
What Would You Be?
In the film Sideways, Miles Raymond (Paul Giamatti) loves a particular kind of wine, Pinot Noir. When someone asks him why he is so passionate about this specific variety he answers with a wonderful description of the wine.
In describing the wine, he is actually describing himself.
Maya: “You know, can I ask you a personal question, Miles?”
Miles: “Sure.”
Maya: “Why are you so in to Pinot?”
Miles: (he laughs softly) Maya: “I mean, it’s like a thing with you.”
Miles: [continues laughing softly]
Miles Raymond: “Uh, I don’t know, I don’t know. Um, it’s a hard grape to grow, as you know. Right? It’s uh, it’s thin-skinned, temperamental, ripens early. It’s, you know, it’s not a survivor like Cabernet, which can just grow anywhere and uh, thrive even when it’s neglected. No, Pinot needs constant care and attention. You know? And in fact, it can only grow in these really specific, little, tucked away corners of the world. And, and only the most patient and nurturing of growers can do it, really. Only somebody who really takes the time to understand Pinot’s potential can then coax it into its fullest expression. Then, I mean, oh its flavors, they’re just the most haunting and brilliant and thrilling and subtle and… ancient on the planet.”
Imagine you love or admire a particular kind of:
- Shoe
- Food item
- Beverage
- Item of clothing
- Method of transportation
- Locale (city, state, region or country)
- Animal
- House
- Weather
- Book
Describe one of these items in such a way that you could be describing what is special, unique, interesting, unusual, under-appreciated or unexpected about yourself.
Really put passion into your choice and description.
Now choose another item. Pretend you are very shy and must sell the object to someone you love but who hasn’t noticed you.
Use your description and sales pitch about the item to explain why you are a uniquely lovable person.
Only talk about the special qualities of the specific item. Never mention yourself.
Talking about one thing and describing something else is a great way to explore a character.
This technique builds interest and emotional intimacy. How would your main character describe him or her self by describing something else?
Video Essay of the Week
Speaking of the director, Alexander Payne…
Let me know what you think of this week’s writing exercise by emailing me at [email protected]. I’d love to hear from you as we go forward with more of these writing exercises. It’s going to be a while before I post the next series of these, so your feedback would be incredibly helpful.
Until then, remember- all you need to do is Get Started and Keep Going!
– Laurie
Writing Exercises
As well as a relevant video essay I’ve found, I’ll be giving you writing exercises to perform, if you’re keen to either get some practise, or need some motivations to start a new script or novel. It’s exercises like this that form part of my One Hour Screenwriter course, which will help you write an entire feature film script in 22 weeks. You can purchase it at the shop here. You can also read testimonies here that show my methods have worked for plenty of other people.
This week, it’s time to see what kind of person you are in a time of crisis…
Crisis Moments
Look in a thesaurus for synonyms of the word “crisis.” Here is what I found:
Disaster, Catastrophe, Devastation, Cataclysm, Misfortune, Fiasco, Risky, Dangerous, Extreme Emergency, Flop, Accident, Extremity, Calamity, Setback, Debacle, Threat. Mishap, Failure, Tough Trial, Test, Hazard, Challenge, Stumbling Block, Pickle, Misfortune, Impasse, Obstruction, Obstacle, Turning point, Watershed Moment, Tragedy, Ruin, Destruction, Impending Doom
What kind of personal situation does each one of those words bring to mind?
List a personal life experience that matches each one of these words.
Quickly write how you got yourself into each difficulty defined by the list of the words. What did you do to bring about each situation?
How did each situation plague or torment you? How did it engage your fear or make you afraid? How did you get yourself out of each situation or circumstance?
Now make a list of the story events in your film that would fit each one of those descriptions. List a situation in your story that matches each word.
Could you create new story events to match one or more of these words?
What does your character do to get him or her self into each crisis situation?
How does each situation plague or torment your character?
How does your character get him or her self out of each situation?
How does each situation reverse or change your character’s expectations or assumptions?
Use this list to spark new ideas leading up to your climax.
Video Essay of the Week
Frankly, these are things many action filmmakers should be reminded of. a recent counterexample is the new mad max film:
Let me know what you think of this week’s writing exercise by emailing me at [email protected]. I’d love to hear from you as we go forward with more of these writing exercises. Next week, it’s time to see yourself through others…
Until then, remember- all you need to do is Get Started and Keep Going!
– Laurie
This week we’re taking a breather from Writing Exercises. Instead, I wanted to share a really interesting video essay. As you know, I believe genre is meaningless, Heretic that I am, but Patrick H Willems has created a great video essay praising those filmmakers who started out making horror films with an absurd comedic edge to them, and crafted some of the most interesting blockbusters in recent years. Not necessarily full of screenwriting advice, but it’s a good reminder of how important it is that you remember what kind of tone and atmosphere you are aiming to evoke to those reading your screenplay:
]]>Writing Exercises
As well as a relevant video essay I’ve found, I’ll be giving you writing exercises to perform, if you’re keen to either get some practise, or need some motivations to start a new script or novel. It’s exercises like this that form part of my One Hour Screenwriter course, which will help you write an entire feature film script in 22 weeks. You can purchase it at the shop here. You can also read testimonies here that show my methods have worked for plenty of other people.
This week, it’s time to push yourself to the limits…
Disturbing News
Search the web for photos. There are lots of sites that showcase a variety of photographic work. Find a photo of an interesting or odd-looking person.
Select one situation/set-up/ circumstance from each of the following three lists:
List One
(a) At a high profile reception for a VIP you’ve been dying to meet
(b) At a funeral home
(c) In a public restroom or toilet
(d) Backstage in a large lecture hall or conference room before you are scheduled to speak at a meeting crucial to your career
Now you have a location. Next, write a scene in which the person in the photo approaches you.
This person makes a confession to you.
List Two
(a) Has wrecked your car
(b) Is having an affair with your father
(c) Reports that you are fired from your job
(d) Has accidentally killed your beloved pet
Quickly describe the scene, describe your reaction and write the conversation between you.
In the middle of the conversation, someone else arrives and insists that:
List Three
(a) You are a thief and are about to be arrested
(b) You are a long-lost relative
(c) You are infected with a highly contagious virus
(d) Your name was just drawn and you won a fabulous prize but you must go and collect it immediately!
Finish the now three-way conversation. What happens? Write as quickly as you can.
It is helpful to put a character off balance when creating conflict.
Forced conversations inappropriate for the setting help to do that. So does more than one urgent or unsettling matter competing for the character’s attention.
Reversals in tone that take a scene from comic to tragic are also very effective.
Make conflict fresh and lively by finding ways to keep your main character disturbed and forced out of his or her comfort zone.
Make a list of ways to push your character into uncomfortable or panic inducing situations.
Make a list of comic, crazy, disturbing, odd or uncomfortable confrontations for your character.
Video Essay of the Week
Lord of the Rings is all about characters being forced out of their comfort zone. There’s a lot that writers can learn from the screenplays for the trilogy:
Let me know what you think of this week’s writing exercise by emailing me at [email protected]. I’d love to hear from you as we go forward with more of these writing exercises. Next week, it’s time to see what you’re really made of…
Until then, remember- all you need to do is Get Started and Keep Going!
– Laurie
I’m in South Africa for a few weeks, and am involved with The Pitch South Africa, an expansion of the “Enter The Pitch” competition that I’ve been involved in for many years now.
I’ve been working with some incredible South African filmmakers, and I’m so inspired by the talent of the finalists both here in South Africa, and back in the UK where this year is going to be the 15th anniversary of Enter The Pitch!
I wanted to share with you our 6 brilliant finalists, pitching their short films based on, or inspired by, The Bible. See what you can take from their pitches for any pitches you might have to make going forward.
We’ll be announcing the winner soon, and I’ll make sure to announce it in an upcoming post.