When something is revealed is as important as what is revealed.  Layer your exposition like an onion— let each successive layer bring us closer to your character’s essential inner core. Let the audience experience the backstory bit by bit as it becomes relevant to an urgent present situation.

Let’s say a character comes from a very wealthy background.  What does it say about a character if this is something the character reveals immediately upon meeting another person?  What does it say about the character if this information is withheld until the middle of a relationship and the character knows the person well? What does it say about the character if this information is withheld until the end of a relationship?  When and how a character reveals information is a defining aspect of the character’s personality.

Before revealing a character’s past ask:  Why does the character need to reveal this information now?  What critical or pressing situation demands the backstory be revealed at this precise moment?  Is the exposition revealed to someone for whom this is new information?  Is the information revealed through some kind of conflict?  Is the exposition active and urgent?  Is it surprising?  Is it unexpected?  What circumstances make the past somehow vital, critical or necessary to the immediate situation at hand?

What is the least amount of backstory, exposition or explanation that the audience needs to understand the story now?  Cut this material to the bone. How can the past be made more alive or active by something that happens in the present?  How does the past have immediacy for your character?  Can your reveals be delayed to have a greater impact?

Be especially careful when using flashbacks.   A flashback takes the audience out of the intimacy and immediacy of the present situation and reminds them they are watching a television show or movie.  Although flashbacks can be effective in some cases, they are very expensive emotionally.   Make sure your story can afford them.   Is the flashback absolutely necessary?  Is it active?  How does it increase the pressure, stress or conflict in the present moment?

An audience is most interested in “what happens next.”  Audiences are much less concerned about “what happened previously.”  Don’t deflect or deflate audience interest by long digressions into the past or long explanations of how a character got to where he or she is right now.

“I pressed the button on the phone and the first sound I heard in the headset was a child sobbing.  She was barely able to speak, kept saying the same thing over and over…”I just want it to stop.”  It was Monday morning 7.30 am.   My very first call as a ChildLine volunteer counselor.

When I first heard that ChildLine were opening a new office in Edinburgh I started to think about volunteering.  Their website stated, “ChildLine is the UK’s free and confidential, 24-hour helpline for children in distress or danger”.  What would I be letting myself in for?  I mean, play me the scene where the mother elephant reaches her trunk through the bars to caress Dumbo and I’m bawling like a baby.  How would I cope?

The interview process and training was fascinating. Yes there are calls about abuse, however children also call to talk about bullying, family break ups, exam pressures, homework, puberty, and pretty much anything they feel unable to discuss with parents, teachers or friends.

The fantastic training and the short time I have experienced as a counselor so far has definitely given me new skills and an insight into my own psyche. I’m convinced it’s also made me a better writer and director.”

Okay, at this point you may be thinking, “What’s all this to do with me?   Well, here’s where you come in.

Apart from a tiny admin cost, all proceeds from sales of MAKING IT AS A SCREENWRITER will go to ChildLine.  By making it exclusively available as a download we can maximize the funds the charity will receive.

MAKING IT AS A SCREENWRITER is now available for the price of £7.79.  You can download your copy from the MeadKerr site at:   http://www.meadkerr.com/book.html

American readers take note:  Your dollar is going further these days as the pound has been dropping.  This makes the book doubly a bargin.  It will give you great insight into working across the pond.  Here is what UK writing pros have had to say about it–

“In the confusing forest of screenwriting books here is a sturdy oak: simple, honest and true. Highly recommended.”  Ashley PharoahCo Creator of Life On Mars. Ashes To Ashes. Where The Heart Is.

“Every aspiring writer should be forced to read this, at gunpoint.  If I’d had this when I first started writing, I’d have cried a bit, but would have been so much better prepared. You need to read this book immediately.”  James Moran  ScreenwriterSeverance. Doctor Who. Torchwood. Primeval

“I love this book, it just tells you how it is and what you need to succeed.”
Tony Jordan  Screenwriter  Creator of Hustle, Holby Blue. Co Creator of Life On Mars

This book tells you everything you need to know about beginning and building a career as a professional screenwriter. I wish I’d read it when I was struggling to break into the industry. It’s engaging, inspiring stuff – realistic without being cynical, practical without being soulless – and for anyone hoping to make a living as a writer for TV or film in the UK it’s pretty indispensable.  Rob FraserScreenwriter for Taggart, Holby City, Monarch of The Glen and more.

Here is a direct link to ChildLine if you want to know more about the organization  http://www.childline.org.uk/Pages/default.aspx