{"id":6309,"date":"2015-10-26T11:00:51","date_gmt":"2015-10-26T11:00:51","guid":{"rendered":"http:\/\/etbscreenwriting.com\/\/?p=6309"},"modified":"2015-10-26T11:00:51","modified_gmt":"2015-10-26T11:00:51","slug":"why-is-the-cop-on-the-job","status":"publish","type":"post","link":"https:\/\/etbscreenwriting.com\/why-is-the-cop-on-the-job\/","title":{"rendered":"Why is the Cop on the Job?"},"content":{"rendered":"

\"\"<\/a>In a serialized cop drama the mechanics of \u201cHow\u201d a crime is solved is so much less important than \u201cWhy\u201d the cops are doing what they are doing and \u201cWhy\u201d they are affected by the job. If there is no \u201cWhy\u201d it\u2019s just cops going through the motions, which can make a serialized story feel by-the-numbers and hollow.<\/p>\n

The \u201cWhy\u201d provides the emotion, passion, and inter-personal conflict between the individuals in the story (and all the internal conflict within the character). Too often writers simply project their general idea of being a cop and use the mechanics of \u201cHow\u201d to put the cops through their paces\u2014 Instead of being specific about \u201cWhy\u201d one particular individual is a cop and \u201cWhy\u201d he\/she does the job in a particular or unique way.<\/p>\n

There are four basic categories of \u201cWhy\u201d anyone becomes a cop (or a doctor, or any other professional):<\/p>\n

1. It\u2019s a job<\/strong>. Being a cop is solid union employment and a dependable way to make a living and support a family. The cop does what is expected and punches out. The cop puts in the time and is concerned and responsible on the job. But he or she doesn\u2019t take the job home and retires as soon as is feasible.<\/p>\n

2. It\u2019s a career<\/strong>. Being a cop is a good opportunity for advancement. The cop is working to achieve something else. The job is a means to an end (rising through the ranks, running for political office, becoming a consultant, etc.) It is a stepping- stone to something else and worth the hard work and extra effort to achieve a larger goal.<\/p>\n

3. It\u2019s a vocation<\/strong>. Being a cop is a life mission or a higher calling. The cop is there to make a difference, have an important impact, or change people\u2019s lives. The work is a consuming passion for the cop. There is no dividing line between work and personal life. Work is the cop\u2019s life.<\/p>\n

4. It\u2019s a mistake<\/strong>. Being a cop is not a good fit. The individual is a cop for the wrong reasons or the wrong motivations. Or the reality of the job doesn\u2019t conform to the ideal of the job or the fantasy of being a cop. In any case, the individual puts in the time and effort, got the job, and now is trapped.<\/p>\n

Any kind of employment, but particularly policing, has a variety of people who look at the \u201cWhy\u201d of doing the job very differently. All individuals naturally assume their \u201cWhy\u201d is the most valid reason or, if everyone else was honest, is the real motivation for anyone doing the job. This is a great opportunity for personal conflict in a story. Too often in cop shows (or shows featuring the medical profession) everyone is doing the job for the same reason. That isn\u2019t the case in life and it shouldn\u2019t be the case in drama.<\/p>\n

Layered onto \u201cWhy\u201d someone is employed as a police officer (it\u2019s a job, a career, a vocation, or a mistake) is the \u201cWhy\u201d of the individual\u2019s Character Type. Looking down on nine different police officers toiling away long into the night it might be easy or convenient to believe they are all working hard for the same internal motivation or with the same value system and world view in mind. But every one of the Nine Character Types sees the world very differently, believes very different things about how the world works, and sees the primary role of a cop from a unique perspective.<\/p>\n

\"\"<\/a>1. Power of Conscience cops<\/strong> believe policing is an important duty and carries with it the responsibility of making the world a better place. Doing the right thing is crucial to these kinds of cops. Their struggle is what is the higher duty or the most right\u2014law or justice. (These two principles are not the same thing). Hill Street Blues<\/strong>\u2018 Joyce Davenport (Veronica Hamel) is this kind of character. Howard Hunter (James B. Sikking) is the comic version on the same show. Homicide<\/strong>\u2019s Tim Bayliss (Kyle Secor) is also a Power of Conscience character. Rylan Givens (Timothy Oliphant) in Justified <\/strong>is a more recent example. Although not a cop show, the sheriff Rick Grimes (Andrew Lincoln) in The Walking Dead<\/strong>, was a Power of Conscience law enforcement officer.<\/p>\n

2. Power of Will cops<\/strong> believe policing is a matter of strength and the ability to dominate the situation. The use of power is crucial to these kinds of cops. Their struggle is what actually constitutes strength or power\u2014 excess or restraint. (Does compassion and tolerance make you stronger or weaker?) NYPD Blue<\/strong>\u2019s Andy Sipowicz (Dennis Franz) is this kind of character. A more recent example is Vic Mackey (Michael Chiklis) on The Shield<\/strong>.\u00a0 In The Walking Dead<\/strong>, Shane Walsh (Jon” Bernthal) is a Power of Will law enforcement officer.<\/p>\n

3. Power of Ambition cops<\/strong> believe policing is a matter of winning or losing. Appealing to other\u2019s self-interest is the way to get things done. Their struggle is with short cuts vs. the long hard patient slog\u2014results or process. (If no one else plays by the rules why should they?) Hill Street Blues<\/strong>\u2018 John \u201cJD\u201d LaRue (Kiel Martin) is a Power of Ambition character. A more recent example is\u00a0Lieutenant Cedric Daniels (Lance Reddick) on The Wire<\/strong>.\u00a0 Shane Vendrell (Walton Goggins) is another example of this kind of cop in The Shield<\/strong>.<\/p>\n

4. Power of Love<\/strong> cops believe policing is caring for others and helping them succeed. Compassion and understanding is crucial to how they get the job done. Their struggle is when to employ \u201ctough love\u201d or just give up on someone. (When does empathy or understanding simply enable bad or destructive behavior?) NYPD Blue<\/strong>\u2019s Bobby Simone (Jimmy Smits) is this kind of character. Another example is Phil Esterhaus (Michael Conrad) on Hill Street Blues<\/strong>. Woody Harrelson as Detective Marty Hart in True Detective<\/strong> is a Power of Love cop.<\/p>\n

5. Power of Idealism cops<\/strong> believe policing is a matter of individual style and personal excellence. Use of unique talents and refusing to buckle under to stupid bureaucrats is crucial to their method of policing. Their struggle is how to maintain their individuality and still be part of a larger organization. (When does being a maverick or a rebel cause more harm than good?) Homicide<\/strong>\u2019s Frank Pembleton (Andre Braugher) illustrates the Power of Idealism character as a cop. \u00a0Another example is\u00a0Detective Jimmy McNulty (Dominic West) on\u00a0The Wire.<\/strong><\/p>\n

6. Power of Reason cops<\/strong> believe policing is a matter of keeping personal self-control and maintaining the social order. Objectivity, expertise and a depth of knowledge are crucial to getting the job done. Their struggle is to connect with their own emotions. Dexter<\/strong>\u2019s title character (Michael C. Hall) is one of the best recent examples of this kind of character on the police force. Monk<\/strong>\u2019s title character (Tony Shalhoub) is the comedic example. Sofia Helin as Saga Nor\u00e9n in the Swedish series The Bridge <\/strong>is another great example of this kind of cop.<\/p>\n

7. Power of Truth cops<\/strong> believe policing is a matter of uncovering secret agendas and avoiding hidden pitfalls. Establishing trust, knowing who your friends are, and being attuned to conspiracies are crucial to getting the job done. Their struggle is to accept the ambiguity of the job and the possibility of never finding real certainty. (Is the \u201ctruth\u201d a moving target or something fixed and certain?) Homicide<\/strong>\u2019s conspiracy obsessed Steve Crosetti (Jon Polito) is this kind of character. Hill Street Blues<\/strong>\u2019 loyal to the core Frank Furillo (Daniel J. Travanti) is another example. \u00a0Kurt Wallander (Kenneth Branagh) on the UK version of Wallendar <\/strong>is a Power of Truth detective so is Matthew McConaughey as Detective Rusty Cohle in True Detective<\/strong>.<\/p>\n

8. Power of Imagination cops<\/strong> believe policing is a matter of listening to your instincts, following hunches, or special intuitive clues. Often access to what others cannot see or hear or a quirky special kind of insight is crucial to doing their job. Their struggle is how to interpret their unusual intuition or how best to communicate it to others. (Do they take me seriously or do they think I\u2019m crazy?) This kind of cop is rare on television. Hill Street Blues<\/strong>\u2019 Michael (Mick) Belker (Bruce Weitz) is an uncouth ruffian version of the Power of Imagination character. \u00a0Another example is police consultant\u00a0Allison DuBois (Patricia Arquette) in Medium<\/strong>.<\/p>\n

9. Power of Excitement cops<\/strong> believe policing is an adventure and a thrill ride. Their charm, good-humor and ability to get themselves in and out of traps is crucial to how they do their job. Their struggle is in following orthodox rules when it is so much more interesting to play fast and loose, improvise, and shoot from the hip. (Are we having fun yet?) Beverly Hills Cop<\/strong>\u2019s Axel Foley (Eddie Murphy) is the quintessential example of this character.<\/p>\n

The \u201cWhy\u201d of policing combined with Character Type creates a variety of complex and interesting individuals. It would be possible, for example, to create four very different Power of Conscience characters depending on whether they view policing as a job, as a career, as a vocation or as a mistake.<\/p>\n

Their values and their world views would not change but their attitudes would clash. For example: How these characters define their \u201chigher duty\u201d or what is the \u201cmost right\u201d is hugely influenced by the reason they are on the job. Those different perspectives provide enormous potential conflict. Here is the breakdown:<\/p>\n

\"\"<\/a>1. A Power of Conscience cop who sees policing as a job<\/strong> would probably believe the higher duty is owed to family. This cop would follow the rules, be conscientious, but not take the job home.<\/p>\n

2. A Power of Conscience cop who sees policing as a career<\/strong> would probably believe the higher duty is owed to the organization or society. The higher the cop rises, the more effective the position becomes to do good and improve the larger situation. This cop would be relentless in seeking opportunities to advance a larger moral agenda.\u00a0 And the issue of \u201chow much bad am I willing to do in service to a good cause\u201d would be a recurring personal theme.<\/p>\n

3. A Power of Conscience cop who sees policing as a vocation<\/strong> probably believes the higher duty is owed to the victims of crime. This cop\u2019s passion would be justice for the victims and punishment for the criminals. His or her personal life would be consumed by this life mission.<\/p>\n

4. A Power of Conscience cop who see policing as a mistake<\/strong> would probably believe the higher duty is owed to one\u2019s self. Policing can be a dirty murky business where there often is no right answer and true justice is hard to find. This lack of clear-cut black and white or right and wrong would probably be an unbearable burden on this individual\u2013 giving rise to external moral outrage and internal guilt or self-loathing. How can I be good or worthy in a cesspool?<\/p>\n

Creating an ensemble which clearly addresses \u201cWhy\u201d the cop is on the job combined with Character Type provides an endless source of internal and external conflict. Making use of the full variety of human experience in specific combination creates memorable partnerships, unforgettable enemies, and extraordinary individual characters.<\/p>\n","protected":false},"excerpt":{"rendered":"

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