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WRITING A SCREENPLAY
Chapter Two - Pages 11 to 20
INTRODUCTION:
In our last chapter we talked briefly on formatting (you should already know how a script is formatted), showing character and creating some conflict.
CHAPTER TWO - THE NEXT TEN PAGES: SUB-CHARACTERS AND SUB-PLOTS, DESIRE AND CONFLICT - MOVING TOWARDS THE FIRST ACT BREAK
So you've got your story moving. What is your main character's desire. What do they want? What is their goal? What is their passion?
The core belief of conflict is to establish a want or desire and then keep the character from what they want or desire (conflict) until they risk all to accomplish their want or desire. Simple, isn't it?
So ask yourself this core question:
What does my character want or desire?
Which is quickly followed by this next question:
How do I stop them?
SPECIAL NOTE: As much as I talk about SHOWING character it is perfectly okay to have a character TALK about their desires, goals, dreams, wishes and passions.
WHAT YOU WANT TO ACCOMPLISH IN THE SECOND TEN PAGES:
1. Establish the desire, want, need or goal (see above).
2. Begin to form sub-plots bringing in sub-characters.
3. Create more conflict.
SUB-CHARACTERS/SUB-PLOTS:
Now you have the basis of conflict. The passion and power is strong right now. You're telling this story and you're going fast and furious. Good for you. These are heady times my friend and, like a good drug, the effects are going to wear off and you'll be swimming in a sea of words and confusion. But wait! There's hope!
That hope is found in your subplots. What do you mean you don't have a subplot? Okay, the hope is found in your sub-characters or minor characters, what do you mean you don't have sub-characters or minor characters? What is this? "My Dinner with Andre?"
As you push your story towards the first act break this is where you bring in your other characters and your subplots. Don't be afraid to use them if they add to your story. Be very afraid if they take away from your story.
Subplots and sub-characters are there to prop up your story and give your characters depth. The Rosie O'Donnell character in "Sleepless in Seattle" is there as a sounding board for the Meg Ryan character. If you have Meg just wandering the streets talking to herself you are going to lose half your audience.
A film like "Tootsie" the ENTIRE second act is made up of sub-plots.
So while you are moving towards that break, think about the characters that float in and out of your script. Ask yourself these questions:
Will you be able to call on these characters later in your script?
What do they want? What are their needs and desires? How do they compliment or conflict with the main character?
Also, how do you SHOW these characters? Just like in Chapter One use the tools at your disposal to SHOW character. If it's a thug, what would he wear? If this is a housewife what is she cooking on the stove? If this is a priest with a caffeine addiction how would you show this?
You have the opportunity in these first twenty pages, or so, to plant these seeds as you will harvest this fruit in the coming pages.
INCREASING THE CONFLICT:
Your character has a want, a desire or a goal. You have created sub-characters or sub-plots that will have impact on that desire or goal.
Now is the time to start putting that dream in motion and the forces that stop that dream from coming true.
HOMEWORK: Watch the first act of "The Wizard of Oz" and the first act of "Star Wars" - see how they show characters, show sub-characters, create sub-plots, talk of dreams and desires and goals.
COMING NEXT: CHAPTER THREE - THE NEXT TEN PAGES: THE FIRST ACT BREAK
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