FRIDAY'S SCRIPT TIP:

CHARACTER FLAW IS STORY

Story IS character. Once you find your character's big emotional problem - the thing he fears, his problem in life, his big flaw, the thing that prevents him from achieving his goal - you build the story that forces him to confront that problem. An external conflict that places him right in the middle of his emotional problem.

For the first few seasons of the TV show CSI, Gary Douardan played the character of Garrick Brown who was a compulsive gambler - he can't set foot into a casino without feeling the urge. He's a crime scene investigator... in the city of Las Vegas... and frequently gets assigned to murder cases that take him into the casinos. One of the episodes n the first season had him investigating the murder of a gambling addict at a casino - the victim very much like him. He was kind of investigating his own murder (if he falls off the wagon and starts gambling again). The episode ended with him walking through the casino to leave (depressed by the case) and feeling the urge so strongly he's almost brought to his knees. He's GOING to go on a gambling binge, you just know it!

CSI could keep the gambling character of Warrick away from cases in casinos, but where's the fun in that? Where's the STORY in that? They could have him under complete control in casinos, but where's the fun in that? You need that conflict to create a story. Put a guy who doesn't care about gambling in a casino and you have no conflict, no excitement, and no emotions. That means your protagonist can't be perfect. Perfect people are boring.

FAMILY FLAWS

Look at your protagonist's character flaw (emotional problem) - does your story make him bumping into their flaw? Usually a character is in denial about their flaw. In FACE/OFF Sean Archer thinks that focusing his entire life on revenging his son's murder proves that he's a good father and husband. Everything Archer does is for his family, right? Well, from HIS point of view that may be true, but from his FAMILY'S point of view it's completely wrong. Archer is neglecting his family (but he doesn't think he is). He thinks he's a great father/husband - WRONG! He's terrible! He think that the MORE time he puts in on his quest to kill Castor Troy, the better husband/father he becomes. So totally wrong - but he can't see that. He doesn't WANT to see that. He AVOIDS seeing that.

The more he avoids it, the deeper Castor Troy (with Archer's face) inserts himself into Archer's family. He keeps trying to capture Troy to solve the problem, but if he just took a minute to realize the mistake he's making, he'd realize the easiest way to get Castor Troy OUT of his family's life is to get himself INTO his family's life. Instead of chasing Troy he should be making amends with his family. That's the REAL solution to the problem. And once he does that, once his wife and daughter are on his side, Troy can no longer "hide" in the Archer house using Archer's identity. With no place to hide, Archer can finally capture Troy.

The family stuff isn't a subplot in FACE/OFF, it's the main plot! You can't remove the family aspects because Archer is chasing Troy because Troy killed Archer's son! Remove the son's murder and you have no story! The family stuff and the action stuff are all part of the same story - the son's murder creates both an ACTION plot (revenge) and an EMOTIONAL plot (the family problems).

HORROR MOVIE FLAWS?

The great Korean disaster-zombie flick TRAIN TO BUSAN is about a self-centered businessman Seok-woo (Yoo Gong) going through a contentious divorce and child custody battle over his daughter Soo-an (Soo-an Kim). He ruthlessly puts his interests before anyone else's - and in the opening scene makes a business decision that will probably destroy a lot of people's lives (little does he know how many) but make him and his clients a lot of money. When he comes home to his daughter; he has not only missed her music recital at school, he has bought her a birthday gift... that he bought her last time he had to give her a gift. He has no idea what his daughter wants or needs. She has become a pawn in his fight with her mother. His daughter wants to celebrate her birthday with her mother, who lives in Busan (a long train ride away)... and dad just doesn't have time for that. Soo-an says she'll ride the train alone. Reluctantly the businessman decides to accompany his daughter on the train to Busan... working by phone the whole time and mostly ignoring her.

On the train, Soo-an goes to restroom without his noticing... and then our plot kicks in: a zombie plague has broken out, and both an infected woman and a survivor of a zombie attack have sneaked onto the train moments before it left the station. Now we have "zombies on a train" - but the story is handled more like a disaster movie with each of the main characters (including our businessman Seok-woo) forced to deal with their fears and flaws while trying to get from one end of the train - through several cars filled with infected zombie passengers - to the other end of the train and safety. It's really more like THE POSEIDON ADVENTURE than a typical zombie flick - with our core group of characters forced to do things way outside their comfort zones to survive... and each character dealing with their emotional issues along the way. That's the key to why this film works - the emotional issues of the characters. Though there are all kinds of scary and violent zombie attacks, it remains grounded by the characters.

Our businessman father Seok-woo starts out in self preservation mode - actually closing the door on a blue collar guy (played with gusto by Dong-seok ma from THE GOOD, THE BAD, AND THE WEIRD) and his very pregnant wife so that they are trapped in a train car with a horde of flesh eating zombies... and scolding his daughter for being kind to a pair of old women when she should be thinking only of herself in a situation like this. Many of the characters are dealing with the selfishness side of self preservation in the middle of a zombie attack - the horror plot seems designed to put these characters in situations where they must decide if they will save their own skin (literally) or take a chance on failure and help to save a stranger. Our supporting cast has been introduced along with their flaws and emotional issues in succinct scenes on the train. The blue collar guy forces Soo-an to use another restroom further down the train so that his pregnant wife can take her time in the closer one... he's mean to a little girl! He also hates businessman Seok-woo on sight - prejudiced against wealthy people. The two older women - one is a nosey busybody constantly telling the other how she should live her life. There is a high school baseball team on the train, heading to a game, and a cheerleader. Everyone on the team is a muscular jock who wants to make out with the cheerleader, except one guy - a smaller and sensitive guy who is secretly in love with the cheerleader but stuck in the "friend zone". She can trust him, so she sits next to him. That baseball player and the cheerleader he secretly loves will become major supporting characters. There's a male and female steward on the train who figure into the story, and a very important character - the reflection character for our businessman lead - a *very* selfish businessman Yon-suk played by Eui-sung Kim. Yon-suk would sacrifice everyone else on the train if he could survive - and often throws people into the horde of zombies so that he can get away. He is all of our businessman father's flaws magnified...

Each of these supporting characters deal wit their flaws and emotional issues in this life-or-death (or undead) situation, designed to bring out their characters.

Our businessman father character Seok-woo slowly comes to realize that he and his daughter can not survive without the help of others, and that those other people also deserve to survive. He forms a team with the other supporting characters and as the story progresses ends up doing dangerous things that put him in danger in order to rescue them. We see him progress step-by-step, until we come to the end where he is willing to perform an act that may end his life to save the other survivors. It's a big emotional moment in his journey from self-centered a-hole to human being. Without that flaw - and the flaws and issues of the other characters - this would just be a standard zombie flick. Instead it's a multiple award winning film which played at Cannes... to critical praise.

And now there's a sequel.

CHICKEN OR EGG FLAWS?

Look at the incident that sparks your action plot - what are the emotional side effects and how will they come into play? It's kind of a chicken and egg situation: you can either take a character and set him down in a story that forces him to deal with his flaw, or take a story and find the emotional side effects (flaw) it creates in the character... that he'll have to resolve in order to solve the story problem. Either way - somewhere in your script is the answer. You may have to rethink some parts, you may have to really dig deeper into your story to find the place where everything connects - then explore that in your scenes... but that's normally what happens in rewrites anyway.

Your protagonist's character flaw is the story. He physical problem (plot) should be created to force him to deal with this emotional problem. He won't be able to resolve the physical problem (plot) without resolving his emotional problem... Just like Luke Skywalker can't blow up the Death Star until he believes in the force and starts trusting his intuition.

What's your protagonist's problem?

COMING SOON!!!

Want to look like an expert?

RESEARCH & WORLD BUILDING Blue Book!

Does this gun fire 6 shots or only 5? In all of the excitement of writing your action scene, you might not have done the research... and your hero could be out of ammo! Whether you are writing a novel or screenplay, you can save your hero, and your story, by doing a little research first! This book looks at Why you should research, Whether you should research First or Later, PLUS the importance of World Building in Science Fiction, Fantasy... and the worlds you explore in every other genre. Movies like JOHN WICK and THE GODFATHER take place in their own unique worlds... and writers must create them! YOU are the technical advisor on your Screenplay or Novel.

Using movie examples like TOP GUN, HUNT FOR RED OCTOBER, BLUE CRUSH, ADVENTURE LAND, several of my produced films, JOHN WICK, the novels of Donald E. Westlake and Thomas B. Dewey, SPY KIDS, the LORD OF THE RINGS movies, SOYLENT GREEN (which takes place in the far off future of 2022), and many others we will look at researching stories and creating worlds. The 8 Types Of Research, the 10 Types Of Information To Look For, 12 Important Elements Of World Building. Plus chapters on How To Rob A Bank and Commit Murder And Get Away With It for those of you interested in crime fiction, and Researching The Future for those writing science fiction, and Levels Of Reality if you are writing about a version of the real world.

No matter what you are writing, this book will help you find the facts... or make them up in a convincing way! END OF MAY.

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OUTLINES & THE THEMATIC!

OUTLINES & THE THEMATIC Blue Book.

ARE YOUR SCENES IN THE RIGHT ORDER?
AND ARE THEY THE RIGHT SCENES?

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DESCRIPTION & VOICE Blue Book!

DESCRIPTION & VOICE Blue Book.

IS HALF OF YOUR STORY IN TROUBLE?

Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

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THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

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READY TO BREAK IN?

NEW!

*** BREAKING IN BLUE BOOK *** - For Kindle!

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STORY: WELL TOLD!

*** STORY: WELL TOLD *** - For Kindle!

This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

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*** CREATING STRONG PROTAGONISTS *** - For Nook!

Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!

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SUBPLOTS?

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***

Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

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I WRITE PICTURES!

*** VISUAL STORYTELLING *** - For Kindle! (exclusive)

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BEST SELLER!

*** YOUR IDEA MACHINE *** - For Kindle!

*** YOUR IDEA MACHINE *** - For Nook!

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!

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*** DIALOGUE SECRETS *** - For Kindle!

*** DIALOGUE SECRETS *** - For Nook!

Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!

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copyright 2023 by William C. Martell