WEDNESDAY'S SCRIPT TIP:
BACKSTORY
Were you born a full-grown adult? Did you
come into this world
knowing how to take care of yourself and solve the most difficult
problems without help? Though raising kids is a tough job, no one
has yet to find a way to give birth to grown-up, responsible
adults... Except writers!
When we create characters for a screenplay we often don't
create
their lives BEFORE the story. Though it probably doesn't matter
much in an adventure film like RAIDERS OF THE LOST ARK where Indiana Jones
went to high school and what his favorite subjects were -
his character should be fully formed enough that the audience
knows that he has a past - that he did go to high school.
Characters should have a life before the story begins, and should
have a life after the story ends (provided they survive). In the
Wesley Snipes film THE ART OF WAR his character is such an enigma
that we can't imagine he ever had a life before the film began...
and during the film he seems to have no friends from his past to
call on, no ex-employers he can go to for help, not even a mother
and father or siblings! It's as if he was born with the words
FADE IN: and will vanish as soon as the tail credits begin to
roll. Even an enigma has a mom!
We are all the products of our pasts... so if your protagonist
has no past, they also have no present. They won't seem real to
an audience.
So you need to give your characters a past. You don't have to
know their grandmother's maiden name, but you do have to know the
critical events that made them the people we now see on screen.
What were the key turning points in their life? What were their
most important relationships? What are the treasures they've
saved to remind them of their past successes? We're not looking
for expositional dialogue where they talk about throwing the
pass that wins the big high school football game when they were
17 years-old, but would your character keep the trophy as an
adult? Would they have photos of family members in their home? Do
they have an ex-wife or an ex-girlfriend that they may still have
feelings for? In DIRTY HARRY Clint Eastwood's wife was killed in
a car accident and he never remarried - his job is everything,
now. That's an element of character that not only gives Harry a
past, it explains some of his actions within the story. A guy
with a family to go home to wouldn't be as obsessed with his
job.
Three ways to show your protagonist has a past:
1) PROPS: Photos, trophies, trinkets. Think of all of
the "junk"
you've collected in your past! Make sure your protagonist has
something to show for himself or herself. Remember, we're trying
to show character, so focus on the props that made your
protagonist who they are today. If he's a car mechanic, are their
photos of him as a kid, covered with grease, helping dad fix the
family car? Does he have a trade school diploma? Did he keep
three crusty old pieces of his first socket wrench and have them
on the night stand of his bedroom? Is there a torn-apart
motorcycle in his kitchen, covered in cob-webs and waiting to be
repaired, that he has to walk around every morning when he gets
his cup of coffee? All of these things give the character a past
and make him seem "real"... plus give us an insight to the man he
is today.
2) PAST RELATIONSHIPS: Your protagonist knew people
before the
story begins - friends, family, lovers. Though these people may
no longer be a part of their current lives, they are still out
there. Even a hardened criminal may call his mom every Sunday to
see how she's doing. In HARPER Paul Newman had an ex-wife who
calls him to discuss some trivial property division thing while
he's on the case. In TRUE CRIME Clint Eastwood has to take time
out of his investigation to take his daughter to the zoo. These
relationships have nothing to do with the plot of the screenplay,
but help to expose character and give your protagonist a peopled
past. Show a character dealing with a relationship that takes
place before the story begins.
3) CURRENT RELATIONSHIPS: Your protagonist may have a
best friend
in your script... where did they meet? What adventures have they
been on together? Do they refer to people and events from their
past? In HARPER Paul Newman gets his job through his buddy Arthur
Hill, who continues to be a character in the story. The two often
refer to things that happened in their past and this not only
gives Newman's character a backstory, it provides information on
a pivotal relationship in the story. If your character is in
trouble, do they confide in another character involved in your
story? Does a past incident between characters define their
current relationship? On SEINFELD Elaine used to be Jerry's
girlfriend, and every once in a while their romantic past comes
to play in the story... like in the episode about how all women
fake orgasms. If you have two characters who know each other, use
an event from their past in a discussion of a current plot
problem.
Where did Luke Skywalker learn to shoot so well?
Who was Indiana Jones' mentor?
Your characters existed before your screenplay begins, and
most
of them will exist after your screenplay is over. Give the
audience a few details that not only show us that your character
was around before FADE IN, but that also help us to understand
how the character came to be the person they are on screen. Give
them a backstory!
MY BLOG!
SCRIPT SECRETS STORE - time to monkey around!
Was PARANORMAL ACTIVITY just too normal for you?
Wonder what else they could have blown up in LAW ABIDING CITIZEN?
Did you think Vince Vaughn wasn't funny enough to star in COUPLE'S RETREAT?
Be heard:
Movie Discussion!
NEW CLASS!
STRUCTURAL FREAKS! - 80 minute CD packed with information! Ready for the freak show?
William Goldman says "Structure is everything". Do you understand structure? Is your script running out of steam halfway through? Exploring different methods of structuring your screenplay - alternatives to the three act structure like the Navajo Story Circle, Tag Teams, Strange Chronologies, and more. Using examples like INGLORIOUS BASTERDS, RUN, LOLA, RUN and PULP FICTION and THE HANGOVER and MARTYRS and TIMECRIMES and CRASH and SLACKERS and other odd storytelling methods. The Structural Freaks Class sells for $15 (plus $5 S&H)
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IDEAS AND CREATIVITY - 80 minute CD packed with information. Tools to find ideas that are both personal *and* commercial. Hollywood wants scripts with High Concept stories... but not stupid scripts. Developing *intelligent* high concept ideas. How to turn your personal story into a blockbuster - or find your personal story in a high concept idea. Brainstorming and being creative. Ideas and Creativity is $10.00 (plus $5 S&H)
WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute CD is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $10.00 (plus $5 S&H)
WRITING HORROR - The essentials of a horror screenplay - what do ROSEMARY'S BABY, NIGHT OF THE LIVING DEAD, THE EXORCIST, BRIDE OF FRANKENSTEIN, THE OTHERS and OPEN WATER have in common? This class will tell you! All of the critical elements necessary to write a script that scares the pants off the audience. Writing Horror is $10.00 (plus $5 S&H).
Click here for more information on CLASS CDs!
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