THURSDAY'S SCRIPT TIP:

STORY vs. CHARACTER


People often ask which is more important: Story or Character?

From Aristotle's POETICS:

The plot, then, is the first principle, and, as it were, the soul of a tragedy; Character holds the second place. A similar fact is seen in painting. The most beautiful colors, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

But that chalk outline of a portrait is a character, right? Something that we can identify with and understand. I think in a good script (or novel or story) character and story can not be separated. The purpose of story is to explore character... and as Aristotle points out - characters without story are confusing. Plus, without story - without some form of conflict - your characters are just sitting around on the Lazy-Boy eating Cheetos and watching Springer. We learn nothing about them. Story is what reveals character - and the greater the stakes in the conflict, the more character is exposed. What a character does in a life or death situation tells us more about them than what kind of cereal they buy.

A major problem with many scripts by new writers is that they have character scenes and story scenes - and they are different scenes. It's almost as if they have one idea for a character and another idea for a story and they alternate scenes. The writer has them fighting each other when they are the same thing (or should be). Since story reveals character, they either have the wrong character for their story or the wrong story for their character or haven't figured out the connection between story and character in their story.

BANK JOB works really well as a crime film *and* really well as a character story about obligations to family and friends. It does what I call the 50-50 split. If I were a guy who loved the first TRANSPORTER movie and was looking for an entertaining action film complete with suspense and fight scenes and people getting shot and scenes in topless bars, I would enjoy this film. If I were some guy who wanted to see a character based drama about an interesting event in history that impacted the British government, I would enjoy this film. It's like a Doublemint Movie - two films in one.

The movie begins with a few time jumps, then settles down... and for the TRANSPORTER audience, it may start a bit slow, but that's because there are a bunch of subplot characters we need to know about, because later in the film they become *dangerous* and create much of the reason for the shooting and fight scenes. Once all of these threads have been set up and we get to the bank robbery, it's an express train.

Terry (rugged Jason Statham) is a struggling car lot owner with a wife and two of the cutest little girls ever put on film (don't be surprised if you hear the TRANSPORTER crowd going "Aww"). He lives in the old neighborhood, and wants to make enough to money to get his family to somewhere better. When a woman from his past, Martine (Saffron Burrows), shows up with a bank robbery scheme, he needs to be convinced. Terry's pals are not above a little after hours shopping, but robbing a bank is a serious crime. Martine tells him she slept with a guy who told her about a bank where the alarm will be out of commission for a week while they make repairs, and if they only steal from the safety deposit boxes they will end up with money that hasn't been reported to the IRS, so the victims won't report it to the police. It's practically risk free. Yeah, right.

Then we get a time jump to show us the truth - the British Secret Service (MI-5... or maybe 6) wants to retrieve blackmail material against the Royal Family that is in one of the safety deposit boxes... with maximum deniability. They arrest Martine for drug possession and use her to find some thieves... Terry and his friends. Martine used to be one of the group - she dated one of the other guys, not Terry. The great thing about this movie is that it's not just a story about breaking into a bank, it's the story about a group of childhood friends who are *still* friends. When they decide to break into the bank over the weekend, the robbery impacts the friendships. No extra scenes needed - the robbery scenes also have the friendship elements. But the scenes where they meet to discuss the robbery ends up being the bachelor party for one of the guys and then the wedding. These scenes are all about the characters and their lifetime friendship, and the robbery plans *impact* those scenes.

TAG TEAM CHARACTER INTROS

In the beginning, when we have all of these dangerous subplot characters who have things in the safety deposit boxes they'd *kill* to keep secret, and they manage to find an elegant way to give us a bunch of characters in very little time and very few scenes. One character leads us to the next in kind of a tag-team (this probably was much better on paper, the direction didn't seem to get the idea.) So while the guys are taking about the robbery at a strip bar during the bachelor party, a pair of cops enter and go into the back room to talk to the boss, crime lord Lou Vogel played by David Suchet (villain in EXECUTIVE DECISION). These two cops are on the take, and are here for their payoff... and mention that Vogel's madam friend has raised her rates, so they want more money from her as well. When the cops leave, Vogel calls the madam, and we get to see her operation for a moment... including her British Government clients... and her "insurance" - she secretly photographs and films all of her clients, especially the ones in government. And guess where all of these people keep their secrets? In those safety deposit boxes our guys are about to break into.

CRIMES OF THE HEART

The wedding scene gives us a bit where Terry dances with his daughter, a sweet scene... and it shows us another side of Statham. He's a great dad and husband... but his wife wants to know what Martine is doing here and what they are discussing in secret. Another great element of this film is how the robbery impacts Terry's marriage and family life. At first the family life is a conflict because Terry's wife doesn't want him to go back to his old law breaking ways... but later, when everything goes wrong, they end up in danger and Terry really comes to realize how this criminal act has impacted his wife and kids. Oh, and there's some excitement and action that comes from that.

When we get to the break in, all of the friends and family and crime threads amplify. And many many things go wrong. One of the great things about this film is how many reversals there are - just when you think things are going okay, something terrible happens that changes everything... and Terry has to come up with some instant solution. The twists just keep coming - and Terry always comes up with some amazing way to save himself and his friends. Lots of excitement - and we are *invested in the characters* so we care what happens. The character elements and story elements are the same elements - if one of their guys gets caught, it's one of Terry's *friends*. He's responsible for all of these guys!

As usual, there are double crosses and team members who do not survive... but unlike your usual caper movie, these things happen with friends and family! So there's an emotional element *and* a conflict element. That sand blaster is being used on one of Terry's friends! Though it may have a slow start for you TRANSPORTER fans, hang in there and you'll be treated to an exciting movie where Statham finds an interesting use for an old brick wall.

OTHER EXAMPLES OF STORY/CHARACTER

Look at 40 YEAR OLD VIRGIN - every scene in that film is about the protagonist dealing with his issues and his choice between solving that problem with love or lust. So that speed dating scene is about the character, moves the story forward (since the goal is trying to resolve his virginity problem) and is also entertaining... and entertaining through humor about male and female relationships and sexuality - which is both story *and* character. We also get all kinds of great bits with the supporting characters - things that expose and explore those characters - and each of them shows us a different aspect of male / female relationships and sexuality: from Paul Rudd who is completely hung up on his ex girlfriend... and runs into her at the speed dating event (and she isn't what you expected) to the married horn-dog guy to the guy with all of the dating theories... and each of these bits exposes their character and is also funny... and is all about moving the story forward (getting the virgin laid). Story is all about character.

I always use THE MATRIX as an example (the first one, the good one) in classes. Here the story is about a guy in a tie in a cubicle becoming the Chosen One who will save the human race from enslavement by the big machine. The *action scenes* in that film are *character scenes* - Neo is on the ledge trying to escape the police and can't get around the obstruction - why? Because he doesn't believe in himself (character) and he will need to believe in himself to save the human race (story). The reason why Neo can't beat Morpheus in the kung fu fight scene - same thing. The action scenes are all about Neo's character - and they *show us* Neo's character issues - his emotional problems - move the story forward. That scene where the agents attack them and they try to escape through the walls - all about character. Morpheus sacrifices himself because he believes Neo is the Chosen One, Neo hesitates because he doubts himself. It's all about character - and it's an action scene and the pivotal story scene where Morpheus is captured (story).

So how is your story exposing character?

Now take that to the scene level - how is this *scene* moving the story forward, exposing character, and entertaining?

If you have one scene that is character and one scene that is story, find the way to combine them... or find a new scene that uses story to explore character. Story *is* character.



COMING SOON!

How Do I do That?

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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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IDEAS AND CREATIVITY - 80 minute MP3 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 MP3 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 MP3s!



STORY IN ACTION SERIES!

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THE MISSION IMPOSSIBLE MOVIES

NEW: Updates On Films 7 & 8 Casting!

All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!

THE MISSION IMPOSSIBLE MOVIES - 347 Pages - Only $3.99 !


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BRAND NEW!

*** THE BOURNE MOVIES

NEW: Updates on TREADSTONE TV show!

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99 - and no postage!


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Over 240 pages!

*** THE TERMINATOR MOVIES *** - For Kindle!


He's back! The release of "Terminator: Dark Fate" is set to begin a new trilogy in the Terminator story... 35 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

ONLY $3.99 - and no postage!


NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!



HITCHCOCK FOR WRITERS!

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Strange Structures!

*** HITCHCOCK: EXPERIMENTS IN TERROR! *** - For Kindle!

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Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?
HITCHCOCK DID IT FIRST!

This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Only $5.99 - and no postage!



LEARN SUSPENSE FROM THE MASTER!

*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!

Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Only $5.99



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ADVICE FROM 1920!

*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!

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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.

ONLY $2.99 - and no postage!




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MOVIE MAGIC SOFTWARE

Movie Magic Screenwriter is the best selling screenplay formatting software and the choice of Hollywood professionals. Screenwriter automatically formats while you write so you can focus on what you're writing, not where it goes on the page. It also formats for television, stage, novels and comic book scripts so you've got an all in one package for any story you want to write. Academy Award Tech Winner!

* * * Buy It!

copyright 2024 by William C. Martell


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E BOOKS PAGE

bluebook E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there will soon be novels.
E BOOKS: BLUE BOOKS & NOVELLETES

ONLINE CLASSES
Furious Action Class
MY OTHER SITES

B MOVIE WORLD
Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.

FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.

NAKED SCREENWRITING MP3s

Naked Class The NAKED SCREENWRITING CLASS ON MP3! The 2001 London Class on 8 CDs worth of MP3s! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8MP3s, plus a workbook,.
The 2 Day Class on MP3!

THE BLOG!

A Whole Week Of Programming!
SEX IN A SUBMARINE
(no actual sex is involved)
From Trailer Tuesday to Film Courage Plus to THRILLER Thursday to Fridays With Hitchcock and more! My blog has all kinds of great stuff! Check it out! Lots of cool stuff every day!

BOOKLETS & PRODUCTS

bluebook FIRST STRIKE BLUE BOOKS
Each Blue Book is 48 pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings.
Seventeen Blue Books now available!

THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The Market!

BILL'S CORNER

My nineteen produced films, interviews with me in magazines, several sample scripts, my available scripts list... And MORE!
...............................BILL'S CORNER


Available Scripts

CLASSES ON MP3

Class MP3s CLASSES ON MP3! Take a class on MP3! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 MP3s). Full length classes on MP3. Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on MP3!