Character Arc
Definitely one of the most basic principles in screenwriting is character arc – the notion that characters must evolve, grow, learn, or change as the plot unfolds. The audience, in general, expects a character to finish the movie in a better position than that in which he started because that is what everyone strives for. Life sometimes allows that, but not always.
The arc doesn’t imply that characters will always be richer, smarter, or get the girl or boy at the end. Perhaps a greedy person would end up in jail or an impulsive lover would end up murdered at the hands of an angry husband.
The arc doesn’t imply that characters will always be richer, smarter, or get the girl or boy at the end. Perhaps a greedy person would end up in jail or an impulsive lover would end up murdered at the hands of an angry husband.
Use of Exposition
The main purpose of exposition is to transform characters into 3-dimentional creatures by allowing the audience to understand them and therefore participate in their emotions.
Purpose of Exposition:
- Teach the audience about a character and his or her world. Batman's history of violence helps the audience relate to his inner struggle.
- Allow the audience to connect with a character by learning more about his or her traumas and pains: dissatisfaction is something everyone feels. Luke Skywalker in the beginning of of Star Wars has his hands tied due to his obligations in the farm, although he really wants to travel and explore. The audience can relate to similar feelings, and understand exactly what the main character is feeling.
- Inform the audience of a specific fear or skill a character possess, this is a kind of foreshadow that reveals a trait that will be relevant as the story progresses.
- dialogue, conversations, and interactions between the characters of a screenplay.
- the use of decor and props. Use of family photos on a wall, the indication of being single when filling out a job application form, or the use of a derelict motel.
- use of text or title cards, such as the title presented at the beginning of Star Wars help to establish organizations (the evil Empire).
- the most emotional way to give exposition is through narration. Narrators can be either an omniscient, disembodied person that sees all, or they can be characters that exist in the world of a movie. (The voice of God in 'Evan Almighty', or the voice in "Stranger than Fiction" that dictates Harold Crick's life as he progresses through his daily activities.)
- Flashback is a technique that can be used to replace major story moments that cannot be reduced to a simple conversation.
Inner & Outer Presence
Inner and outer motivation help develop story structure. Motivation exists on two levels. Outer motivation is the goal that the character strives to accomplish by the end of the story. It is the answer to the question: What is the story about? These questions and answers are all visible, plot oriented, outer journey motivations.
Inner motivations, relate to the inner journey of the protagonist. It is the answer to the question: Why does the protagonist strive to achieve her outer motivation? The answer involves the protagonist's desire to gain self-worth and and understanding of his place in the scheme of things. Inner motivation is more related to character growth and theme than it is to plot.
Inner motivations, relate to the inner journey of the protagonist. It is the answer to the question: Why does the protagonist strive to achieve her outer motivation? The answer involves the protagonist's desire to gain self-worth and and understanding of his place in the scheme of things. Inner motivation is more related to character growth and theme than it is to plot.
In The Matrix, Neo strives to understand why the world he inhabits feels wrong. He seeks to answer the question: What is the matrix? Having been given the answer to that question, he then strives to discover whether or not he is The One. Both these questions are fundamental to his growth as a person and inform the decisions and actions he makes. This is a clear example of the knotting together of the inner and outer journey strands.
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Download the Character Day 6 file.
Answer the following questions using Google Docs. Upload your answers to the classroom.
4.
Using a slug line and screen directions (but little or no dialogue), in about 200 words, create and introduce a character in a screenplay. You should make sure that you convey information about:
When you can visualize the character and their world, consider the following questions:
Answer the following questions using Google Docs. Upload your answers to the classroom.
- What does each extract tell us about the characters?
- Which one has the most information about ‘outer presence’, ‘inner presence’ and ‘context’?
- Which one do you think is the most effective? Why?
4.
Using a slug line and screen directions (but little or no dialogue), in about 200 words, create and introduce a character in a screenplay. You should make sure that you convey information about:
- The impression they create (their appearance);
- Their attitude (personality, temperament);
- The world they inhabit (where and how they live).
When you can visualize the character and their world, consider the following questions:
- What would this character do if her husband was kidnapped and a ransom was demanded?
- What would this character do if a homeless man had a heart attack in front of him?
- What would this character do if he were mugged?
- What would this character do if she were offered a bribe to betray company secrets?
- What would this character do if he had a chance to cheat on his tax reports?