Make Sure Your Characters have Flaws

I just read the start of a script. It had promise — lots of cool scenes, great writing, fast action — but it was missing one critical thing. The main character was perfect. He was bullet proof. I call it the "I'm cool and chicks dig me" syndrome.

James Bond could get away with it in the 1960 and 70s.  The women practically jumped into Sean Connery's lap. The gad guys were caught with ease. And I don't even think he got some of his suits dirty dirty a fight.

Even Super Heros has Flaws
But you can't get away with that if you want to sell your spec script. Your characters need to have dimension and that means they have to have flaws. Even Indiana Jones, who was practically a super hero without the powers, had has flaws. He couldn't stop following his artifacts, even at the cost of life and limb. He had to learn that maybe some people (namely Marion) were more important artifacts.

So while you're creating your characters, don't forget the main ingredient — flaws. They need them.

Screenwriting Class Next Week

Hi,

If you're interesting in an 8-week course on screenwriting, I'll be teaching one at Pierce College in Puyallup, starting Monday, September 20.  We'll go through the basics of writing and rewriting a feature script, as well as marketing your script after it's complete.

If you're interested, you can sign up online at their website. And if you have any question about the class, just contact me at diane@spilledinkstudio.com.

I really enjoy this class. We spend a lot of time not just writing, but looking at movies and see how screenwriters create those fabulous scenes.

Hope you can make it.

Diane

Teleplay versus Screenplay

Feeling a little dumb today. I was working on a statement to demonstrate to the WGA that more than 50% of the final shooting script was mine. (This statement is required for them to determine if you will receive sole or shared writing credit on your script.)

It turns out that although that's what's needed for a screenplay, I had written a teleplay — a script used for a cable movie. And, it turns out that the rules for teleplays are completely different.

You Share Credit if . . .

In short, you will share credit on a teleplay if there is a substantial change in just ONE of the following:

• dramatic construction

• original & different scenes

• characterization or character relationships, or

• dialogue

How do they determine "substantial"? It's very scientific — it's whatever the panels deems substantial.

I spent yesterday bummed out. I didn't think I'd have any problem showing that overall the script was more mine than the other writers' versions. But showing that they hadn't substantially changed the dialogue? That would be close to impossible.

Getting On With It

This whole week has been a downer — trying to figure out rules, working on statements and worrying about credits and residuals. I understand that this isn't a hobby, it's a career and it's all part of the business. But talk about a piece of the career that sucks the creative forces.

Got up this morning at dawn, grabbed my journal and started writing. Spent an hour forgetting about percentages and WGA arbitrations, and writing about the pouring rain and the soggy Northwest.

I wrote about how rain washed away everything when you're young. About how much fun it was to splash in puddles and float things down overflowing ditches. And about how many stories I created running with my dogs through the valley where I grew up, hoping I'd find some treasure that had washed up in the flooding creek.

That's all it took. I'm no longer bummed. I'm ready to write. My muse was just waiting for me to get done with the paperwork and come out and play in the rain.

Hope you write some wonderful stuff today.