Everyday I get solicitations with the goal of selling me screenplay related seminars, software and consulting, as well as free articles about improving my work. Today, I ran across one discussing the notion of allowing your characters to lead you where they want to go. I'm a big believer in that method. Obviously, there are many ways to lay the ground work for developing your screenplay. And what is a screenplay? It's a blueprint for a proposed film. But how much of a blueprint do we need to create a blueprint? There is no right or wrong answer for this question. What we do need is enough to feel comfortable navigating the story terrain we wish to explore. For example, when I wanted to write a script about JD Salinger, I felt I had to do enough research about him to feel comfortable writing for his character. Therefore, I spent several weeks doing research about him.
Last year, when I wrote a dark parody based on It's A Wonderful Life, I really only had three basic ides. The first was having a demon come to collect George Bailey's soul rather than an Angel trying to save him from destroying it. Second, I wanted my George to be somewhat bad. Finally, instead of Potter being Bailey's nemesis, I had a younger version of Potter take George under his wing. With only those ideas, I began writing The Life and Times of George Bailey and let the characters take me on a journey. The end result was funny, irreverent and at times, a moving story about adult relationships.
Do you always know where your characters are going?
It's a journey. I try to lead/point my character's pathway through the tale but they usually wander off, taking me with 'em - sometimes good, sometimes not so much.
For lead character arc, yes, I know where they are going. But, and this is big, I don't know exactly how they will get there. And exactly means how they and other characters will interact during the arc.
My lead character needs ups and downs. The ups keep him/her in stasis, the downs lead to arc development. People learn more from failure than success.
Still playing with this concept a lot, Phil. Sometimes, I truly feel like I'm channeling someone else's life - who am I to 'plan it ahead'? Other times, I've written a spec and been highjacked by secondary characters, and had to go back and do major re-writes. Mostly, I've found that my hero is...hidden...and therefore not strong enough in the story. I've come to the realization that this is because my INNER HERO isn't fully actualized (TMI?). Back to your question...I love the magic of having a story unwind creatively as you're deep within it, but I hate the feeling of being lost on page 67 with too many intertwining options and your Hero's freaking out, or silent. So, this time around (spec #9) I'm going full-bore Blake Snyder and trying to have as much laid out on 'the Board', and referring to it often, before and during the writing process. I'm still stuck on page 67, but it's comforting to know that The Board is there, and there's scenes already laid out for pages 85-110, just need to spend time waiting for a bit more magic. Thanks for posting this question, good introspection!
Writing a screenplay is like doing a maze. You know where to start, you know where the end is but finding a clear path to get you where you want to be is the problem.
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I know where they start and where they end... the rest is up to them.
Wayne: you're most welcome.
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To a certain extent I plan, yes - but I think the most important thing with character is to let them go sometimes and see where it ends up. Holding to a rigid idea can often hold you back from finding some true essence in the story that you may not even be aware existed, at least consciously. Structure and outline is great, but let them fill in the blanks a bit - and don't be afraid to colour outside the lines.
I start every story believing I know where my characters are going, but not once has that happened and that is the fun of writing a screenplay, the surprise element. Even when I wrote my first crime/thriller I was surprised when who I had preconceived who the killer was and it turned out to be a multiple of suspects (a la Agatha Christie) who I share a birthday with. I found this out as I started writing, "The Donor" the crime/thriller I just cited.
Good to know I'm not alone, Uncle Phill. Thank you.
One other point for me, and possibly most writers, is I know what each scene is supposed to do - its purpose. But in the middle of writing it, I find myself switching figurative hats with each character. Especially dialogue, but even action scenes.
Internal questions happen rapid fire: How would this woman respond? Where would this guy take the conversation? What subtext response comes out of this person?
All of these answers almost dictate what my characters say and do. And behind that, completely understanding each character's background, motivations, needs, and goals is paramount.