I'm wondering if anyone has a specific techniques they use as it relates to the matter above? The problem in my script is tangible, and I've been using it as a visible, tangible through line with a slow build towards the ultimate consequences. However, it does not seem compelling enough from scene to scene as I read through it. If anyone has any thoughts on this, let me know. Thanks!
Screenwriting : Making the problem visible, tangible, consequential... by Candice Delevante
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Hi Owen, thank you - I will let those thoughts simmer for a bit.
Indeed. Thank you. Checklist is a good idea.
Regardless of how objectively compelling the story is, how important is it to the characters? We'll care if the characters care - if the characters are well-crafted enough that we care about them in the first place. Then, like I said, we'll care about what they care about (this implies compelling motivations and escalating conflicts).
Great, thanks. Much appreciated!
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How about raising the stakes? That is to say, make it so that if the protagonist fails to reach his/her goal, then something really, really, really bad will happen.
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Owen, CJ, John: thanks for your input. Stay safe and be well. Onward!
Maybe the ultimate consequences are too logical and the reader sees it coming? Or maybe you just need someone else to read it or give yourself a couple weeks away from it?
I recently had to rethink a plot for the same reason. It was because the stakes weren't high enough. The characters background didn't wasn't in direct conflict with the goal. Which meant they didn't have to change in order to accomplish what they wanted. If the protagonist isn't going to be deeply affected on a personal level by not getting what they want then stakes aren't high enough and the story feels boring.
Yes to raising the stakes, Deneuve and Eric. And yes Kathryn, I do try to give a week or however long I need in between to let the story breathe. I'll take a look again at the direct conflict as it relates to the protagonist. Great, thanks.
How does the character's flaw relate the goal they are trying to achieve? The character's struggle to overcome this, is what eventually leads to them achieving their goal. By showing and testing their flaw, you show what's at stake if they fail.
Hi Eoin. Yes... I would say this needs to be explored further. Thanks.
An interesting post. I've never heard anyone use those terms to describe the necessary steps to craft a compelling screenplay. I just did an online search for that phrase and found this article that addresses sketching out the visual steps relating to design work.
https://www.cornerstoneondemand.com/rework/ted-talk-tuesday-have-organiz...
Perhaps a slow build also makes for a slow read. As CJ posted, you need conflict. Pages of your screenplay should not be wasted on unnecessary detail or too little action. Look at what really drives your protagonist and antagonist forward and if bogs your script down maybe a rewrite would help. You can use your model to first rework our outline and endeavor to increase the tension.
I believe in a scene,
There should be a power shift, someone gets the upper hand,
Someone must learn something.
Hi Nina. I guess you could say I'm approaching this project as a visual storyteller. There have been several outlines and rewrites to scale down on unnecessary dialogue, action, descriptions,. Appreciate your astute observations.
Thanks Craig. Indeed.
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I figure this out during idea selection. When I am putting my ideas in the Thunderdome cage (100 ideas enter, one idea leaves!) I discard the ones that aren't visual (movie ideas) plus a bunch of other criteria to find the winning idea that I will take to script. This article might help: https://scriptmag.com/.amp/script-secrets-by-william-martell/visual-stor...
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William, I looked at your article, thanks. Nick, yes - what will they do to get it - could go further. Going back to Owen, CJ, Eric, Deneuve comments... the stakes need to be raised even higher. Thanks.
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Act 2 needs to continually escalate the conflict. It needs to snowball.
Often the protagonist tries to "put a band aid" on the problem because in order to actually solve it they would need to deal with their own flaws and emotional problem. And every time they try a quick fix they only make it worse. Soon it is so out of control they have no choice but to admit to their flaw and work to overcome it, and now they have the strength to deal with the problem.
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Hey William, thank you for the additional notes. Yes to Act II. Much appreciated.