There’s two things that matter in script editing. They are (somewhat unsurprisingly), character and story. Le duh. A quick look on social media will tell us too that’s what the average screenwriter cares about as well, if any of the laments about reboots, stereotypes and Michael Bay’s entire back catalogue are anything to go by.
So why then is it SO difficult to find a spec screenplay in the pile that fulfills both of these (obviously) important storytelling elements? If a script has an intriguing central character, its structure is lumpier than week old custard; if a script has a great story, then its characters will whiff worse than a teenage lad’s sock drawer. And let’s face it, too often spec screenplays are ALL the above, despite the screenwriter in question believing it’s the best thing since George Lucas said, “Hey, let’s make some Star Wars prequels!”
Yet we all know: it’s all about characters. It’s all about the story. So WTF is going wrong??
Here’s my theory: writers view characters and story too often as SEPARATE ENTITIES. Yet if we are to accept a character is (more often than not) defined by his or her actions in achieving his/her goal (or not), then we can see immediately the two are enmeshed. You cannot separate them.
Yet writers will still try. I’ve had too many conversations over the years like this:
WRITER: I’m working on my protagonist’s back story.
ME: Great! It always pays to know your character inside and out. So, what’s s/he doing NOW in the story, in the actual screenplay?
WRITER: Well I thought I’d start with the protagonist aged 8.
ME: … Because your protagonist is 8 **now**?
WRITER: No, s/he was 8 twenty years ago. We need to uncover why s/he is so afraid of ** snakes/ lifts / dogs / the dark/ The Stay Puft Marshmallow Man/ balloons/ insert something here** so I’m starting with flashback … then fast forwarding to him/her aged 28 and doing **something completely unrelated to the story**.
ME: Uh-oh, you’re STARTING the script with flashback?
WRITER: Chillax! This is totes justified.
ME: Okay, I’ll let that slide … Now let’s look at the fact you’re cutting to something totally unrelated to the story. Why?
WRITER: Le Duh? For CHARACTERISATION.
ME: But is actually characterisation if it’s nothing to do with the story? Isn’t it just random?
WRITER: **head explodes**
ME: Okkkkkk
Fact is, we learn more about your characters within the confines of the story – in other words, how they BEHAVE to the SITUATION they find themselves in.
Think of all your favourite characters, do we see acres of exposition (via flashback or otherwise) upfront to signify WHO they are before the actual story begins? I bet we don’t … We don’t see Ripley as a little girl freaking out about a wasp’s nest before her misadventure in space; nor do we see a teenage John MacClane getting sent down to juvenile detention before “turning his life around” and becoming a cop.
Look, we all know anything can happen in storytelling. But there’s one thing no script reader – or audience member – will forgive you for and that’s making us WAIT for the story to start.
Character + story TOGETHER = hit the ground running.
Introduce these two elements hand in hand – it doesn’t matter HOW you do it, just do it … ‘Cos if you don’t? Your screenplay will unfortunately be like all the rest in the pile.
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BIO: Lucy V Hay is a script editor and author who helps writers via her Bang2write consultancy. She is associate producer of the Brit Thriller ASSASSIN (2014), starring Danny Dyer & the Kemp Bros. together on screen for the first time in 20 years since THE KRAYS (1990). Check out her books HERE.
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Posted by a member of the London Screenwriters’ Festival team.
