Screenwriting : Late main character intro by Theresa Drew

It depends. Sometimes it can work. Paradise Lost begins with a complete focus on Satan. Lord of the Rings has a prologue which focuses on the Rings of Power and Sauron.

I think if you can make it clear that this is your antagonist, and maybe build up your protagonist somehow in the first 10 pages before their reveal, then it should be fine.

wow, that's bold! Throw away "Save the Cat" book! George Lucas didn't read STC! :)

But seriously, that is daring to do. Would turn off most leading Actors for the role. Why would an Actor play second screen presence to the bad guy? Bad guys get all the good lines anyways.

10 pages = 10 minutes of screen time without the main character. Probably need a killer action sequence like Star Wars battle opening or a James Bond/Mission Impossible action stunt.

Maybe it can work for a known property- Lord of Rings, Batman, Fast-n-Furious- built in audience. Dunno about an original spec script by 1st time Writer. Has it been done in this decade by a studio movie?

FWIW, and I just looked this up for you, Humphrey Bogart doesn't show up in the Casablanca script until page 11 (and the main antagonist appears first on page 6).

I agree with Dan. Very risky thing to do ( unless you're absolutely skilled at the craft of screen writing). Once again, character drives plot and not the other way round. We, the audience, need to INVEST and care enough about your central character (protagonist) to stay with him/her until the end. If you set up you're antagonist first ( first 10 pages) it will be difficult to invest in your protagonist and his/her journey/quest unless he/she is shown and set up within the first couple of pages (even if you open with the antagonist). You should not make me wait for 10 minutes before you finally introduce me to your protagonist - unless you open him/her with a BANG - in total juxtaposition to antagonist and make me feel he/she has just arrived, ready to take out the rot.

(Depending on how you introduced and set up the villain, of course)

It is risky to wait so long to introduce the protagonist. But it's certainly done... Stories that begin with some sort of prologue or beginning setup and/or narrative... Something that introduces the reader into the story world first. However... Perhaps you may not need to go 10 pages? Perhaps that opening could move faster? Be more succinct?

It's ok to do this so long as that 10 pages introduces some gripping plot, world building (state of things) and some very good character building of the antagonist. A clear delineation somewhere along those 10 that the antagonist is bad. Thrillers do this all the time. Basically at the end of 10, what do we know and what is unknown? I'm assuming that at the end of 10 we're like "this scenario sucks or is dire and this guy/gal sucks and how is what we just read in the last 10 pages going to be opposed?"

Dun-dun-DUN! The hero! (I know that sounds cheesy but it works if done right).

I think I skimmed over 100++ spec scripts by Black List Industry folks and I dont remember a single script with a Main Character introduced after 10 pages/10 minutes.

It's your story; do what you want. 10 minutes is a long time without your main Star, the face that sells tickets.

It seems like everyone's divided on the issue. I think I'll try writing a version of each and see which works better. Thanks for all the suggestions!

Who's the better character for the story?.... Let's see.... What's your title and premise?

It's a children's animated movie and it starts off with a robbery of sorts. So after that opening, I was considering staying with the villain a little longer and holding off on introducing the hero. Mainly because I find the villain more interesting. That could also just mean I need to spend time making the hero more interesting.

Yes. Perfect. If your story needs it. I'd do it without hesitation.

A rhetorical question is why did you choose animation? I love art but I have met so many artist that are like art can be anything. True but maybe never good or great art. You have a plan and this is probably not you first script. Good luck.

Maybe, your villain is the HERO of the story because he learns something along the way that the Hero teaches him that's profound. I'm writing an animation as well. if you would like to connect through networking. I'm writing a futuristic animation that takes place on the "Planet Dog." We could connct and critique each others work. The invitation is there if you would like to get feedback from a fellow creative. Warm Regards, Raymond J.Negron

I'd say it's unusual, but if it works, that might be a big plus! A lot of people try to be different for the sake of being different. Sound like you wrote it this way because it's the best way to write it. So if it's good, AND it's different -- that's a great thing!

A. S. I like your approach! I agree. "'Playing safe" (same ol'e same ol'e ) just to make sure your'e around to feed that effing cat becomes oh so boring - oh my! (As a reader, by page 3,

I struggle to stay awake.) I always encourage writers to take chances and to push those "cat" boundaries - great fun! But ONLY after you have mastered the craft of screen writing (in your genre). Because at the end of the day, after you've had your fun creating and writing the first draft, it's not about you anymore. Now you're writing for the entire Film Industry, starting with the reader, the first gate to pass through. BTW. A.S. Templeton. About your'e "intriguing Mumsie" - I could easily get myself so intrigued by her that I wouldn't mind meeting daughter (Main Character only by p. 19) which means one thing only: Character drives plot and not the other way round. Hook me on p.1 with an intriguing character set up, and see me commit 100% to stay with them until the end.

Yeah, taking chances is great and can really pay off if done well. Absolutely. But you must also consider the perspective of your reader and/or audience. That's not "playing it safe," or adhering to STC or formulas, not at all, but rather being objective. Consider your script from a reader's point of view, someone looking at it cold for the first time. Does this indeed work? Am I testing the patience of my reader? Am I being self-indulgent? Is this truly engaging?

Is your main character your antagonist? Or is the antagonist the obsessive focus of your protagonist? You could probably write your beginning either way, but the outcome and what works depends on your intent.

The only thing I'd be worried about is that, if your protagonist's late appearance is framed as a Big Reveal, you better be able to top it later on, otherwise your script will come off as anti-climactic. Break a laig!

I make an effort to introduce my main character as soon as possible. My main character isn't always th protagonist though. However the story is what is important so the dictates what I ultimately end up doing.

Theresa: obviously it depends on your story. When does Marge appear in Fargo? It seemed like Jerry was the main character...until Marge came in (rather late). That's a bit similar to what you're doing, isn't it?

Good luck and Happy Writing, Theresa!

Fargo was the 9th or 10th Coen brothers movie. They write & direct and they got a track record.

Anything is possible but a 1st timer spec Writer and the first notes will be "Where's the Main Character?" , "late Act 1", "Wrong POV to start story". Good Luck! Don't worry. They'll fix in post-production. The Editor will fix all the errors by the Director & Writer.

Myth and fairy tale story structures can introduce the protagonist a bit later, but don't drag it out to late. If you're not using either of these structures then you may need to restructure the first 15 pages.

Many scripts set up a world gone awry and antagonist gone mad before they introduce the hero. Yet, some Industry people only read the first 10 pages. That would mean they never got introduced to your main character. In light of this possibility, Dan has a point... why not challenge yourself as a writer and perhaps attempt introducing your protagonist before the throw down page (11).

There's been a lot of good arguments for and against. But I've given into peer pressure and put my main character in before the 10 pages. It probably makes more sense in the long run ( at least for this story ) but I wouldn't rule out doing something different in the future. I wish more stories were disruptive to convention instead of blindly following it. But I'm a sheep so I guess I won't be the one changing the system.

Ah...Theresa....transforming into a Rule-Following Sheeple People. A creative once again succumbs to The Rules.

Just kidding, Theresa - da Rules be da Rules (unless you can successfully break them). Good Luck and Happy Writing!

You'll be an employed Sheep, buy Mom a Movado watch and Dad a flatscreen TV like I did :)

the Writers reinventing storytelling stay unemployed; book theorists without jobs. Or they win Oscars :) Insane business. Happy rewriting Act 1 to Industry standard :)

Sorry, but this is not necessarily about "blindly following" nor "succumbing" to anything. Plus we're not reviewing Theresa's first 10 pages to give informed opinions. So we really do not have full context here, nor creative intent, nor example. And really... It's all about good writing, not supposed "rules." If you don't capture your audience, then you don't. Unfortunately, for the reader, it's that simple.

What rules would she be breaking? There are a few rules of formatting but this isn't one of them.

Dan G, it's more about taking risks rather than breaking supposed rules. Risking the patience of your reader/audience by waiting until page 10 to introduce the main character. But hey, the main character and the protagonist may not and certainly do not have to be the same character. Lol! So as I said before... taking chances can be great, especially if done well. ;)

I think it is great when you watch a movie that doesn't give away everything in the 1st 5 minutes. It's fun and works toward the intrigue

Maybe take a step back and ask why you're introducing the antagonist first. Is it possible that the antagonist really is your main character? I say write the story that you want to write, first, and see what happens. If you have time, maybe read Gone Girl, I think that screenplay is a good read especially for antagonist/protagonist structure.

Beth. I agree with you. However several people have stated this is some sort of a "rule" and that isn't true. A story can be a protagonist or an antagonist driven story and the antagonist doesn't have to be a human.

I think it's a neat thing if you did that. This will fool the audience into believing the antagonist is the protagonist and vice versa. I say go with it. If you want to introduce the hero later on after page 10, then by all means go for it.

Again, it's not impossible but look at the data of the past 10, 15 years. the recent Oscars nominated risky Autuer movies "Moonlight" , La La land, Norturnal Animals, Manchester... the main characters are established early. Took Barry Jenkins 17 years and a bunch of directed shorts and 1 feature movie in order to convince his Bosses to cast 6 different actors for 2 character roles. And he only got $1.6mil budget to experiment.

And I totally agree with you, Dan G. Lol! ;)

Okay, But... Fooling your audience isn't necessarily a good thing. Intriguing, engaging, exciting, and entertaining your audience most certainly is! Absolutely. But taking way too long to convey what's happening—what's this about, who should we be following, why should we care—you may lose your audience. That's a hard truth, just something to bear in mind. That's all. :) And "Gone Girl," "Fargo," these films have clear, brilliant setups, tone, mood, distinct styles, great writing, great performances, great direction, etc, etc, etc. So if anything, if you're looking at those films for inspiration then consider them as a whole and not just as one singular element—a switch of POV, or a late intro of the protagonist. Yes, Marge has a late entrance... But look at the brilliance that makes that work so well. ;)

Sometimes it can work. And I totally agree with Beth on all points. Perhaps you don't need to go 10 pages. Maybe your opening can move faster? Be more succinct? Love this word Beth.

I think Theresa is on the right path -- first writing the best script she can, then, reducing the reasons and risks an exec might say no. In actuality, there are no rules or set formulas in Hollywood; there's only playing the game smarter. Introducing your central character within the 1st 10 pages may be one of those if you're just starting out.

I think its kinda a kool new way to tell a story. If it doesn't work then well, we learn from our mistakes. I think it great though. good luck!

I think it is an interesting way to tell a story. Very unique. But after 10 pages, it may come across that the antagonist is the MC. Like others, I would consider shortening that 10 pages. But again, screenwriting isn't a math equation. There's room for variation and creativity in storytelling.

interesting that Star Wars: A new Hope where Luke Skywalker is the MC, he is introduced to the audience somewhere after 14-mins, after the opening space battle and the robots in the desert.... however not many folks know the original SW script has Luke appear on page 2 or 3.

The script intercuts the opening space battle and Luke working on the farm. Someone, rumored to be Marcia Lucas, re-worked the narrative.

Basically, it is really hard to gauge what works and don't work on the pages. Gotta shoot it first with actors and a Director, assembly in the edit Bay. Rough cuts. Test audience. Re-edit.

Rogue One script was approved by the smartest folks in Hollywood- Kennedy, Spielberg, JJ Abrams, Kasdan- and the movie was re-shot; hired Tony Gilroy to write & direct and fix.

I'm actually a fan of the late hero intro. In fact, it was fashionable in stage plays back in the day for the 1st act to start out with minor characters such as house servants to discuss the goings on of a wayward bachelor protagonist or the tragic romantic life of the heroine to set the tone, exposition, etc before introducing them.

In Psycho, the main character isn't introduced until way into the film. Worked for Mr. Hitchcock.

sure it worked for Hitch, just have a 30-year track record as a Director before you pitch "Psycho"

In my epic I introduced my female lead at the very beginning along with the villain . I didn't introduce my hero until just after a quarter of the way through or maybe a little later.

I'm impressed by the quality of screenwriters on Stage 32 engaging in such constructive dialogue - we can all learn so much from each others - thanks! To get back on topic:

As a screenwriter, reader and script coach, I can only share my own POV and experience:

Yes, rules can be broken, for sure ( we're always looking for something fresh, something ORIGINAL), but only if:

1. You've mastered craft and genre ( in general excluding the spec writer);

2. If your villain is set up in such a way that he/she is compelling enough to immediately hook us and lead us on up to a point where we feel so disgusted with villain that we feel the need for some desperate (divine) intervention from the hero (protagonist) who would come and and rescue/save us from the atrocities of the villain - meaning the introduction of the hero (protagonist) happens at exactly the right moment ( when we're oh so ready for him/her to arrive!) - whether it's on page 22 or 30. Final note: By all means, take chances, push the boundaries - but at the end of the day, you need to seduce me from the moment I start reading, meaning page one, regardless of whether it's through your antagonist or protagonist and you have to keep me hooked all the way through until the very last page ! Hey, I'm happy! -Happy writing!

It worked for the Coen brothers in Fargo, and they won an Oscar for the screenplay.

Yep what you could do if you're worried is have the antagonist as the main character in the first 10 pages (as you've done already)… but during those initial pages one can have tiny snippets of the main character doing random stuff like: making a cup of tea, or flossing their teeth - with no context or commentary. Then keep flipping back to the antagonist.

That way, when you introduce the main character we're actually intrigued into who they are, why they doing stuff and what's their relation to the whole plot. :)

We meet Luke waaay after 10 mins in A New Hope.

I don't think Han's character is non-critical; I see what you're trying to say, but thematically Han has a role to play.

Watch the old Colombo two hour series (Peter was a hoot to work with). The first half hour, we saw the Perp commit his crime. The Lieutenant often didn't show up until the second half hour; and you know, it worked.

Did he say "yoots?"

A.S. - is elucidation legal in all 50 states?