Much has been written and said about the need to make us care about our characters, everything from killing loved ones to saving cats is harped on and on. There are indeed universal ways to make us care: By making the character recognizable (like one of us) By making the character someone you feel sorry or worried for (pity and fear) By making the character caring (saving the damn cat) By giving them qualities we admire (charismatic, courageous etc.) There’s no doubt that we have to care to be engaged. But how do you do that on the page? When dialogue and action are written in an expository info dump. It’s human nature to gloss over to tune out. One look at consumption of coffee and red bull in a college dorm is proof of this. Andrew Stanton, the fantastic writer of FINDING NEMO and many other mega hits, says we need to hide the fact that the audience is working for their meal. He says give them 2+2, not 4. I wholeheartedly agree, but again, how do you do it on the page without the help of camera direction, character design or acting or sound? To do this on the page, is to do so in precisely timed lines of action (that do not tell us how to feel, but invoke the feeling). This is where your voice as a writer comes in, so there is no hard set formula. Most likely when you write that script that resonates the one that really makes your voice as writer shine, it will also be the one where characters really jump off the page as someone we care about. Consider this scene: A widowed mother is arguing with her adolescent son about being too old for Halloween. Stinging words have been exchanged and their emotions have escalated and turned to the dead (husband/father). Mom has tried to maintain the upper hand, holding this fragile family together and she thinks she has the last authoritative word when… Her son turns to her and says, “the only memories I have of him are Halloween – don’t you get that?” The action line after that dialogue reads: She does now. There’s no melodramatic: Mom stops the car and cries and pull her son in for a hug. There’s no ANGLE ON Mom’s face as tears well in realization. There is no 2+2 = 4 Instead. it’s left for the audience, actor and director to equate 2+2 on film and the reader to equate 2+2 on the page. Not every scene can have such an escalation and such a revelatory moment, but please make sure the emotional beats that define your character’s dilemma do. When they are weighed down with the '4' of the equation we are less likely to care. Take care today, in a way that makes sense for you. If you haven’t seen Andrew Stanton’s TED talk, it’s well worth the the time: https://youtu.be/KxDwieKpawg
Screenwriting : Today's Wish and Creative Tip by Laurie Ashbourne
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Great share, Laurie! :)
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Dear Laurie Ashbourne: What an amazing post to share for others to gain insight on this particular topic. These types of posts are what make the Stage32 online experience so beneficial. People helping people and sharing knowledge. Fantastic post. Sincerely, John German
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excellent post
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LOL, excellent! "Story-telling is joke telling..." I luv the opening joke!"
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Wow, awesome post and link, Laurie. Thank-you!
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Laurie, I am bit late to the party. I love what you write. Your insight into story is spot on. And yes, Andrew Stanton's Talk is brilliant, entertaining, and instructive. Thank you.
Wow.Thanks, Howard Koor - This is a blast from the past. 8 years ago I did a series of daily tips for writers for 100 days in a row, this was number 21. Brings back fond memories of a simpler time.