Screenwriting : Plot or Character: Which first? by Elle Bolan

Hi, Elle Bolan. I hope the migraines go away and things get better soon! I usually start with the plot, but sometimes I start with a character and build the story around them.

Maurice Vaughan I've noticed in my plot first project, my characters feel flatter and less vibrant. More NPC than Main Character.

How do you avoid that?

Elle Bolan I give a character a personality, strengths, flaws, fears, history, a daily routine, hobbies, a story goal(s), a life goal(s), and sometimes a character arc. Some of these things don't make it into the script, but they help me write the character and scenes.

Maurice Vaughan I do the same, but not in any particular order. I usually hear them before I see them. It seems to almost always start with how they sound. And I will listen to them "talk" to me long before I ever "see" them in my head.

Coming from plot first has me feeling like I'm moving checkers on a "Sorry" board.

You know, to me, debating whether plot or character comes first is like asking what’s more important in a car — the engine or the driver. The car won’t go anywhere without both.

It’s the same with storytelling. I believe plot and character need to be developed in parallel, at the same time. If you focus only on plot first, the audience won’t have anyone to follow. If you focus only on character first, they’ll risk becoming passive.

That’s why I think the best approach is to develop both — character and plot — simultaneously.

Aleksandr Rozhnov how Interesting!

I will have to do an experiment in that method and see how that works out!

Go ahead and try it—you’re free to do whatever you want, and no one can stop you.

I guess I'm a little surprised this is a debate of sorts. "Plot" is what happens, isn't it? And it's usually what people do. So does not one need the people to do the doing first? Plot happens when someone does something, otherwise it's all some sort of image with no one in it. Plot happens when a character makes some sort of decision, choice, etc. And the choice or whatever needs to come from the character, not be shoved into the character so the plot works. Right? I agree with Aleksander that plot and character need to be developed together. But for me, the plot needs to come from the character, not the other way 'round. Just my view is all.

For a character to take action, they need to be influenced by external forces; otherwise, they won’t act. And these external forces don’t depend on the character.

Hank Isaac I see it the way you do - the plot comes from the characters so that's how I develop.

I wouldn't say it's a debate - I'm just curious about other screenwriters' approach. We don't all approach it the same way. Methodology etc.

This experiment actually got it's spark here on Stage 32. Another writer had their plot first and it intrigued me as I develop my characters first.

Like Hank said, there are times, more often than not, that the plot grows out of the character—think Casablanca (1942) and The Remains of the Day (1993). However, there are situations where the plot comes first—think James Bond and any of the comic book movies. Plot-driven stories grow out of "situational" events, like police stories or war movies. But in the end, it is the character of the characters (wow, that's deep!) that transports the audience through the plot-driven story. You can examine any "situation"—D-Day, for example—through ten different characters and end up with ten different movies.

But in Casablanca, what depended on the hero, on the character of the hero? World War II, or the fact that they needed to get transit papers to leave for America? The hero’s character only influenced the way they went through the difficulties to ultimately obtain those papers and leave for America. But the plot itself didn’t depend on the hero’s character. World War II and that neutral zone in Casablanca would have happened regardless of him — I’ve already forgotten the hero’s name, the owner of the café — or even if he hadn’t existed.

Hola! Hope your migraines fade and end. Plot drives my true story events, but character development moves the story on an emotional level!

Aleksandr Rozhnov but without knowing the character's personality, how do we know how they'll react situationally? If we don't know who they are, we can't gauge their reaction to the events of the story.

Character driven vs plot driven. I tend toward character driven but recognize the need for the opposite. The plot is necessary.

If you relate it to .. cows in a pasture. You can set the cows there, BS happens. But if the very human character isn't out there getting manure on his shoes, nobody cares about the piles... or the stampeding cows.

Sorry to say this, but most of you are making one very big mistake. You write for yourselves, not for the audience. And screenwriters whose films actually get made—they write for the audience. You know how a character will react in a certain situation, but the audience doesn’t. They don’t even know what the situation is. And the situation is the story. That’s why you need to show both the story and the character at the same time. Only then will the audience understand that in this situation, the character would act exactly that way.

Plot and character do not stand separate from one another. They're interdependent. Plot affects the character, and the character makes a decision that affects the plot, and so on and so on through the entire story. Each drives, pushes the other.

The plot of Casablanca isn't World War II. It's the story of two former lovers, Rick and Ilsa, reconnecting during World War II. The war was the catalyst that brought them together--the inciting incident. Everything in Rick's life changed the moment Ilas walked into his café. Remove the war, and she would have never had a reason to be there. The rest of the movie is about how they handle reconnecting. Obtaining the papers was what Hitchcock would have called the MacGuffin.

P.S. "A MacGuffin is an object, device, or event that is necessary to the plot and the motivation of the characters, but insignificant, unimportant, or irrelevant in itself."

Lindbergh, can you provide examples of films to support that claim?

Exactly what Lindbergh wrote: the plot drives the character, and the character drives the plot. In Casablanca, the plot is World War II. And Elsa and her husband, the new revolutionary—or whoever he is—their desire to leave drives the plot. Then she meets Rick, and Rick, through his character, drives the plot further by getting them the papers to leave for America. In other words, without the plot there would be no character, and without the character there would be no plot.

No, it doesn't.

The movie Falling Down (1993), with Michael Douglas, is a perfect example of a “character-driven" film. Douglas is a recently laid-off defense worker who, after his car breaks down in traffic, abandons his vehicle—going on a violent spree while trying to attend his daughter’s birthday party.

Everything that happens after the car breaks down happens because of his character’s attitude, choices, and behavior. It is a character-driven story. The story (plot) grows out of his character.

On the other hand, if he were a calm, collected individual, he would have called a tow truck and gone about his business. It would have been a short, boring movie. Change his "character" and there is no story (plot)!

Aleksandr Rozhnov you're referring to the premise... not the plot. The plot is built on the premise. The character is the entire reason for the plot.

WW2 is the backdrop or premise behind Casablanca. The plot is the character's story in that film. They are trapped, aka premise. The plot, their reunion, is the story.

I usually lean character-first since that’s what drives the story for me, but I try plot-first sometimes just to stretch my writing muscles. I think both can feed each other in cool ways. Thanks for sharing your process — really inspiring!

In my opinion, a well developed character can carry the entire film!

I genuinely think that the characters development and emotional arc should come first. Movies like Interstellar, Pursuit of Happyness, Logan, Dark Knight Rises, etc, prove that exact point. it’s a particular thing I explore a lot in my own writing, espically my latest screenplay PLAIN SIGHT.

Elle Bolan Interesting question! For me, the story usually gives the foundation, and when I sit down to write, I somehow always see who appears in it. I don’t have much routine yet, but if I put on some music, by the time I reach the keyboard the characters, the setting, their lives and thoughts are already there in front of me. A character can be born from so many things: an old or unrequited love, a mean girl from high school, a kind colleague, from myself, or even from imagining what a celebrity might be like in real life. I feel that the story brings the characters’ nature with it. Appearance is important, but for me it’s always secondary.

Elle Bolan Looks like you've spark an interesting thread with a lot of characters. You can ask the question in many ways. What came first the chicken or the egg? There's not a right or wrong answer for this but when you look at story development. Character drives plot. As the plot changes, it drives character. When these two blend seamlessly it equals theme. You could have a story about a baker and be ok but if that baker has only ever baked hamburger buns and they see a hotdog bun for the first time. This could challenge everything they think they know about the world their in and that could be compelling. When I think about writing, I of course start with a situation (Plot) but then ask who fits into this plot (Character). Then I ask three questions. What would this character by like before this journey? How would this journey challenge them? How would this journey change them in the end? For me, it's truly about theme as a starting point. What do I want my reader, hopefully a viewer, to take from my story? How it is going to inspire them or engage them in a way they've maybe not seen before? Is it hopeful? Dark? Cathartic? Engage someone in the write (right) way, they read to the end and don't miss the messy parts.

Friends, I’ve been thinking about this topic, and I realized where I made a mistake. Here’s how I see it: the hero and the plot develop simultaneously. But the writer can choose to emphasize either the hero or the plot in the beginning of a film.

For example, let’s take The Matrix. In the opening minutes, we see Neo, but we still don’t know what the story is really about. We only sense that it has something to do with computers and some sort of infiltration into technology, but nothing is fully clear yet. By the second or third scene, we start to understand the story more. But at first, we meet Neo.

So, both the hero and the plot unfold together, but the Wachowskis decided to first introduce the protagonist. Only later, when Neo talks with Morpheus, do we fully grasp what the Matrix is and what the entire story is about.

That’s probably how it works.

For me, it usually starts with character first — I need to know whose story I’m telling before I can map out what actually happens. Once I understand their desires, fears, and conflicts, the plot tends to grow naturally out of those choices.

That said, I’ve also experimented with starting from plot or concept, especially in fantasy. When the worldbuilding or political intrigue is strong, sometimes the story idea comes before the people who inhabit it. But even then, I always circle back to the characters — without them, the plot feels hollow.

I think it’s great that you’re challenging yourself to work from both directions! It’s not easy to step outside of our habits, but like you said, it’s such valuable practice for collaborating in the future.

Aleksandr, you're getting closer—almost there. You, the others, and I agree that both PLOT and CHARACTER exist together in the same movie. However, ONLY ONE of those two can be the catalyst—the thing that sets the story in motion—the driving device. Not both.

You rightly observed, "But the writer can choose to emphasize either the hero or the plot in the beginning of a film." That is an absolute truth! The writer must decide BEFORE beginning the screenplay if the story is plot-driven or character-driven. Why? Because THAT determines how the writer approaches his or her story. Again, I use the example of James Bond films. They are all plot-driven. Yes, he is the "star" character, but he is ALWAYS James Bond. He never has a character arc (neither does Superman nor any other "super hero" film character).

The Matrix is a tough nut to crack at first glance. It appears that it could be taken either way, but. . .

In the Matrix, the plot determines the unfolding of events. This is the "high-concept premise," placing suspense and action above character self-examination. That’s the trademark of a plot-driven story. While Neo does experience an arc from being in doubt to a savior, his change is brought about by the external plot events rather than his own attitude, choices, and behavior. His character arc serves the plot, rather than the plot serving to illustrate a complex change within his character.

One of the best examples of a character-driven film I can think of, is the The Banshees of Inisherin (2022). The story isn’t driven by external plot events, no natural disaster, no murder to solve, no "ticking clock". The story is focused on the interior lives, i.e., choices, and unraveling relationship between Colm and Pádraic. Colm’s decision to end their friendship, and Pádraic’s refusal to accept Colm's decision, drives the entire story. If either of those two characters decide to stop what he's doing, the movie comes to an abrupt halt.

Do you understand, you’re essentially describing two types of films. The first is when events unfold according to the hero’s will and desire. The second is when events happen outside the hero’s control, but he becomes involved in them.

For example, take the film Lord of War. Yuri Orlov develops a desire to become an arms dealer, and we watch the entire film as he pursues this path. In this case, the film is driven by the hero. But the plot is specifically about his rise as an arms dealer and his internal transformation. They cannot be separated, because if we only examine Yuri, we wouldn’t see how the world around him changes—and vice versa.

Similarly, in The Matrix, the events occur beyond Neo’s control, but he becomes a central participant because he is chosen as “the One.” This is a different situation. I think the filmmakers wanted to evoke, to some extent, a Christ-like figure who would save the world. So it’s hard to say whether the plot dominates or the hero does. Yet, just like with Lord of War, it’s impossible to separate Neo from The Matrix or the film from Neo, because together they constitute the story.

I believe it’s a great movie in terms of special effects and the innovation that the Wachowskis brought to it. Ultimately, no film can truly separate plot from the hero, because then we wouldn’t understand the challenges the hero faces or why he acts the way he does.

I understand that when a story is written, the author will naturally lean either toward the plot or toward the hero. Sometimes the focus is more on the hero’s inner state and transformation, which can mean that certain plot elements are less emphasized. Other times, the story may highlight the plot and everything happening around the hero, while the character’s internal changes are less explored. That’s completely understandable and normal. But I feel that fully separating the plot from the hero is impossible. It’s just a matter of leaning more in one direction when writing the story.

Elle, I like to figure out the plot first...that way, I'll know I've got some kind of story to work with. Afterwards, I'll develop the characters...and once I figure them out, I'll have an idea how those characters will handle the situation(s) in front of those characters.

Thanks a billion for posting!

By the way, everyone often forgets about genre. If you’re writing a thriller, action, or comedy, the story needs events and plot-driven action—you can’t really start by focusing on the hero, describing their inner world or desires. But if you’re writing a drama or psychological drama, then yes—you pay more attention to the hero, their state of mind, their problems, and so on.

But again, if you’re writing a psychological drama or just a drama, focusing on the hero’s inner state, you can’t literally put a camera inside the actor’s head to show what’s happening there. All their internal changes and emotions have to be expressed through external signs and actions. And those external actions lead to changes in the world around them—which is the plot. So once again, this proves that there can be no plot without a hero, and no hero without a plot.

The Greeks said it best....Character is Fate.

Wow! this has been such an incredible discussion to follow and everyone has such great points! I can see so much passion in these comments and it's great to see.

I think, Aleksandr, you misunderstood what I was asking. I was asking about the process you use BEFORE you write the script. I'm

But this has been a wonderful insight to two very different approaches and I'm here for it! The deep dive into Casablanca was lovely.

Thank you everyone!

You're welcome, Elle Bolan. Thanks for starting this discussion.

I'm an outlier because I like to come up with both first lol I need a protagonist (or a group of protagonists/ensemble), a general storyline, and a title before I begin any project. Sometimes the plot changes as I'm writing, making my outlines moot (what I end up writing naturally pretty much always supersedes what I initially planned in terms of quality), and very rarely do my characters turn out that way, too.

"Do you understand, you’re essentially describing two types of films."

Yes, Aleksander, that has been my point from the beginning. Basically, there are only two types of films—PLOT-DRIVEN and CHARACTER-DRIVEN. Genres are an entirely different consideration—a sub-category of film/story. But even then, regardless of the genre, it is driven by either plot or character.

Sorry, but I’m not quite sure I understand. What kind of process happens before you start writing a script, besides gathering information—like if it’s about a specific profession, a certain group of people, or particular events? Or do you mean that before writing, the author thinks about writing a comedy, but then the script ends up as a drama about a serial killer? That part I don’t quite understand.

". . . do you mean that before writing, the author thinks about writing a comedy, but then the script ends up as a drama about a serial killer?" [edit] Have you ever climbed into your car with the full purpose of going to point "A" and wound up, unknowingly, at point "Z"? Just askin'.

It must be said, I've never had this happen, not even among my former students. If that were to happen, then I would have to presume that the writer did not adequately prepare and did not fully understand their story, OR the writer is possessed by some screenwriting demon. Now, there's a story!

See my post here:

https://www.stage32.com/lounge/screenwriting/FILM-TYPES-A-Family-Tree-of...

Please, excuse the double post.

For you Syd Field aficionados: "You know your story from start to finish. It should move smoothly from beginning to end, with story progressions clearly in mind so all you have to do is look at the cards [notes], close your eyes, and see the story unfolding. Now, all you have to do is write it."

If you don't know your story, who does?

Aleksandr Rozhnov see, yes I thought we were misunderstanding each other.

I am talking about how the writer consciously curates the story in their head. The writer's internal process.

I am curious because I am struggling to develop believable characters out of my natural thinking order. I want tips from writers who come up with the plot first in their mind because I always have my protagonist created as a character before I figure out my plot.

My order of operations (thought wise) is premise, setting, characters, plot.

Sometimes the premise determines the setting and sometimes the characters do.

I'm wanting to hear other's experiences with developing and curating a story from a different writing craft perspective (plot driven) so that I can grow a new writing muscle I can see I have been neglecting. I have limited myself to writing character driven stories. That isn't a negative... but it's also not the only way to approach story telling.

Let me share one of my little secrets. What really helps me is asking myself the question: “What if?”

The moment I ask that, I immediately start to see my protagonist and the situation they find themselves in. Maybe not the full picture right away, but after thinking on it for a day or two, the ending of the story usually comes into focus.

But the most important thing is always that question: What if?

How about both of them? Think of the opening scene in Raiders of the Lost Ark.

Plot-driven. As noted, all films have both, but only one drives the story. Check out FILM TYPES: A Family Tree (of sorts).

Hi Elle, sorry to hear you've had a difficult time but there's nothing quite like writing to channel those emotions. High-concept projects tend to be plot-driven (think Jumanji, Free Guy...) but characters are what keep people engaged.

Hello Pat for me I think of a plot then develop my character also I write down names plots episodes and post them on my wall it helps me add see what works learning so much at stage 32 happy to be here

I juxtapose plot & character equally most of the time. Agree with comment above, some plot points maybe totally outside the control of characters but their “responses & choices” thereafter, can drive future plot or subplots. I show character too, via unique actions. EG Badass saves caterpillar from kerb, “some” empathy. Nurse purposely squashes caterpillar, “sadistic streak.” Gunman puts TWO loaded guns someone’s head, “fool.” Memorable “Intros” include antagonist in Killing Eve. Villanelle ruins a child’s ice cream in a cafe, a total stranger. No plot or dialogue but we get the picture.

I tend to have both approaches at play depending on the idea. I always select someone I know to be an archetype for the type of character I am wanting to present so I guess as I think about it plot does take a front seat many times. The project I am most ready to have developed was definitely character driven and the plot has altered so many times in the last 3 years that it is incredible, bordering on comical, to go re-read draft 1 and see how there is less than 10% of the plot form that first draft remaining in the current version.