I have a question for those of you who work in drama: How do you approach writing protagonists who are "difficult"? The ones who aren't necessarily likable or sentimental, but demand our attention through their raw, uncomfortable truths?
I ask because I am seeking connections and feedback on a new short film script, "Dỡn (Mother)", which is built entirely around this challenge.
It's a social-realist tragedy based on a powerful Vietnamese short story. My directorial vision for it is "thorny and contemplative", intentionally avoiding an easy, sentimental portrayal of motherhood. Instead, it explores the theme at its most primal, almost "animalistic" level.
Logline: "Losing her newborn child through naivety awakens the primal instinct of an outcast mother, driving her to protect her remaining children at all costs".
The Ask: I've posted the full logline and synopsis to my profile. I am actively seeking feedback, thoughts, or connections with writers and producers who appreciate character-driven, art-house, and socially-conscious drama.
I am particularly interested in thoughts on portraying such a "non-traditional" psychological state in a way that feels authentic rather than exploitative.
You can find the project here: https://www.stage32.com/profile/1351074/Screenplay/D-n-mother
I look forward to connecting with those who, like me, believe in cinema that dares to explore these "uncomfortable" but necessary stories.
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Dỡn (Mother) sounds interesting, Phuc Quang Vu Dao! I make that kind of protagonist interesting, make them great at something, and show why they're the way they are.
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Maurice Vaughan You've perfectly captured the approach. "Show why they're the way they are" (her harsh reality) and what they're "great at" (her primal, instinctual strength) is the exact heart of this story.
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Is the logline in your post or on your page the latest logline, Phuc Quang Vu Dao?
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Maurice Vaughan That's a very sharp eye, thank you! I apologize for the confusion. I've just corrected the post. The logline on my script page ("Eking out an existence on the fringes of society... ") is indeed the definitive, most recent version. I really appreciate you pointing that out!
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Hi, Phuc Quang Vu Dao. I really liked your logline — it's original and honest at the same time.
Based on the logline, I wouldn't say that the protagonist isn't likable. Have you seen the film Nightbitch? It's somewhat similar, and the protagonist is quite likable. I'd be happy to read your project and give feedback as soon as I have a moment!
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I think that logline is better, Phuc Quang Vu Dao, but I think it could use some work.
I suggest giving the woman an adjective (the main flaw she has to overcome in the script or an adjective that describes her personality). It'll give us more insight into her character.
I think "loses her child due to her own innocence" is vague. I suggest telling what happens.
I also think "protect what remains" is vague.
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Yes, Maurice nails it - don't just make them horrible - why are they horrible? what happened to them? Trauma-informed therapy tells us that a very high percentage of people who commit horrifying crimes were traumatized young.
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Kseniia Zhuravleva Thank you so much for this wonderful and insightful comment! I'm thrilled that the logline resonated with you as "original and honest"—that's exactly what I was aiming for.
You've made a very sharp point about "likability." You are absolutely right. My goal isn't to make her unlikable, but to portray her in a raw, "challenging" way that avoids easy sentimentality. You've grasped the nuance perfectly. And thank you for the "Nightbitch" reference! I'll move it to the top of my watchlist. I would be absolutely honored for you to read it. An outside perspective from a writer who clearly understands this specific, raw tone would be invaluable. I'll send you a connection request/DM right away. Thank you again for such a generous offer!3 people like this
Ilanna Mandel & Maurice Vaughan
You and Maurice have truly hit the nail on the head. And trauma-informed is the perfect term for the approach this film takes. You've articulated the core of the film perfectly. It's not a story about her "horrible" actions, but an empathetic exploration of why, of the systemic trauma (being marginalized) that made her vulnerable, and the acute, personal trauma (losing her child) that finally breaks her. It's a story told through that exact trauma-informed lens. I really appreciate you bringing that precise, powerful framework into the conversation.
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You can also connect them to your audience by using the character as a form of catharsis. "What would you want to say to someone if there was no fear of consequences?" for example. These characters usually don't give a damn what others think of them which can be satisfying to watch, but there is usually a cost to this for the character which will catch up with them.
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Ewan Dunbar "Character as a form of catharsis" is the perfect way to describe this. You've absolutely hit the nail on the head: Mẹ Dỡn is a character who "doesn't give a damn" precisely because society has already left her with nothing left to lose. And you're exactly right about the second, crucial part: the cost. That's the entire tragedy of the film. Her "satisfying" primal freedom—her not being afraid of consequences—comes at the horrifying cost of her own loss and humanity. This is a very sharp and helpful piece of advice for framing the character's true appeal to an audience. I really appreciate you sharing that professional insight!