Character Development 4. The Romance: This is the character the lead wants to get into bed with, part of his outer motivation, a sub-goal. The Romance character must be supportive of the hero and his goal. But then they must have a falling out, maybe over the way he's going about it, or a lack thereof, some sort of boy-girl conflict. They start off maybe neutral, then they want to be together and share in the same outer motivation, but then something goes wrong and they split up. Finally, in the end, they get back together, and are again on the same wave length with the outer motivation. To be a Romance character, the lead has to fall in love. If that happens, then you must make the audience fall in love too, or at least relate to the lead's reasons. A prime example of utter failure in this regard is Cobra (1986) where Lt. Cobretti (Sylvester Stallone) is supposed to fall in love with Ingrid (Brigitte Nielsen), but there is literally no chemistry whatsoever (even though in real life they were dating hot and heavy at the time). The thing just is embarrassing to watch. You can't have the lead looking like a mindless, wayward idiot over some air head, or whatever. There's a difference between sexual attraction and love versus romance. For creating main characters, there are actual rules that must be followed.   Go Back One Page - Screenplay  |  Back To Start - Screenplays Forward To Next Page - Your Screenplay I'm Working On It...

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