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John Truby Writer's Blockbuster 5 Software, Book, For Screenplays, Novels, Stories

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Michaels Hauge's Book and CD's

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Free tips for writers. Free advice on writing book, screenplays, plot and structure. Mythic journey, suspense, scenes, characters, and character development for a screenplay.

There Are Four Components To A Book or Screenplay

A.) Concept

B.) Plot And Structure

C.) Scenes

D.) Characters

Movies | The Fountain | More Movies

Character DevelopmentCharacter MotivationAs part of character development for your book, the characters 
      each must want something. For each one, determine and make sure you 
      know what they want, what they must achieve in order to fulfill what 
      drives them relentlessly through the story. This will help create 
      plot, as you write. Some writers don't write a word unless they have 
      everything mapped out, or outlined; others, Like Stephen King say 
      they will just write and see what happens. 
Do what works best for you, but find out what the 
      characters must have--must do--to survive and win. It's what's called "the 
      bone," or "the spine," of every single scene of the story. 
      It's why the scene is there. If the scene doesn't fit the spine, cut it. 
      "Kill your children," is the phrase they use for this self-editing 
      process.
The motivation of the character must be visible to 
      the audience, clearly visible and understood. Everything depends on this, 
      the character's visible motivation, the entire work depends on 
      delineating it dramatically and consistently. It's what drives the 
      characters and the story. 
This outwardly visible motivation is the answer to "What 
      the hell is this screenplay about?"
The other motivation--inner motivation--asks "Why 
      the hell won't this Hero just give up and walk away, what does s/he get 
      from this, want to achieve internally?" The answer is: the hero wants to 
      develop a greater worth of Self. This is achieved by 
      letting the outer motivation drive and fulfill the inner motivation.
It's simple. Nothing complex there.
ConflictIf Agent Smith, in The Matrix, says to Neo, "Give me the 
      codes for access to the Zion mainframe computer, Misster Anderrson," and 
      Neo says, "All right, here they are," well, there's no story--or there's 
      another story, right? No fun.
There has to be conflict to arouse and involve the 
      audience. There should even be conflict between people who are allies, 
      just to keep things moving and bouncing along. There must be something 
      preventing the characters from getting that which their outer 
      motivation is driven by, and their inner motivation craves, 
      longs for. Otherwise, the story is just no fun. If there's no Big Bad 
      Wolf, then Red Riding Hood is just another kid on her way to soccer 
      practice.
Outer conflict comes from the outer motivation 
      being blocked by actions of the universe, the invisible forces that power 
      it, fate, fortune, and the bad person. 
Inner conflict comes from the inner motivation 
      being stymied, prevented from achieving the longed-for self 
      actualization of worthiness, the goal.
 

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