Romantic Screenplays 101 by Sally J. Walker Read Free Book Online
Authors: Sally J. Walker
best that can happen?
32. What is the worst that can happen?
33. What trait will be dominate thus be vital to story?
34. Why is this character worth writing about?
35. Do I like/dislike this person? Why?
36. Why will this character be remembered?
Fundamental to Story
What is Character’s TANGIBLE OBJECTIVE/Heart’s Desire/Goal?
First is the General data that deals with fundamentals like appearance, birth, education, home environment, etc. Despite the fact that you may be writing a character with a specific actor in mind, you still need to document your visualization. Cautionary note: Don’t become so obsessive about this one actor, however, because age, taste and availability of any one actor can change. A suitable, generalized description of a kick-ass character is preferable to attract your desired actor.
The only words you will use when the character first appears will be age (26), physical attributes and costuming choice pertinent to this story at the beginning and a phrase alluding to attitude or bearing pertinent to this story at the beginning.
The middle section of the profile is Personal information that reveals the many layers of influence and preference, even the Typical Day. Each item can provide a glimpse of the person that moves this character from stereotypical to unique. Most of the items also provide a common link that audience members can identify. Never, ever feel you have to use everything, but when you know this much about a person you will see where you can threaten for the most dramatic impact.
Of course, the character chart’s #17 Greatest Fear is a prime target . . . and in the case of a romance you want to consider both Greatest Fear from the point-of-view of Identity and from the point-of-view of Essence. That is tweaked/depicted at Pinch II around Page 37 in the first half of Act II.
The final section of the Character Profile deals with the Story itself. When you think through these points, you begin to grasp the possibilities for the Cause-and-Effect waterfall of events you have to depict and those you can simply infer (such as the passage of time or the consequences say of cars headed to the same intersection then chaotic and panic-filled scene in the Emergency Room).
Note: Appendix A is a complete discussion of the Profile, along with a Character Worksheet specifically aimed at the inherently dramatic characters one needs in the lead roles of screenplay.
ESSENTIALS OF THE ROMANTIC HERO
Each of the genres has its own fundamental attributes the audience expects the lead character to possess and develop in the course of the story. Romantic heroes must demonstrate primary attributes of the Alpha Male in Identity but evolve the Beta Male qualities in his Essence. Reread that sentence. The Hero’s Outer Identity—his role to the world—and the events he faces will call upon that character’s dominant traits to result in success in the world . . . but the inner Essence of his Beta side will dictate his success in the romance.
The concept of Alpha vs. Beta refers to humanity’s primal origins.
The Alpha Male is the dominant provider, protector, progenitor. He thinks in compartmentalized, hierarchal terms. He is action-oriented and relies heavily on habit. The “Big Man” typical of the Alpha Male is a cross-cultural phenomenon.
The Beta Male is the intellectually evolved survivor because he is an adaptable problem-solver. He is careful to act and relies heavily on data and the evaluation of sensation. He is highly attentive and is actually perceived cross-culturally as potentially more dangerous than the Alpha Male. The Alpha Male may be powerful, but the exercise of that power is predictable. The Beta Male’s thought associations cannot be predicted.
Here’s a comparison of behaviors or how each is perceived:
Alpha Male vs. Beta Male
1. Gains resources vs. Shares willingly
2. Physically attractive vs. Deliberately sensitive
3. Seeks sexual intimacy vs.
32. What is the worst that can happen?
33. What trait will be dominate thus be vital to story?
34. Why is this character worth writing about?
35. Do I like/dislike this person? Why?
36. Why will this character be remembered?
Fundamental to Story
What is Character’s TANGIBLE OBJECTIVE/Heart’s Desire/Goal?
First is the General data that deals with fundamentals like appearance, birth, education, home environment, etc. Despite the fact that you may be writing a character with a specific actor in mind, you still need to document your visualization. Cautionary note: Don’t become so obsessive about this one actor, however, because age, taste and availability of any one actor can change. A suitable, generalized description of a kick-ass character is preferable to attract your desired actor.
The only words you will use when the character first appears will be age (26), physical attributes and costuming choice pertinent to this story at the beginning and a phrase alluding to attitude or bearing pertinent to this story at the beginning.
The middle section of the profile is Personal information that reveals the many layers of influence and preference, even the Typical Day. Each item can provide a glimpse of the person that moves this character from stereotypical to unique. Most of the items also provide a common link that audience members can identify. Never, ever feel you have to use everything, but when you know this much about a person you will see where you can threaten for the most dramatic impact.
Of course, the character chart’s #17 Greatest Fear is a prime target . . . and in the case of a romance you want to consider both Greatest Fear from the point-of-view of Identity and from the point-of-view of Essence. That is tweaked/depicted at Pinch II around Page 37 in the first half of Act II.
The final section of the Character Profile deals with the Story itself. When you think through these points, you begin to grasp the possibilities for the Cause-and-Effect waterfall of events you have to depict and those you can simply infer (such as the passage of time or the consequences say of cars headed to the same intersection then chaotic and panic-filled scene in the Emergency Room).
Note: Appendix A is a complete discussion of the Profile, along with a Character Worksheet specifically aimed at the inherently dramatic characters one needs in the lead roles of screenplay.
ESSENTIALS OF THE ROMANTIC HERO
Each of the genres has its own fundamental attributes the audience expects the lead character to possess and develop in the course of the story. Romantic heroes must demonstrate primary attributes of the Alpha Male in Identity but evolve the Beta Male qualities in his Essence. Reread that sentence. The Hero’s Outer Identity—his role to the world—and the events he faces will call upon that character’s dominant traits to result in success in the world . . . but the inner Essence of his Beta side will dictate his success in the romance.
The concept of Alpha vs. Beta refers to humanity’s primal origins.
The Alpha Male is the dominant provider, protector, progenitor. He thinks in compartmentalized, hierarchal terms. He is action-oriented and relies heavily on habit. The “Big Man” typical of the Alpha Male is a cross-cultural phenomenon.
The Beta Male is the intellectually evolved survivor because he is an adaptable problem-solver. He is careful to act and relies heavily on data and the evaluation of sensation. He is highly attentive and is actually perceived cross-culturally as potentially more dangerous than the Alpha Male. The Alpha Male may be powerful, but the exercise of that power is predictable. The Beta Male’s thought associations cannot be predicted.
Here’s a comparison of behaviors or how each is perceived:
Alpha Male vs. Beta Male
1. Gains resources vs. Shares willingly
2. Physically attractive vs. Deliberately sensitive
3. Seeks sexual intimacy vs.
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