FROM SCREEN TO PAGE, Part 2
Today I continue our discussion about the basic rules of screenplays that would benefit fiction writers. In my last blog post (September 9), we looked at the four story questions writers must be able to answer. Today we discuss the second rule:
ü At least one key character has to undergo a transformation.
The arc can be as intimate as a widow coming to terms with her loss, or as monumental as an everyman summoning his courage to save the universe. One of Kurt Vonnegut’s ‘Eight Tips on Writing a Great Short Story’ is: “Every character should want something, even if it’s only a glass of water.” The character we meet at Once upon a time is (or becomes) driven by this want. He’s shaped and formed, or reformed, by the conflict he endures, usually with the help of the supporting characters, but ultimately he must face the final challenge alone. Who he is by happily ever after depends on how he’s changed through the course of the story, and what has occurred to cause those changes. Whether she’s a factory worker who takes up a cause (Silkwood, Norma Rae), a dutiful son who reluctantly shoulders a crime family (The Godfather), or a hardened cynic who sacrifices love for a nobler cause (Casablanca), watching the characters transform before our eyes, on screen or throughout the pages of a book, transforms us as well.
That change almost always occurs in the protagonist, but there are exceptions – if a narrator is telling your story about someone, or if the protagonist is steadfast, but inspires change in another character. We’ve come to learn (with regret) that Harper Lee’s novels are examples of the former, while High Noon is an example of the latter. Stories featuring animal protagonists, like Marley and Me, can be examples of both exceptions.
If you outline or use another form of story organization, you should plan the character arcs before you begin writing. If not, a technique I’ve found very helpful is to complete my novel or story and then read through it several times, searching for individual components of the manuscript with each pass. One read-through is dedicated to character arc, first for my protagonist, and then for each key character. I look for a pattern, for inconsistencies, for triggers and reactions – for ways to smooth the transition into something natural and realistic. I also identify the characters who shouldn’t change and check to insure they stay the same throughout the pages.
In the final part of this series, we’ll exit the movie theater and examine a screenwriting concept adapted from live theater – the three-act structure.