Lesson 2

[Monica Arisman]

Subject: Monica’s Solved Character Problems!

Vision: I will continue to learn everything I can through all different media to apply what I learn to become the best screenwriter I can be. To be successful in getting my movies made and to win awards in the process.

What I learned from doing this assignment is a framework to catch character issues at the beginning of the writing process rather than after several re-writes.

2. Check your lead characters to see if they have any of the problems listed in this lesson.

A. Generic Lead
Characters. – No.

B. Weak protagonist or
antagonist. – No.

C. Protagonist Too Good
or Antagonist Too Bad. – No.

D. Weak character
intros. – Maybe – brainstorming an alternate opening.

E. Characters not in
action. – Maybe – will review as they are talking while doing action.

F. Protagonist journey not
strong. Maybe – brainstorming to make it stronger.

G. All the characters
seem the same. – No.

H. Lead characters not
present. – No.

[Lynn Vincentnathan]

Lynn’s Solved/Solving Character Problems!

VISION: I am determined to become a great screenwriter capable of getting my screenplays in various genres produced into movies that inspire vast audiences to mitigate climate change.

THE PITCH: WEATHERING IT (Rom-Com) is about two college students who try to overcome family fights about global warming and get married during the worst ever Texas freeze.

I LEARNED that I had some talking-head scenes that needed revision. Also I’m not ecstatic about the character intros, but for this story these seem okay. The bad guys fair better in their mean/difficult personalities coming out in their intros.

No problem with A, C, G, F (for female protag), or H

Enhanced “F. male protag transformational journey.”

Could improve “B. weak protag,” “D. somewhat weak intro,” “E. characters not in action.” Giving these to my creative process.

D. Protag intros: I think the problem is I didn’t want the good guys to look too bad or too weak to the point of the audience not being able to ID with them. I need to find the right balance. So the heroine is somewhat weak, ineffective, in eco-despair, but strongly committed to her eco-mission without romance (she doesn’t want to hurt anyone, re to her father abandonment wound). The hero is somewhat of a playboy, but more just playful, and this is his cover for his wound of his father dying and his uncle forcing him into a career he hates.

I’m thinking the problem is these are college kids/adults not quite toughened the way Margaret is in THE PROPOSAL. It’s sort of a tail-end coming of age story. They go through trials and tribulations with their romance and families and come out more mature and strengthened.

[Amy Falkofske]

Amy’s not yet Solved Character Problems!

Vision: I want to become known as an expert in the family-friendly genre and make a full-time living as a screenwriter.

What I learned from doing this assignment is that character problems can make or break your script. Also, my script has a lot of unrealized potential in this area. I have been ruminating on this and have come up with some solutions, and have a lot of work to do.

2. Check your lead characters to see if they have any of the problems listed in this lesson.

A. Generic Lead Characters-My lead characters aren’t necessarily generic, but I would say they are more like stick figures at this point. I need to develop them more through their actions mainly and their dialogue when we get to that part.

E. Characters not in action-I have quite a few scenes with talking heads.

G. All the characters seem the same-Some of my supporting characters are really generic.

[Frances Emerson]

MODULE SIX LESSON TWO

FRAN’S SOLVED CHARACTER PROBLEMS

WHAT I LEARNED: My character profiles as I’ve worked on this story, have grown. Changed somehow from the meager first concept to a more fully developed one. What works, what doesn’t. I need to make certain my pitch is fully developed enough to sell someone on the concept before trying to sell it to someone. This story is only getting better for me because it is now becoming fuller, more complete in my thoughts and written words as I continue this process.

I needed to make several changes before I can go on.

MY VISION: I want to write great movies. Movies that are magical, movies that move people and tell the truth. I want to write movies that stars will want to be in.

PITCH: The discovery of an old diary written by the friend of Czar Nicholas II’s daughter turns the doomed princess’s little known love story into a blockbuster Hollywood movie and an Oscar for its discoverer and screenwriter.

(Here this is fiction but add to the doomed princess’s trials a love letter written by Dmitri One she receives before she dies.)

Character Profiles from Module three

Meredith Kerns

Secretive—she holds back

She hides thing from her husband, tries to hide them from her daughter

She tries to share at first, but then gives up

Does things without his knowledge or permission/support

Meredith Kerns has a secretive trait. She hides things and her feelings from her philandering husband.

She plays the dutiful wife to his face.

But the she buys the diary anyway against and despite her husband’s wishes.

She tries to work with him even though he’s abusive towards her. But learns things must change when he threatens her job.

She tries to hides things from her daughter, but her daughter knows.

She tries to hides things from her agent, but secretly her agent knows and tries to be supportive beyond the call of duty.

She hides things from herself, it affects her creativity.

She finally stops hiding things, admits she can’t go on this way. She gets honest with herself and finally gets the courage to leave her husband.

Jerome Kerns

Manipulative, abusive, immoral, deceitful

He deliberately picks fights with Meredith to feel superior and in charge. He finds ways to put her down, her talent down. He likes to overlord.

Jerome always must appear in charge, as when he’s buying a gift for his daughter.

Jerome likes to be dominating in his position as director and producer, and never in a kind way. His putdowns and his criticisms are putting an ever-increasing strain on the couples’ marriage.

His picking fights with her, fires her off their movie, his continual need to have affairs with his leading ladies finally wakes Meredith up to do something about it.

Meredith takes a new job behind Jerome’s back, without his knowledge, until at one point she confronts him and she quits.

Jerome gets jealous and angry over her success when she wins her Oscar and gets much praise for her work.

NEW LIST:

MEREDITH KEARNS

Determined

Loves her daughter

Sacrifices

Tired of being the “Lady in Waiting” the “always the bridesmaid never the bride”

Loved someone her family did not approve of

Fed up with Jerome’s dalliances. She decides she’s not going to take the backseat any longer. She’s not going to be treated less than in her relationship with Jerome. She’s determined to make her life and career more than just a window dressing for someone else. She’s going to take charge and confront Jerome. And she’s going to take the initiative to find new work, a new partnership. A new love.

JEROME KEARNS

Loser

Wants to bring everyone else down with him

Addictions

Desperate for fame

Wants to be king of Hollywood but all he can be is a toady

What he’s feeling about his life and work in general, it’s going nowhere. He’s having addiction with gambling problems. He wants to make his life more exciting for everyone else than it is.

He’s jealous of Kyron. His success in the business AND that he was Meredith’s love first. He won’t say it, but he has race issues as well. It stems from their college days, Kyron had done everything right, gotten the rewards. Jerome did not. Always jealous.

Takes his anger out on everyone, including Meredith

ALEXANDRA (daughter)

Stands up to her father

Bold, says what she means, tells it like it is

Very mature

Knows the score

At first it doesn’t look like it, but she does and will support her mother. She has known all along about her father’s indiscretions. She stands up to her father as well. She is not a little girl anymore—which surprises her parents, very much.

KYRON Old Flame

Has faced racial issues all his life

Bigger man

Doesn’t tolerate unkindness, sloughfulness

Laid back in many ways

Wise to the ways of the world

Learned

He understand Jerome’s additions, his lack of loving Meredith the way she should be loved, but also he stand up to Jerome and tells him like it is. He supports Meredith in the way Jerome should have, but won’t. He will also tell Meredith he’s known for a long time what Jerome’s been up to. It’s all over Hollywood and he’s glad Meredith has seen the light and gotten rid of the man who’s making her miserable and dragging down her career with him. He gives her more advice on how to handle her career and how to handle Jerome if he ever comes back to make her life miserable again (which he will.)

JACKIE AGENT

Outgoing

Not afraid to say things

Helpful

Offers advice even when it’s not asked for

Very businesslike when it calls for it, all knowing very business savvy.

She urges Kyron to take up with Meredith again. She’s all for it and it’s time Meredith had someone in her life again to truly love her.

CANDACE STARLET

Selfish

Corporate climber

Is not afraid to pull out all the stops to get what she wants

Demanding

Knows she’s beautiful and wanted by every guy in Hollywood

Loves money, fame

Will do anything to get to the top of the ladder. Even betray her best friend.

OLGA GRAND DUCHESS

Independent

loves too deeply

born in the wrong time/era

bold, fearless, not afraid to go after what she wants despite the historical drawbacks of her time

gracious

Is a good friend to Valentina

A good sister to Tatiana, Anastasia, Maria. Loves Alexei, her brother.

Works to the very end to keep her vow. She wants to be czar if Alexei dies. She asks all the right questions. Watches her father. Demands he not give up his throne to brother Michael because she wants it. Stands up to the Bolsheviks at every turn. She stands up to her mother when Alexandra takes up with Raputin, sullying her good name for the sake of saving Alexei.

But there’s a certain frailty inside her she hides from everyone. She will not leave Russia. Russia is her home, the place where she grew up. She can never leave her. That is the one thing they must understand about her. Russia is her security blanket.

ALEXANDRA (mother czarina)

Hard nosed woman. Fierce as the royal czarina of Russia.

Will do anything to save her son. Loves fiercely.

Reprimands Olga for wanting the crown. She is not to overstep her boundaries. She will marry at some point, be the dutiful wife and daughter. And she will comply to the rules and laws of Russia.

Prim and proper. Unlike her Aunt Olga, the older Grand Duchess young Olga takes after and will take the place of when the older Olga dies. The older Grand Duchess likes to have a little fun now and then—and have a little intrigue in the court once in awhile to stir up the gossipers.

NICHOLAS (father czar)

Passive. A good man. A good leader, but he is too wishy washy to lead the country. He is failing to hold Russia together in the face of war. He will abdicate his throne despite Olga’s pleadings not to. But give it to her to rule in Alexei’s stead until he is well.

Also pragmatic. He’s knows when he is beaten and needs to turn the reigns of government over to the Bolsheviks (Young Lenin)

But he loves his family fiercely. He loves Olga especially very much. He panders to her. Gives in to her. Especially with what happened to Dmitri One. He says he will try to get him reinstated so they can marry, but it will be difficult. Her mother is adamant about his never returning.

Nicholas will do anything for his family, his children, to keep them safe. To keep Russia safe from the hands of tyranny.

TATIANA

Very straightforward. More practical, and in touch with the world than her sister Olga. She tells Olga like it is, how it is in their world. She knows more about being a grand duchess than Olga. She is the one who tells Olga she and Pavel can never marry because of their station. And to not dream so big. They are women. Women have their place in society. We just have to accept that. (Olga refuses. She will not accept her plight, her station in Russian society.)

VALENTINA

A good friend.

Has great concern for Olga. She kind of knows what could be in store for the young Grand Duchess.

She cautions her about the soldiers. Not to believe everything they tell her or say to her.

She is a good nurse, tries to look out for Olga at every turn.

She sees the certain frailty in Olga she hides from everyone. She understands it. She addresses it to Olga, which makes Olga vulnerable to Valentina. But Valentina won’t take advantage of that. Instead, she acts as Olga’s protector, to keep her safe from the dark forces of the ordinary world.

DMITRI 1

He is a good man. He loves Olga, but he is swayed into doing was is wrong, not good for the sake of his own life and station, but of his future with Olga.

He also loves his family fiercely, and this is what gets him into trouble. He wants to save his family from the villainous Rasputin and to save Alexandra’s reputation from being sullied any further.

He goes along with the plot his cousins (others are putting together) to help his family retain power and the crow. But it is not easy assassinating anyone, let along Rasputin.

The man refuses to die.

Dmitri in the end wil succeed with his cousins in carrying out the assassination. He has little remorse, other than he was unable to convince Alexandra his actions were for the family’s own good. Dmitri is banished, never o be seen again.

He is full of regrets. He cannot stand up to the wrath of Alexandra.

DMITRI 2

Two-faced.

He pretends to love Olga. He is a good soldier. But his wound is great. It takes him a long time to heal.

He is more of a Bolshevik than royalist. He scorns the Crown and what it stands for. He wants freedom in his country, too. No more war, no more hunger, destitution. He longs for the air of freedom. Olga gets sucked into his Charming ways and his talk about wanting to be his own man.

He takes advantage of Olga’s naivete toward men, soldiers. Her losing Dmitri One.

He then betrays her with his fellow soldiers by sharing her most intimate thoughts of love for Dmitri Two with them, breaking her heart into little pieces.

He cannot stand up to the wrath of Nicholas when he tells him he will have him sent to the Russian front, to the most heinous of the fighting. There he will die with his comrades a horrible death from war for hurting his daughter, and insulting the Romanov family in general with his lack of caring, sincerity. And his uncaring insolence toward Olga.

Make sure the marital problems, the jealousies, the abuse is prominent to make Meredith’s journey that much stronger.

[Joyce Davidson]

<div>Joyce’s Module 6: writing the second draft lesson 2</div>

…to create memorable movies that actors want to perform.

WIL: Much of the problems should improve in execution after action passes. Even in this second draft the dialogue is too heavy.

A. Generic Lead Characters: Because of their opposing goals they are different from most characters.

B. Weak protagonist or antagonist. The antagonist grows more sinister and the protagonist rises out of his initial character to fight him.

C. Protagonist Too Good or Antagonist Too Bad. NO.

D. Weak character intros. Yes. Needs work.

E. Characters not in action. about 75 percent.

F. Protagonist journey not strong. to them it is.

G. All the characters seem the same. no. All have separate personalities.

H. Lead characters not present. Always one of them is in each scene.

[Andrew Boyd]

Andrew Boyd’s Solved Character Problems

Vision: For Hitler’s Choirboys to be such a compelling screenplay that Steven Spielberg and Mel Gibson will battle it out to produce their most powerful WW2 drama since Hacksaw Ridge or Schindler’s List.

What I learned from doing this assignment:

This has been very helpful. I hadn’t acknowledged that one of my leads vanishes for several scenes in Acts 2 and 3. I have written him back in. Doing so adds more humour and relief into the screenplay, breaking the tension at the peaks of conflict. I have revised my story hook to make more of this protagonist’s role. Lastly, I have broken up some of the static arguments that take place in prison cells, by overlaying monologue with illustrative newsreel montages. This would be inexpensive, up the pace and interest and add to the gritty authenticity. The downside is a long script has just got longer…

[Lynn Vincentnathan]

I think if you can keep it 120 pages or less that would be fine. OTOH, Schindler’s List is 163 pp (spec), 155 (shooting). Especially since yours is based on a true story and an important historical event.

As a spec writer, they do want shorter scripts. One lit manager told me he wouldn’t take anything more than 105 pp, but I’ve never been able to get any of my scripts down that short. Most contests that have page limits specify 120 pp max, but some specify higher.

[Andrew Boyd]

Hi Lynn, You’re a marvel. Thanks for that, that’s encouraging. It’s 130ish right now. Hack, hack, hack… Every success to you!

[Dana Abbott]

WIM2 – Dana’s Solved Character Problems

My Vision: I intend to perfect my skills to become a successful screenwriter, scripting acclaimed and profitable films, recognized by my peers, and living an adventurous life.

What I learned during this assignment:

Adding scenes to the script forced me to add character traits and actions to both protagonist and antagonist. This afforded me an opportunity to better develop their characters as discussed below.

A. Generic Lead Characters

a. Protagonist: Updated – Adulteress

b. Antagonist: Updated – Female kidnapper

B. Weak Protagonist/Antagonist

a. Protagonist: Updated – more vocal, attempts escape second act

b. Antagonist: Updated – calls victim’s husband and uses disguised voice

C. Protagonist Too Good or Antagonist Too Bad – No

D. Weak Character Intros – No

E. Characters Not in Action

a. Updated – Protagonist attempts failed escape in second act; expand climax escape to include chase across exposed beams of steel mill roof.

F. Protagonist Journey Not Strong – No

G. All Characters Seem the Same – No

H. Lead Character Not Present – No

[Lisa Paris Long]

Module 6 – Lesson 2 Solving Character Problems

Lisa Solved Character Problems!

My Vision: I will do whatever it takes to be comfortable saying that I am a writer by creating impactful stories with amazing characters in order to sell my scripts.

What I learned from this assignment is that characters need to have depth and not be one dimensional or too similar to each other. I have a Protagonist and an Antagonist that really want the same thing in the end, but they each get to it in their own way.

B. Weak protagonist or Antagonist – because my two lead characters want the same thing in the end, I needed to beef up the Antagonist’s resistance to the Protagonist’s way of getting there.

[Marcus Wolf]

Marcus’ Solved Character Problems!

My Vision: Get a script made into a movie.

This assignment taught a good way to make sure characters are engaging. There are good ideas on how to fix issues with them.

There were a few character
problems in my script, but for the most part, my characters are good.

[Joe Donato]

<div>Joe’s solved character problems</div><div>

My vision is to persevere and stay the course of building steady daily routine, and disciplines that produce consistent writing of exceptional quality. Ultimately, the fruit of those habits and disciplines will be a track record of great marketable scripts that will make other successful talented pros seek me out.

I learned that I already had most of these solved already due to strong outlining skills. BUT if it wasn’t for this assignment, I may have just rested on my laurels being proud of all the things I got right in the first place, but going over it all again with this list did make me change one or two scenes and make them significantly different in the 3rd act. In my opinion, the 3rd act is where most RomComs die, because they become so full of predictable crowd-pleasing cliche. But I want to make sure my characters really have you riding that emotional train of their personal old-ways to new-ways growths, keeping you hooked all the way through. The two scenes i changed really helped that.

</div><div>

A. Generic Lead Characters.

-No, they’re 3-dimensional and 2 very head-strong individuals with likeability, relatability, and empathetic moments.

B. Weak protagonist or antagonist.

– No, but I’m constistently working on strengthening the drama, and the landlord’s “evilness” with each pass.

C. Protagonist Too Good or Antagonist Too Bad.

– No, the landlord is NOT that bad, but I definitely felt the temptation to go there as i tried to avoid the “protagonist too weak” thing.

D. Weak character intros.

– I think they’re good, but I’m open to making them even better if I come up with something more.

E. Characters not in action.

– I’m good.

F. Protagonist journey not strong.

– Just beefed that up with some rewrites in the 3rd act.

G. All the characters seem the same.

– nope, they’re all different.

H. Lead characters not present.

– nope, they’re in every scene.

</div>

[ROBERT Ingalls]

Module 6, Lesson 02 – Solving Character Problems

Subject: Rob Ingalls Solved Character Problems!

MY VISION:

To be a Talented writer that delivers quality fast, with the film industry seeking me out.

WIL: I’m still struggling between the early concept and pitch and with the developing scenes.

– I need to work more on the protagonist and antagonist, giving them more depth. Right now they are still too one dimensional.

– For an Action genre, this need a lot more action. Too bland.

– The protagonist journey is still not strong enough. Will need to work this more.

– And the characters all sound the same. I need to spend more time thinking about each.

– Bottom Line: This lesson needs revisiting AFTER I focus on the next lessons. I’m going to let my creative subconscious work this for now, and I will return.

[Renee Miller]

Renee’s Solved Character Problems.

My Vision: I will work hard to become a well-respected writer with my movies produced and enough work to keep me busy and keep the lights on.

What I learned from doing this assignment is that solving character problems early is essential for writing a great script. I am still working on this assignment as I go. I really like my protagonist, but the triangle character needs a bit of work, along with my antagonist.

[JOEL STERN]

Joel Stern WIM Module 6 Lesson 2

Thriller: “Death Voice”

My vision: To write eight blockbuster Hollywood screenplays and to get a speaking line in at least one of them.

What I learned from this assignment: Ways to make lead characters strong.

When I begin writing a screenplay it takes some time for me to get a feel for the character — to think and behave like them. Coming from New York City, I’ve naturally had a lifetime of interacting with every sort of personality imaginable. And I incorporate that into my characters.

My protagonist is a WWII hero who’s return to civilian life is severely compromised by PTSD. Being a student of WWII and having been to Omaha Beach and other sites in Europe, I think I have a decent amount of material in my mind to create a strong protagonist in Jim “Ace” McCarthy.

Sal — my mobster antagonist — is a threatening voice Jim only hears on the phone. He never meets him in person.

I always focus on creating unique characters. My main concern is creating strong structure.

[David Holloway]

Dave’s solved character problems

My vision: I would like to be a successful writer in Hollywood, with a number of successful movies to my credit that put forward a core belief about environmental, political, or personal values.

What I learned doing this assignment is that introducing your lead characters by putting them into action provides numerous ways to illustrate their personal qualities in a memorable, dramatic way.

I realized the intro of my antagonist was not strong enough. He merely sat at his desk and interrogated the wife of the protagonist, an inmate in his prison, as to why she’d been doing what she was imprisoned for. So I wrote a new intro scene in which he’s watching a female inmate being questioned under torture, showing both his cold, non-empathetic nature and his belief in violence to enforce compliance with his objectives, which are absolute control of the prison and the elimination of opposition to the military’s control of the state where he works.

[Erin Ziccarelli]

Erin Ziccarelli’s Solved Character Problems!

Vision: I am going to create profound scripts that leave audiences remembering my movies and leave me excited to keep writing and moving up in the industry.

What I learned from doing this assignment is: the different early draft problems. Something I’m noticing in my first draft is I have two very similar leads and a few “talking heads” scenes. These are the areas I’m going to be targeting for this assignment.

Check your lead characters to see if they have any of the problems listed in this lesson. For any character problems you find, make the prescribed improvements.

A. Generic Lead Characters.

B. Weak protagonist or antagonist.

C. Protagonist Too Good or
Antagonist Too Bad.

I’ve given Richard
some more likeable qualities and will it clearer as to why he does what
he does (i.e. he turns Alex in because he’s loyal to his own side, he looks
out for Scarlett because he considers her family)

D. Weak character intros.

Alex is now more
savvy/more intriguing in his opening scene – he’s playing poker and wins
the game in front of everyone

E. Characters not in action.

Adding action to
Alex’s scenes – he breaks things when he’s angry and messes up things
when he’s flustered

F. Protagonist journey not strong.

G. All the characters seem the same.

Alex and Scarlett’s
characters are very similar – the main difference between them is their
relationships (Alex and Kitty v. Scarlett and Joe)

H. Lead characters not present.