This is nothing radical, but for me it was a useful reminder that i thought i would share.

I have a friend in the UK who is having some success with a feature script.

When I read it it seemed to lack bite, but it was a 'nice' script with potential. Genre - rom com.

He is working on this with a producer and when I asked him what changes he had to make, at the prodcuers request, his answers were;

1) adding more conflict - primarily making sure the characters were set up so as to increase the obstacles. So, for this script, instead of a talented XYZ, he changed it to a struggling XYZ. Have you set your character up to make the most of the situation?

An example which comes to mind is Indiana Jones and his fear of snakes, it added tension.

2) changing a lead role to be more attractive to the funding market - I can't say what to, but the point is if the market is after a black lesbian vampire counsellor, and yours is a white lesbian vampire doctor, make the change. Have you got your character right, will it appeal to a lead?

This must be difficult to predict, who knows what they want tomorrow, but I think we can still check whether a character jumps out.

I suppose what came out of this for me is the need to stress test all your assumptions to see what you can squeeze out of your core idea. Just because you like it doesn't  mean its best.

The script writing world is stuffed full of useful tips.   What good examples can you remember?

Quoted from Reef Dreamer An example which comes to mind is Indiana Jones and his fear of snakes, it added tension.

Mental note.  Thanks.

One of my old standbys...

Get into a scene as late as possible...
And get out of it as soon as possible.

You hear that one around a lot too.

E.D.

Quoted from Reef Dreamer 1) adding more conflict - primarily making sure the characters were set up so as to increase the obstacles. 2) changing a lead role to be more attractive to the funding market - I can't say what to, but the point is if the market is after a black lesbian vampire counsellor, and yours is a white lesbian vampire doctor, make the change. Have you got your character right, will it appeal to a lead? This must be difficult to predict, who knows what they want tomorrow, but I think we can still check whether a character jumps out. I suppose what came out of this for me is the need to stress test all your assumptions to see what you can squeeze out of your core idea. Just because you like it doesn't  mean its best. The script writing world is stuffed full of useful tips.   What good examples can you remember?

On point one:

1- Adding more conflict.

Absolutely so, with the addition that it must be unified (I'm now thinking not always) with the motivation of the character or the surrounding circumstances. I guess what I'm saying is that even if it's shoe-horned in, it shouldn't seem that way.

*And the reason why I was thinking "not always" is because in real life *&#! happens and we're blown asunder.

Perhaps what is more important than the conflict itself is the rationale behind the conflict even if their is no rationale e.g.: X is hit by a truck out of the blue and the truck is the one that X used to own and sold to someone for way too much money even though he knew it was mechanically unsound.

Well, I take it all back. From a writer's perspective, it's logical. Fate's payback time.

So yes: more conflict, but it's the writer's job to determine why it exists there or if it should exist there at all? What kinds of conflict are meaningful the the story in question?

On the point of

2 - changing a lead role to be more attractive to the funding market - I can't say what to, but the point is if the market is after a black lesbian vampire counsellor, and yours is a white lesbian vampire doctor, make the change. Have you got your character right, will it appeal to a lead?

That's a question that probably has a lot more answers than yes and no.
Now sidetrack on this:  
My personal feeling is I hate Glee. That's my answer. Alright now I'll explain:

My husband has had it on the odd time, liking the music. Fair enough. And yes, I think it's a good kid's show, but it makes me want to stick my finger down my throat.
Why? Because they have "every character you could want in there to please the people". Ugh! Effeminate boy-gay (got it backwards) to make all effeminate boys feel they have someone they can relate to. They have a lesbian guy or something I could barely watch. Real lesbian guys would be far more fun to watch. They have a nice guy in a wheelchair, a nice Down Syndrome girl.

So back to: Have you got your character right?

I think you've got your character right if you are truly exploring subject material that interests you and you want to share it with others who might be interested.

On the same note:

I'm currently reading a book by Gretchen Rubin entitled: The Happiness Project

*I highly recommend it.

She speaks from all angles on the subject of happiness and one thing she mentions is that no matter what improvements she tried to make in her character and her life, she said, "I'm still the same old Gretchen Rubin".

If this holds true for fictional characters, it means "They are what they are." In there very core, they will not change. They might change their habits, their looks, lose weight, do all kinds of good or bad things, but they will remain in essence themselves.

If we are trying to change a character to suit the tastes of a fleeting sense of "what the market wants", then I think it's very copycat. But even with that, I know that there are very precise ways of knowing what the answer to "Give 'em what they want" is. The kids' cartoon people have it down to a science; so does every television show with whatever audience they're appealing. There are certain truths in the human psyche that must be truths or certain "tricks of the trade" wouldn't work.

Last thing I'm going to say here on conflict:

It doesn't have to be end of the world conflict. All it needs to be is someone struggling to pick up a pea with chopsticks and they can't.

Sandra

Quoted from Sandra[/quote Last thing I'm going to say here on conflict: It doesn't have to be end of the world conflict. All it needs to be is someone struggling to pick up a pea with chopsticks and they can't. Sandra

Fair comment. We just need to feel and in some way relate, or understand, this conflict.

Two great tips in regards to scene planning:

1. Make sure every scene contains some kind of goal, because as soon as a character wants something, you can put obstacles in his/ her way. It's a pretty easy way to create organic conflict.

2. Each scene should push the story in a new direction. If it doesn't, is the scene needed?

Quoted from Reef Dreamer T when I asked him what changes he had to make, at the prodcuers request, his answers were ...

... whomsoever is interested in the script is always correct, especially when they're wrong, so always listen to them.   My tuppence worth.

One thing that really helps with dialogue is knowing that characters never ever say what they're thinking or feeling - unless the script is at a climax. They always try and deviate from the truth as much as they can. It naturally adds for good dialogue and makes the scene flow a lot better.

Quoted from Electric Dreamer One of my old standbys... Get into a scene as late as possible... And get out of it as soon as possible. You hear that one around a lot too.

Never show a full scene.  Show the beginning and the middle, or the middle and the end.


Phil