| Which is more important -- plot or character? | | | | for both. |
| Both! They're inseparable. A well-written | | | | Consider the premise of "Rain Man," an original |
| screenplay is a living thing, comprised of both an | | | | screenplay by Barry Morrow and Ronald Bass. In |
| outer life (plot) and an inner life (character). | | | | it, a ruthless young car dealer kidnaps his autistic |
| With action-packed thrillers and techno-fantasy | | | | brother whom he resents for inheriting their |
| 3-D, a convincing character is likely to be less | | | | fathers estate, but in the end learns the |
| important than spectacular effects, car chases, | | | | importance of family and love. |
| exploding buildings and plot twists. | | | | Armed with this premise, you would then write up |
| There will always be films however, that draw us | | | | a profile of your main character: Who is he? Why |
| into the lives of great characters. At least let's | | | | is he driven to succeed? What are his goals and |
| hope so. The protagonist in "The Diving Bell and | | | | weaknesses? A character, like a human being, is a |
| the Butterfly" is paralyzed, yet we become | | | | complex mix of intellectual and emotional habits. |
| completely absorbed into the aspects of his | | | | Next, you write the set-up for your story. The |
| interior world. In "Juno" a pregnant teen grows up | | | | hero learns his father has just died. He is |
| quickly in her small town. And in the classic | | | | expecting to inherit millions, but learns instead that |
| "Marty," set in an ordinary working class | | | | the entire estate has been bequeathed to |
| neighborhood, we become captivated by Marty's | | | | someone he has never met. |
| humanness as he tries to find a girlfriend, afraid | | | | From here, you can examine various "what-if" |
| that no one will ever love him. | | | | scenarios. What if our hero has a brother he |
| The ideal screenplay combines both elements: a | | | | never knew about? He meets this bother. Could |
| plot that's strong enough to keep the reader | | | | that provide a storyline that would change the |
| viewer interested, and characters that are | | | | character in some profound way? |
| genuine enough to make people care about what | | | | As you build your characters, and understand |
| happens to them. Plot and character are | | | | what drives them, you'll find the raw material for |
| inseparable because it is the plot that presents | | | | a plot; you'll be able to construct a sequence of |
| opportunities for the character to act. The plot | | | | events that carries out your original premise. You'll |
| tests a character and forces them to make | | | | also be surprised to find your characters often |
| choices. | | | | begin to co-create the plot with you, as the |
| But which do you start with? Your plot or your | | | | choices inherent in their personalities become |
| characters? The best place to start is with a | | | | evident. When this happens know you're on the |
| premise -- an idea that serves as the foundation | | | | right track. |