Romantic Screenplays 101 (6 page)

25. Music, art, reading preferences:

26. Dress & Grooming Habits:

27. Favorite Colors:

28. Typical Day:

Story

29. Present Problem:

30. How will it get worse?

31. What is the 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. Emotionally attentive

4. Procreation proves prowess vs. Sincerely wants to nurture

5. Focused on value for time vs. Sees relationship as exchange

Remember: “The most dangerous animal on earth is the human male.”

The simple summary of all this for the romantic hero is he needs to be
Alpha-Beta, motivated and confident yet vulnerable.

ESSENTIALS OF THE ROMANTIC HEROINE

When characterizing the female lead in a romantic screenplay do not confuse the terminology used with the primal origins in the discussion of the male. Women are considered according to their dominant intellectual traits and motivational forces symbolic of archetypes. Yep, women can be considered much simpler . . . as types.

The
Alpha Female
is assertive, confident, athletic, tough. The Warrior Woman is willing to attack and defend. The Whore is sexually aggressive and adept. The Crone personifies the controlling matriarchal power.

The
Beta Female
is perceptive, emotional, maternal and soft. The Madonna is the attentive and vulnerable mother. The Priestess is the knowledgeable guide and communicator. The Healer is the nurturing problem-solver.

Fascinating contrasts can be created by mixing demanding traits from an unfamiliar yet logically inherent role such as the fragile Madonna girds herself as a Warrior Woman to defend her children then must become the Priestess when teaching them to survive. Or think of the slut seen as the Whore nursing the epidemic’s victims in the saloon who converts the townspeople into accepting her as a Madonna figure.

Here is a more in-depth look at cinematic examples of Pinkola-Estes’s concepts of female characters she explained in
Women Who Run with the Wolves
, a thick tome written in PhD-eze to be read and digested in bits and pieces. Think more intensely about your heroine.

PRETTY WOMAN: Whore to Priestess to Madonna (his choice for a mate and softer in the end)

THE LAST OF THE MOHICANS (Cora): Madonna to Priestess to Whore to Warrior Woman

QUIGLEY DOWN UNDER: Whore to Madonna to Warrior Woman to Priestess

LITTLE WOMEN (Jo): Crone (over her sisters) to Priestess to Healer (wasn’t she meeker in the end?)

DANCES WITH WOLVES: Priestess to Whore to Madonna to Healer (See that she was predominantly Beta?)

THE BIG EASY (Ann): Crone (power position) to Whore to Priestess to Healer to, finally, Madonna

These are opinions based on logical analysis. You might see vacillation many times in a movie depending on the character skills that are called upon in order for the female to cope.

So called weaker roles are the Beta roles whether male or female and forceful roles call for Alpha traits. Always ask yourself who instigates or initiates whatever action in a scene to identify what roles are needed at that time.

 A person’s role in a single scene will not change. The role shift comes in the subsequent scene. In the first scene of THE BIG EASY, Ann is the attorney from the D.A.‘s office investigating police corruption. She is in the power position. Try as he might, Remy (Dennis Quaid) cannot rattle her until he manipulates her into a dependent position and fires up her hormones to respond to him sexually. However, she still has control of herself as he works his wiles and she
allows
herself to enjoy his seduction. But the evolution of the investigation throws her back into the Crone role. Then she’s dependent and a whore again. True to her Identity, she reverts to the Crone, charging Remy with taking a bribe. She shifts into Priestess mode (with Remy becoming more powerful by gaining her access to the police department). Remy demonstrates his internal vulnerability. Ann is briefly the Healer to his tears. But as Remy takes charge in full Warrior mode, she then is Priestess and in the final scene his bride, his Madonna.

 It is impossible to have two characters dominant at the same time. Story tension will not logically allow that. From their profile history, you can tell which character is going to be the player in control of the scene, each demonstrating how he or she is coping at the moment.

And here is an applicable quote about women: “The most unpredictable animal on earth is the human female.”

The summary of this for the romantic heroine is she needs to be
Beta-Alpha, motivated toward pride and empowerment.

OTHER CAST MEMBERS

Look to your lead character profiles to identify who you absolutely need in your story. Pay attention to two factors: 1) What is this non-lead character’s role in life and impact on the romantic relationship? 2) Amount of space/word/page count equals importance to the story as a whole.

ANTAGONISTS
who are the major obstacle to the relationship’s success are present throughout the story. They must be as strong as the leads or stronger if they are to threaten, recover, subvert, attack again and again! Their power to threaten must be visual. Don’t forget the Minor Antagonists, those irritants that annoy everyone, the audience included. Just don’t belabor or repeat to the point of “boo’s.”

SUPPORTING
Characters are the Second Bananas and are most commonly used as contrasts to the leads either in appearance or abilities. They can also provide the psychological balance the leads need and can be the point makers. Use only those that will specifically enhance or complicate the relationship in a succinct manner. Remember a screenplay is more like a short story than a novel. Limited pages, limited cast. Focus on the leads.

WALK-ONS
can be your
gems
for both the actors and the audience. Each character who has dialogue deserves a name and identity that any actor would be proud to do. Do not make these valuable personas merely numbers, as in Policeman #1 or Lady in Line. Think about movies that etched themselves into your memory and you will recall vivid characterizations of bit players. They provide the subtle background of reality in brilliant paint strokes.

CHILDREN
should be used in action and speech appropriate to their stage of Growth & Development. Don’t use your own childhood as a guide because your memories are skewed. Rely on medical and social science for guidance. Carefully maintain appropriate maturity level of the child. Look at this Growth & Development Table as a basic reference.

GROWTH & DEVELOPMENT GUIDELINES

*Note: These are generalities from psychology studies, medicine and juvenile publishing industry. Every human is unique.

Infancy to 1 year/Period of TRUST:

Emotional: Meet needs. Minimal frustration.

Social: Self-centered. Identify/bond with parents/care-givers.

Physical: Rapid growth.

Spiritual: Parental centered.

Play: Motor, sensory.

Books: Sounds & simple, uncluttered, colorful pictures.

Toddler ages 1-3/Period of AUTONOMY:

Emotional: Limited attention span. Testing of limits.

Social: Extended awareness. Family circle.

Physical: Slower. Dexterity. Heightened sensory association.

Spiritual: Can recognize death, separation, guilt.

Play: Can identify parallel/comparison. Motor. Spontaneous.

Books: Simple, syllabic words. Sentences with pictures.

Pre-School ages 3-5/Period of INITIATIVE:

Emotional: Curiosity at work. “Why?” and testing results.

Social: Cooperative. Interactive. Relating wanting and acceptance.

Physical: Steady growth. Initiate physical-mental coordination

Spiritual: Develops conscience and self-esteem.

Play: Cooperative. Action. Expressive.

Books: More complex stories. Identifies morals & characters.

School- Age ages 6-10/Period of INDUSTRY
:

Emotional: Performance. Accomplishment. Competitive.

Social: Identifies own sexuality, peer groups, emotions of others.

Physical: Steady, Accident-prone.

Spiritual: Personification of external applied internally.

Play: Dramatization, collections, formal games & competitions.

Books: Peer-oriented. Broaden environment. Positive/Good triumphant.

Pubescent/Pre-Teen ages 10-12/Period of IDENTITY:

Emotional: Capable of independent responsibility. Conflict of worth.

Social: Sexuality comparison & discomfort/uncertainty. Awareness of attraction.

Physical: Rapid growth. Reproductive development.

Spiritual: Internalization and questing of “Why?”

Play: Serious competition testing personal abilities. Romantic/Idealistic & Fantasy.

Books: Heroes/Heroines 2-4 years older. Seeking role models.

Adolescent/Young Adult ages 13-21/Period of INTIMACY:

Emotional: Introspective. Self-doubt. Fears of adulthood responsibilities.

Social: Sexual intimacy. Seeking independence from authority.

Physical: Level off, but “body type” established, as well as health habits.

Spiritual: Begins to develop personal philosophy & to apply to situations.

Play: Vocational. Creative. Talent development/interests.

Books: Older heroes/heroines. True life. Credibility of fiction.

ANIMALS
have personalities, too, but never, ever choreograph unnatural behavior for an animal. Animal trainers can only do so much. You want the animal action to be authentic, not contrived—unless you are writing another version of DR DOLITTLE.