Like
all first impressions, when you introduce an important character for the first
time in a screenplay, what they say and do immediately sets up expectations about
who they are and what’s troubling them. Which is why it's so important to be specific.
Lana later said:"The fact that she smoked immediately told me she was a strange one." |
I’m currently working on a rewrite and part of the rewrite process involves writing a new synopsis. This forces me
to check whether the way I present characters in the synopsis
is actually how they appear on the page in the screenplay. Which is a humbling exercise, to say
the least. One of the key ways to establish a character as quickly as possible
in the mind of the reader, is to make sure that whatever the character does and
says when they first appear, illustrates what makes them specific or intriguing
and what might be troubling them. This first
impression sets up expectations in the reader’s mind, and
raises questions about how the story is going to proceed. It evokes curiosity.
Put differently: If the introduction of a character doesn’t raise any questions
or suggest any kind of drama, there might be
something missing.
Unexceptional
Action: The specific behaviour is descriptive
The action itself might be a generic
action, such as putting on a shoe or sending an email, in which case the specific
way the character performs the action is what illustrates who they are. Take
for example the opening of Philomena (screenplay by Steve Coogan and Jeff
Pope), where Philomena (played by Judi Dench) sits in an almost empty church looking
at the Madonna and Child. Not particularly exceptional or telling as an action,
although the image is a symbolic foreshadowing of the story of Philomena the
mother, and her lost child. However, when the priest approaches and addresses Philomena,
we instantly know from his words that they know each other and that the priest
is concerned about her. We also learn from her evasive answers to his questions
that she has a secret. Now the moment has become specific to her. We intuit
that this is going to be a story about Philomena’s secret, and it clearly has
some connection to the Catholic church.
Exceptional
Action: The activity itself is descriptive
Alternatively, the action might be
something extraordinary, such as someone catching a fish with their feet or
stitching up a gaping wound on an injured lioness. In that case, the action itself
tells us something about the character. An example of this might be the
character of Eric Lomax (played by Colin Firth) in The Railway Man (screenplay
by Frank Cottrell Boyce and Andy Paterson), who is introduced during the
opening credits as very ordinary looking man lying on his back on the floor of a study
reciting a children’s rhyme to himself as a kind of mantra. Not something we
all do every day, and suggesting that this ordinary man has something very
extraordinary on his mind. When we next meet him he is hurriedly changing
trains and telling us in a voice-over about minute details of a railway
timetable. Another clue that we are about to embark on a journey with a man
with a strange obsession.
Generic
vs specific in the rewrite
...and then I realised 'holding a roller skate' didn't describe what was troubling her. |
I used to try as hard as
possible to avoid rewriting. I just liked the feeling of finishing a first
draft and then starting on my next masterpiece. Big mistake. In fact I’ve come
to enjoy rewriting just as much as writing the first draft, because it’s in the
rewrite that I really get to know the characters properly. The rewrite feels a
lot more like craft, which I guess is an acquired taste (at least it was for
me). In the rewrite I have more room to analyse and approach details from a
more rational point of view. Whereas an initial draft is more of an intuitive
attempt to express the general shape of a story. Once it’s out there on the
page, though, I can begin to hone it.
Going back to page one and looking—with
the benefit of hindsight—at how I initially introduced my characters might reveal
that I’ve gotten to know a character better during the course of writing the screenplay,
or that I got them right the first time round. Or that I actually still don’t
know the character well enough. Maybe I thought I knew what the main dramatic
conflict was for a particular character, but it turns out I need to articulate it more
precisely.
So, simply asking myself whether I’ve opened with enough specific
‘character moments’ for a reader to get an adequate first impression of the character, reveals whether I know the character well enough myself.
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