#26 - Feeling Real
Edition #26 of the Lighthouse miniLetter!
You'll always get:
Three examples of great screenwriting
Two quotes about storytelling
One thing to think about
Plus some fun links at the bottom.
Three examples of great screenwriting
Mythic Quest (202)
Written by Rob McElhenney & Megan Ganz & David Hornsby
I call this tactic “pulling rank” and it’s a fun way that a character (with higher status) can force what they want in the scene, though often at the expense of a bit of social capital.
From Russia With Love
Screenplay by Richard Maibaum, Adapted by Johanna Harwood, Based on the novel by Ian Fleming
Just like not seeing the shark in Jaws, what we don’t see in the bathroom makes Grant a scary opponent for Bond.
Additionally, I love the little touch of putting on the gloves before and then taking them off afterwards. Shows the professionalism and forethought, which makes him even more cold.
(Also, From Russia With Love might not be the best Bond film, but it might be the best Bond script.)
Dadly (Pilot)
Written by Frank Tarczynksi
I love this description. It’s like a perfect triangulation of ideas.
“Dilbert-looking” tells us that this place is like a hive full of drones, Office Space territory. But “motherfucker with meat sweats” gets a bit more aggressive giving us a bit of the script’s perspective and tone.
Some lovely economy using “small and from the 90s” for both the office and clothes.
A lot of information and vibes, yet it reads so smooth.
Two quotes about screenwriting
“The art of writing is the art of discovering what you believe.”
“When you’re in your lane, there’s no traffic.”
One thing to think about
What makes a character feel real?
We often strive for consistency in behaviors, values, and motives in our characters. A nice clear picture of someone’s interiority.
But in reality, human nature defies this neat arrangement. Real people are messy, filled with contradictions and inconsistencies. We act out of character, change our minds, and surprise others and ourselves. Paradoxically, it's these very inconsistencies that can make a character feel most authentic.
It's tempting to follow the blueprint, ensuring characters act in line with their established traits. But if humans are not so easily categorized, should our characters be equally elusive?
Allowing for inconsistencies, contradictions, even errors, can create “space” in a character in which the audience can infer interiority.
It’s a difficult balance. This isn’t an excuse for poor characterization. But allowing inconsistencies to emerge naturally from a character’s unique combination of traits, experiences and current struggles can really make a character come alive.
What makes a character feel real?
Have a great draft,
David Wappel
PS Don’t Miss
If you liked the example from Dadly above, you’ll love Frank’s flash fiction, where he makes writing look too easy