#44 - Dressing Characters
Edition #44 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
THX 1138
Written by George Lucas
I’ve talked before about the benefits of “image first, label second.”
Here, Lucas reverses it, which usually I wouldn’t be a fan of but thematically it works in a story that sees a human as nothing more than a number.
Understanding the rules lets you understand when to break them.
The Chilling Adventures of Sabrina (Pilot)
Written by Roberto Aguirre-Sacasa
Aguirre-Sacasa uses bolds, caps, and italics here.
It’s a lot, but the different cases help distinguish ideas and conventions from each other.
Also, not to make a big deal of it, but “We hear” and “WE PAN” are both on the first page of this script…
The Murder of Thomas Merton (Pilot)
Written by John Fitch & Mitch Smith
I just love the rhythm of this passage. Feelings and images blur with great pacing.
It’s gnarly, and it feels like we’re right in it with Luke, seeing and discovering as he does.
Two quotes about screenwriting
“My first customer is myself. When I tell a story I like, I can sleep easy. I’m sorry when the audiences don’t like it, but I have no choice.”
“I truly am happiest in a working environment where I can encourage and create surprises.”
One thing to think about
Are you dressing your characters?
Beyond initial introductions, a lot of screenwriters completely forget mentioning wardrobe. (And some don’t even do it there!)
Wardrobe is a huge opportunity for storytelling.
Not only can it tell us about a character, but it can also be a way to literally see changes.
Has a character been through a harrowing night? Mention how their neatly pressed suit is now torn and shredded.
Is a character trying to seduce someone? Mention how their dress is a little shorter than they usually wear. (And if we’ve seen the longer dresses earlier, we can clearly see the change.)
Mentioning wardrobe also has the added benefit of keeping the visual of the character in the forefront of a reader’s mind.
Even if the character hasn’t internally changed, if time has passed for there to be a reasonable costume change, mention it. What are they wearing now? How does it reinforce something about them or the story?
In rewrites, I’ll go through and just mark every time there would be a wardrobe change. Doesn’t mean I’ll do a full re-dress every time. But sometimes I will.
Beyond that initial introduction, don’t forget to ask:
Are you dressing your characters?
Have a great draft,
David Wappel
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