We all know that one of the ingredients is that what a protag wants and what he needs are often two different things - or that in order to satisfy an internal need he must achieve an external objective - ie: Rocky "wins" respect and self worth - "Yo, Adrian, I did it!" even though he lost the fight.
My question is when do you develop this aspect of your script? I assume that for many the process for formulating an idea starts the same way:
1) A basic premise springs up: "what if..."
2) Development - fleshing out of basic plot details - inciting incident, who's who, a few action sequences etc.
3) And then a decision is made whether the idea excites you, whether you think it's got legs to warrant further development.
Is this when you devise the internal/external and/or the CDA? Or do you write the story and, as some pros say, this stuff just happens, even if they're not consciously aware of it?. Do you focus mostly on the I/E, mostly on the surface level plot, is it 50/50 for you, or do you juggle everything at the same time?
On my first scripts I pondered the I/E shortly after my initial idea and then set about the script yet on my last script I focussed on a defined CDA (inspired by the CDA thread) and yet a clear I/E was borne without me even realising it until I analysed it after it was finished. Which both surprised and impressed me.
Edit: focussing on the CDA led to sharper dialogue with richer subtext whilst when I previously focussed on I/E I had a clearer sense of character arcs.
My question is when do you develop this aspect of your script? I assume that for many the process for formulating an idea starts the same way:
1) A basic premise springs up: "what if..."
2) Development - fleshing out of basic plot details - inciting incident, who's who, a few action sequences etc.
3) And then a decision is made whether the idea excites you, whether you think it's got legs to warrant further development.
Is this when you devise the internal/external and/or the CDA? Or do you write the story and, as some pros say, this stuff just happens, even if they're not consciously aware of it?. Do you focus mostly on the I/E, mostly on the surface level plot, is it 50/50 for you, or do you juggle everything at the same time?
On my first scripts I pondered the I/E shortly after my initial idea and then set about the script yet on my last script I focussed on a defined CDA (inspired by the CDA thread) and yet a clear I/E was borne without me even realising it until I analysed it after it was finished. Which both surprised and impressed me.
Edit: focussing on the CDA led to sharper dialogue with richer subtext whilst when I previously focussed on I/E I had a clearer sense of character arcs.
Comment