Does anyone have any good resources to suggest, online or in print?
Here's one quote I found, from a BU professor:
"In a multi-protagonist film, the story revolves around an event. It is this event that is experienced by all the characters. In addition, it's the event that provides the underpinnings for the structure. The event is introduced in the first act, along with all the characters. The characters react to the coming of the event or its unfolding, if it is on-going. The story then ends when the event concludes. In The Hangover, the event is the wedding, while the goal is to recover the groom so that the event can actually take place. In the Oceans movies, the goal and the event are the same: the heist.
In a single main character story, the main character often transforms in some way. Hollywood loves when the hero "arcs-. In a multi-protagonist story, the multiple characters rarely transform in any meaningful manner. Instead, the best of these have the characters arrive at some new understanding regarding one another, without any accompanying change in their life. This is especially true of the Hangover and Oceans films, in which they actually repeat their previous behaviors in the sequels.
For a great example of this non-transformation, take a look at The Breakfast Club. In my opinion, this is one of the best multi-protagonist films ever written. The event? Saturday morning detention at a suburban Chicago high school. Over the course of the day, the five total strangers come to know one another and, to some extent, grow to like and respect one another. However, at the end of the day, Brian (Anthony Michael Hall) the nerdish character, asks if the others will say "hi- to him in the hallway come Monday. He is pained to learn that, despite having come to like him, they won't change how they deal with him. The social structure of high school simply won't allow it.
I maintain that these stories are among the hardest to write. The classic myth tale with the hero pursuing a goal in urgent fashion is ingrained in our psyches. The multi-protagonist story resides somewhere outside this box.
If you have an idea for one of these, you must select an "event- and then work diligently at creating characters with compelling and believable relationships that will help carry the story over the course of that time period that encompasses the event. If you can pull that off, you will soon be sought after in Hollywood, which is always on the lookout for writers who can write great characters."
What are some other theories/guidelines for writing these scripts?
Here's one quote I found, from a BU professor:
"In a multi-protagonist film, the story revolves around an event. It is this event that is experienced by all the characters. In addition, it's the event that provides the underpinnings for the structure. The event is introduced in the first act, along with all the characters. The characters react to the coming of the event or its unfolding, if it is on-going. The story then ends when the event concludes. In The Hangover, the event is the wedding, while the goal is to recover the groom so that the event can actually take place. In the Oceans movies, the goal and the event are the same: the heist.
In a single main character story, the main character often transforms in some way. Hollywood loves when the hero "arcs-. In a multi-protagonist story, the multiple characters rarely transform in any meaningful manner. Instead, the best of these have the characters arrive at some new understanding regarding one another, without any accompanying change in their life. This is especially true of the Hangover and Oceans films, in which they actually repeat their previous behaviors in the sequels.
For a great example of this non-transformation, take a look at The Breakfast Club. In my opinion, this is one of the best multi-protagonist films ever written. The event? Saturday morning detention at a suburban Chicago high school. Over the course of the day, the five total strangers come to know one another and, to some extent, grow to like and respect one another. However, at the end of the day, Brian (Anthony Michael Hall) the nerdish character, asks if the others will say "hi- to him in the hallway come Monday. He is pained to learn that, despite having come to like him, they won't change how they deal with him. The social structure of high school simply won't allow it.
I maintain that these stories are among the hardest to write. The classic myth tale with the hero pursuing a goal in urgent fashion is ingrained in our psyches. The multi-protagonist story resides somewhere outside this box.
If you have an idea for one of these, you must select an "event- and then work diligently at creating characters with compelling and believable relationships that will help carry the story over the course of that time period that encompasses the event. If you can pull that off, you will soon be sought after in Hollywood, which is always on the lookout for writers who can write great characters."
What are some other theories/guidelines for writing these scripts?
Comment