Free Tips For Writers. Book, Screenplay.

Character DevelopmentFour Types Of Primary Characters1. Hero: The Lead Character is the 
      screenplay point of identification by the audience, and the force that 
      through his motivation drives the story. The lead, or hero, must have a 
      clearly visible outer motivation, be blocked in pursuing his goal, and 
      also strive with inner motivation and conflict.
2. Nemesis: This is the character who blocks or prevents 
      the heroine from achieving her goal as directed by her outer motivation. 
      The nemesis can be a bad guy or a good guy, a rival, even a friend, as 
      long as she blocks the heroine from achieving the Goal--the Broadway part, 
      the revenge, the treasure, the watch, the lover, or the gold, etc. The 
      stronger and more evil the villain, the "better" the villain. We're not 
      talking about some nasty table-server, we're talking psychopathic EVIL:

 

      2012 
      Book, Empire Of 
      The Gods - The God Conspiracy
      Excerpt
 

      The pagan 
      High Priest Bach-cha-mut was a stallion of a man, his black hair gathered 
      in a knot—handsome, with powerful limbs. Armored in black leather, mystic 
      amulets, he carried an iron sword with wire-twisted silver grip. 
      

      
      Bach-cha-mut said to his secret police, “There are infidels among us.” His 
      voice was resonant, that of a dark angel. He radiated cold. He was felt in 
      the air before he was seen, a disquiet in the flow; he pushed the 
      atmosphere ahead of him. “Circulate. Find me the unbelievers.” He gazed 
      deep into each man, his eyes like slate. “I want tonight’s conjure 
      perfect. Find me the infidels, or it will be you I roast over the 
      sacrificial fire, instead of them. Go.” 

      For 
      Bach-cha-mut, what was not him was just an abstraction. Incomplete, 
      he was born without fear or conscience. He took whatever he wanted. He 
      destroyed anything in his way. He allowed no one and nothing to rule or 
      constrain him. To him, good fortune was accident and disaster. He was less 
      priest than soldier, more magician than wise man, and more murderer than 
      anything else.

                 
Whoa! See, if he's bad, make him really good at it. The more 
      capable an opponent for the hero, the more challenge and action will result. 
      In Bach-cha-mut's case (above), I've given him the specific, listed traits of a 
      psychopathic killer (shiver!) Now I know what he's like. And, loose in the 
      screenplay universe he inhabits, he will do what he wants. He writes his 
      own mythic actions. He becomes the menace just beyond the darkening circle of 
      fire light, the splash in the night, the unseen thing at the bottom of your deepest cave, the 
      glittering Drakon crouched with spread wings in the shadow.
Make the villain a clear, visible person, not a faceless 
      organization or menace. Even if we only see him just over the horizon, 
      give him a face.
There has to be a final battle or confrontation, an 
      ultimate clash of the nemesis and the outward motivation of the heroine, 
      who must either fail or win out. This can be a climax or occur earlier, 
      but it must happen. It plays the effectiveness of the hero against that of 
      the nemesis, gives the audience what its been waiting for.
3. The Reflection: In three words, Starsky and 
      Hutch. The hero and the reflection support and help each other, being in 
      the same situation. The reflection is someone the lead character can play 
      off against, talk to, reveal her inner conflicts and motivations to, and 
      also use to create suspense and anticipation of events. 
      Instead of just doing an information dump: "As you know, Flash, it was 
      Doctor Zarkhov who invented our rocket ship, which enabled us to defeat 
      Ming's strato-sleds operated by the Clay People..." (Flash Gordon,
      1936)
OR:
DALE ARDEN: Gee, Flash, what's wrong. What are you 
      thinking about?
FLASH GORDON: No, nothing, Dale...I was just wondering if 
      Doctor Zarkhov built enough defenses into our rocket ship.
DALE ARDEN: Gee, you're worried Ming's ships are more 
      powerful than ours?
FLASH: Dale...when you mix the Clay People and strato-sleds, 
      well...that's bad.
DALE ARDEN: Flash...gee, I think I know how we can beat 
      them.
FLASH: You do, Dale? Gee, that's swell. Tell me your plan.
DALE ARDEN: All right, Flash, I will...but, gee, I hope 
      you're strong enough to take it---what I'm gonna dish out.
FLASH: Just try me, Dale.
                            
      FADE TO BLACK

       
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Book, Novel, Screenplay

There Are Four Components To A Book or Screenplay

A.) Concept

B.) Plot And Structure

C.) Scenes

D.) Characters

Character Development

Four Types Of Primary Characters

2012 Book and Novel
