4. Does each character maintain the dominant force throughout the dialogue? If not, where does it break? Why?
5. Do the dominant forces for each character come into conflict with each other? If so, where?
LESSON 15: SOLO EXERCISE
1. Go to a public place. Find two people engaged in a conversation and observe them from a distance. Stay far enough away that you can't overhear what they are actually saying.
2. Imagine what they might be talking about. What is the dominant force that has brought each one to this place? What is it that each one needs to accomplish before he leaves?
3. Write a three- to five-page dialogue between these two characters.
4. Repeat this exercise as an ongoing writer's workout.
A: There's nobody doesn't want something.
—Edward Albee (Three Tall Women)
LESSON SIXTEEN:
Keeping Everyone in the Scene
I
want you to do an experiment with a cat. If you don't own a cat, find a friend who has one. Stand at one corner of the room, far away from the animal. Now, call the cat's name. Ask the animal to walk over to you. What happens? Does the cat obey? Is she eager to be by your side? (I tried this experiment with my friend's calico. The cat glared at me, yawned, and then wandered off into the other room to give herself a tongue bath.)
Characters are like cats. They don't care about you. They aren't interested in your agenda. They will only tolerate your presence if you're offering them something they want. Retry your cat experiment with an open can of tuna in your hand. I suspect that you'll have better luck getting the animal's attention.
Every scene needs tuna. Every scene needs something that will keep all the characters in the room and keep them interested. Your characters could be doing a million other things at this moment. They could be at the gym. They could be napping. They could be reading the newspaper, having sex with a monkey, or plotting genocide. Why are they here?
They are here because, for each character, there is a dominant force that keeps her here. There is something, in this moment, that each wants more than working out or napping or reading the newspaper. There is something, in this moment, that is more important than everything else.
The last chapter talked about the need for a dominant force. We discussed how it gives a character focus. It points her in a particular direction. The important thing to remember is that all characters need focus and direction. Protagonists, antagonists, supporting characters, extras — every character needs motivation to stay in the scene. If you don't give it to them, they will wander off like cats and vomit hair balls all over your script.
Obviously, the dominant force doesn't need to be the same for each character. One person might be in the scene because he's trying to get laid while the other person is in the scene because he's trying to get a job as a night clerk. The dominant force might be anything, but it must be something that requires the character to stay in the scene. Otherwise, why would the character stay? Why would the character bother to participate? Why wouldn't she leave?
LESSON 16: SCRIPT ANALYSIS EXERCISE
NOTE: You can do this analysis exercise with any large, multiperson dialogue scene from an established play or screenplay. (See the Appendix for a list of suggestions.)
Watch the film His Girl Friday. As a group, analyze the following dialogue from the climactic scene in the script:
INT. PRESS ROOM
Mrs. Baldwin leads a Policeman into the room.
HILDY
Mother!
MRS. BALDWIN
(pointing out Burns)
That man there!
HILDY
(hugging Mrs. Baldwin)
Mother! Oh, I'm so glad to see you! Are you all right? Tell me.
Mrs. Baldwin indignantly shakes her off.
HARTMAN
What's the idea here?
POLICEMAN
This lady claims she was kidnapped.
HARTMAN
What?
MRS. BALDWIN
They dragged me all the way down the stairs —
HARTMAN
(points to Burns)
Just a minute. Did — did this man have anything to do with it?
MRS. BALDWIN
He was the one in charge of everything! He told them to kidnap me!
BURNS
(amazed)
Are you referring to me, Madam?
MRS. BALDWIN
You know you did!
HARTMAN
What about this, Burns? Kidnapping, eh?
BURNS
Oh, trying to frame me, eh! I never saw this woman before in my life!
MRS. BALDWIN
Oh, what a thing to say! I was standing right here — after the girl jumped out of the window.
HARTMAN
Did you get the Mayor?
DEPUTY
He's coming over.
BURNS
(to Mrs. Baldwin)
Now, Madam — be honest. If you were out joy riding, drunk, and got into some scrape, why don't you admit it, instead of accusing innocent people?
MRS. BALDWIN
You ruffian! How dare you say a thing like that?
HILDY
Please, Mother, he's just crazy!
MRS. BALDWIN
(to Sheriff)
I'll tell you something more. I'll tell you why they did it!
BURNS
Come on, Sheriff. We've got to get bail.
MRS. BALDWIN
I was in here — and they had some kind of murderer in with them. They were hiding him!
This is a bombshell. The room is electrified.
HARTMAN
Hiding him? In here?
Murphy, followed by the reporters, comes into scene.
MURPHY
Hiding him where?
HILDY
Mother!
REPORTERS
Where was he?… Where'd they have him?… Etc.
CLOSE SHOT BURNS AT THE DESK.
BURNS
Madam, you're a cockeyed liar! And you know it!
To emphasize his righteousness, he pounds on the desk three times, forgetting that that is his signal to Williams. Then, realizing what he has done, he gasps.
MED. SHOT
Burns advances from desk, the others retreating before him.
BURNS
Come on, Sheriff, we've got to get bail.
Three answering knocks come from the desk.
GROUP SHOT WITH DOORWAY IN B.G.
They jump around to face the desk.
HARTMAN
(whispering)
What was that?
REPORTERS AD LIB
He's in the desk! — For the love of — He's in there! Etc.
HARTMAN
Aha! I thought so! Stand back, everybody!
DEPUTY
Look out, Sheriff. He may shoot!
HARTMAN
Get your guns out!
The policemen and deputies get out their guns.
HILDY
He's harmless.
HARTMAN
Don't take any chances. Shoot through the desk.
HILDY
He can't hurt anybody. You've got his gun.
MRS. BALDWIN
(panic-stricken)
Oh, dear! Oh, dear!
BURNS
You gray-haired old Judas!
MRS. BALDWIN
Let me out! Let me out of here!
She streaks for the door, flings it open, and goes. The reporters tear out of scene to their telephones.
HARTMAN
(to policeman)
You stand there!
MURPHY'S VOICE
City Desk! Quick!
SCHWARTZ’ VOICE
Gimme the Desk!
HARTMAN
(to another policeman)
You there!
ENDICOTT'S VOICE
City Desk! Hurry!
MCCUE'S VOICE
Gimme Emil�
�
HARTMAN
(pointing with gun)
You cover the window.
MURPHY'S VOICE
Look out where you're pointing that gun!
The Sheriff draws his men in around the desk, their guns drawn on it.
WILSON'S VOICE
Lemme have the desk! Quick!
MURPHY'S VOICE
Hold the wire! I've got a flash for you!
BURNS
(to Hildy)
Call Duffy!
HARTMAN
No, you don't!
BURNS
(to Sheriff, furiously)
Do you want to get us scooped?
MCCUE'S VOICE
Emil? Hang on for a second.
HARTMAN
Now then, everybody aim at the center. And when I say three —
HILDY
That's murder!
HARTMAN
(changing his mind)
All right! Carl! Frank! One of you get on each side of the desk. Take hold of the cover.
They do.
HARTMAN
Now then! We got you covered, Williams. Don't try to move. Now! Everybody quiet and ready for an emergency. I'm going to count to three.
SCHWARTZ
Hold it! Something coming up.
HARTMAN
One!
ENDICOTT
Hold the phone!
MURPHY
(into the phone)
I'll have it in a minute.
HARTMAN
Two!
WILSON
(into phone)
Right away now!
HARTMAN
(turning back to desk)
Everybody ready? All right. Now then, up with it.
Two deputies raise the cover. Williams is revealed, cowering in the desk, his hands over his face. The Sheriff rushes on him, jabbing his gun into him.
CLOSE SHOT SHERIFF AND WILLIAMS.
HARTMAN
Got you, Williams!
WILLIAMS
Go on — shoot me!
For Discussion:
1. List each character in this scene. What is the dominant force acting on each character? Why is each character in this room at this moment? What does he or she need to accomplish before the scene is over? Why is it important?
2. Are there forces (other than the dominant force) acting on any of the characters? If so, what are they?
3. In what way do the dominant forces draw the characters together and compel them to interact with each other?
4. Do the forces acting on each character come into conflict? If so, where?
5. Who is the one character to exit the scene? Why does she leave? What shift in forces causes the exit?
LESSON 16: BEGINNER EXERCISE
1. Use the Yellow Pages or an Internet search to find a list of all of the businesses in your neighborhood. Select one of the businesses.
2. If possible, visit the business. Spend some time there. Get a feel for the place.
3. Brainstorm a list of people who would have a reason to be inside that business location. Who works there? Who are the customers? Who are the vendors? Who might be there by happenstance?
4. Select three people from the list. Write a three-to five-page scene between the three characters. Before you begin writing, come up with a dominant force for each character. The dominant force must be something that requires the character to remain in the scene.
For Discussion:
Review each scene with the group.
1. List each character in this scene. What is the dominant force acting on each character? Why is each character in this room at this moment? What does he or she need to accomplish before the scene is over?
2. Are there forces (other than the dominant force) acting on any of the characters? If so, what are they?
3. In what way do the dominant forces draw the characters together and compel them to interact with each other?
4. Do the forces acting on each character come into conflict? If so, where?
LESSON 16: INTERMEDIATE AND ADVANCED EXERCISE
1. Do steps 1 through 3 of the Beginner Exercise (above).
2. Select five people from the list. Write a five- to seven-page scene between the five characters. Before you begin writing, come up with a dominant force for each character. The dominant force must be something that requires the character to remain in the scene.
For Discussion:
1. List each character in this scene. What is the dominant force acting on each character? Why is each character in this room at this moment? What does he or she need to accomplish before the scene is over? Why is it important?
2. Are there forces (other than the dominant force) acting on any of the characters? If so, what are they?
3. In what way do the dominant forces draw the characters together and compel them to interact with each other?
4. Do the forces acting on each character come into conflict? If so, where?
LESSON 16: SOLO EXERCISE
1. Turn on the television to a random channel. Put the sound on mute. Ignore the people on the screen, just look at the set. What does the set look like? Where is it supposed to be? What kind of feeling does it evoke?
2. Use the set as a backdrop for a completely new scene with two completely different (and original) characters. Who are the two characters? What is the dominant force that has brought them to this place? Write three to five pages of dialogue.
3. Rewrite the dialogue three times. In each rewrite, add another new character. As you add each character, come up with a dominant force that has brought the character into the scene. Make sure that each character follows his dominant force all the way through the scene.
4. Repeat this exercise as an ongoing writer's workout.
TOM: Contradictions are what people are, bundles of contradictions, fighting them and working them out. And I refuse to be dictated to by your overly simplistic logic-chopping approach to life.
—Mick Gordan & AC Grayling (Grace)
LESSON SEVENTEEN:
Maneuvering Through the Scene
I
t is important to remember that the dominant force is not the only force acting upon a character. It is simply the strongest force. There are other forces in the mix. These forces can have as much impact on your story as the dominant force.
If the dominant force is the engine of drama, then all of the other forces acting upon a character are the traffic. They are the forces that the character must maneuver through, detour around, or steamroll over. They will slow the character down, press her forward, bend her path, or compel her to take an unexpected turn.
The joy of watching a play or film is the joy of watching a character maneuver through the competing forces of the script. Imagine the Indy 500 with only one car on the track. Imagine a basketball game with only one player on the court. The car might move. The basketball player might score, but neither of these would be very interesting to watch.
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