“Unravel the Secrets of ‘Carriage Hill’: A Screenplay That Turns Familiarity Into Unforeseen Thrills”
I’ve been thinking a lot about character this week and a common mistake we writers make when it comes to the creation of our characters. There are basically two types of characters in a script. There are the main characters, typically 2-3 in every movie. And then everyone else – the periphery characters.
What I’ve realized is that writers often do a good job with their secondary characters but a lousy job with the main ones – the reason being that a secondary character doesn’t have to be complex. Which allows the writer to create somebody with a much clearer identity. The school bully, the stuck-up judgmental wife, the aging mother who will never be happy until her daughter gives her a grandchild, the over-exerciser, the spiritual hippie.
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