Mistake #15 – Too many characters!
After consulting on a script last week, the writer asked me, “Is there anything in my script that screams amateur?” I found that to be an interesting question. As writers, avoiding that amateur status is a must. No one wants to cluelessly show up to their first hockey practice wearing a football helmet. Now the truth is, the best way to shake off all the amateur mistakes is through good old fashioned practice. But we at Scriptshadow are committed to speeding that process up.
So today, I’m going to list the top 21 amateur mistakes I encounter. If I see any of these in a script, I know I’m dealing with an amateur. But instead of listing them for you in order of frequency, I’m going to list them in order of importance. So the number 1 mistake is the absolute WORST amateur mistake you can make. The number 2 mistake, the second worst, etc., etc. Oh, and because I love you guys so much, I’m going to give you 21 little mini-solutions to these mistakes. Are we ready? Let’s do it.
1) Bad Concept – Boring, uninspired, and drama-less movie ideas are the most crippling mistake you can make as an amateur. Your script is dead before the reader has even made it to the first word of your screenplay.
Solution – Always field test your ideas. Go off the energy of the reaction rather than the words. If someone looks and sounds excited after you give them the logline, it’s a good idea. If someone acts reserved, confused or polite, it probably means they don’t like the idea, even if they say they do. Of course, get different opinions. No idea is universally loved.
2) Passive/Reactive Protagonist – If your hero is not actively pursuing something in your script, that means he’s sitting around waiting for things to happen, which means your story is probably waiting around too. There are some movies that don’t have big goals driving the story, but they’re often niche material and they’re often not very good.
Solution – Make sure your hero always has a goal at every point in the story. If they achieve one goal, give them another.
3) Cliché – Everything from the characters to the scenes to the plot points are stuff we’ve already seen in other movies.
Solution – Stop using choices you’ve seen from other movies. If you’ve seen one of your characters in another movie, change him. If you’ve seen a scene before in another movie, don’t use it. You won’t always succeed, but you should at least try to come up with a fresh take on every choice you make.
4) Lack of effort – Nothing seems very well thought through. Scenes feel empty and rushed. Even character names seem flat (Bob, Joe, Bill). You get the sense that the script was written in a week with the writer never once questioning any of his choices.
Solution – If you want to compete in the big-leagues, you have to bring your A-game. Think through as much of your story as possible before you write it. And always question your choices while you’re writing it. Ask yourself, “Can I write a better scene here?” If the answer is yes, re-write the scene.
5) Thin characters – None of your characters has any depth. They lack flaws, backstory, a compelling worldview, anything interesting to say, or any sense that they existed before they first appeared in your script.
Solution – They’re annoying as hell, but write a 3000-5000 word backstory for all your major characters detailing their life from birth until present day. The more you know about someone, the more real they’ll appear on the page. Also, every person on earth has one major flaw holding them back (even you!). Figure out that flaw in your characters, and make sure it keeps getting in their way throughout the story (if your hero is selfish, keep giving him opportunities to be selfless).
6) No drama – There’s very little conflict, obstacles, or choices that anyone in your story has to deal with. Things are handed to your hero without him having to work for it. Scenes often consist of agreeable characters talking agreeably.
Solution – Start every scene with an imbalance. Someone wants something and the other person doesn’t want to give it to them. That’s not the all-encompassing answer to creating drama, but it’s a start.
7) Unnecessary scenes – Amateurs love to include scenes that have nothing to do with the story. They figure as long as their characters are talking about something, it’ll be “entertaining.”
Solution – Figure out what your hero’s main goal is (defeat the terrorists). If you’re writing a scene that isn’t necessary to your hero achieving that goal, it’s probably not necessary.
8) Slow first act – A close cousin to the above, writers use two, three, even four times the amount of scenes they need to set everything up. They think they’re “adding depth” by building up their world, when in reality, they’re boring the reader, who’s getting impatient because nothing’s happening.
Solution: Things always need to happen faster in your story than you think they do. Move that exciting plot point from page 30 to page 15. Move your big midpoint twist from page 60 to page 45. Get to the good parts sooner, then create more good parts. You’ll thank me.
9) On-the-nose dialogue – Characters say exactly what they’re thinking all the time, leading to predictable and boring dialogue.
Solution: In general, people hide their true thoughts behind facades. The happiest person is sometimes the saddest on the inside. The person who’s the nicest to you may be the one always talking behind your back, or seeking something from you. Always remember that when you write dialogue. There’s usually a hidden agenda.
10) No stakes – Nothing really matters in your story. Your characters will end up in relatively the same position whether they succeed or fail.
Solution – Make sure there’s always something on the line for every character in the screenplay, not just in the overall story, but in each individual scene. The more that’s on the line, the more intense your story or your scene will be.
11) Telling instead of showing – Given the choice between telling the reader something, (“Hey Joe, I heard you’re the best realtor in the state,”) or showing them (a scene where Joe convinces a family hell-bent on not buying a house to buy it) the writer almost universally chooses to tell it. Hence, their script is full of talking heads instead of action.
Solution – This one’s easy. Every time you need to tell the audience something important about your plot or your characters, you’re not allowed to let your characters say it. You have to come up with a way to show it through action instead. Finding the right “show” scene is one of the most rewarding feelings in screenwriting.
12) Lack of clarity – This is one of the hardest ones for an amateur writer to catch because it’s completely beyond their realm of understanding. They don’t yet know how much information to give the reader, so usually border on too little. So the reader’s always confused about what’s going on. These scripts can be mind-numbing to read.
Solution – It’s a bitch finding someone who will do this, but the only way to really nip this in the bud is to have a “clarity” reader, someone who reads your script for clarity issues. After they’re finished, quiz them on all the major plot points and characters. See if they understood everything. If they didn’t, find out why.
13) A wandering second act – Everything seems to be going well at first, but as soon as the writer hits the second act, the script falls off the rails and becomes an unfocused mess.
Solution – Remember, character goals are your friends. As long as your protagonist is going after something important, your script will have direction. The second he isn’t, your script is going to lose steam. Once again, if a goal is met, replace it with another one, preferably one bigger than the last.
14) No urgency – Nobody seems to be in a hurry to do anything. While not as crippling to a screenplay as no goal or no stakes, a script without urgency starts to feel slow and unimportant.
Solution – Even in an indie film, the idea is to always have something your characters are trying to do, and preferably something they need to do quickly. “Quickly” can be relative, but in general, it should feel like your characters are running out of time to do whatever it is they’re trying to do.
15) Over-description – The reason why you see a lot of over-description (“The cool grass nuzzles up against packed dirt as a hulking boot plunges down on the oxygen-dependent blades”) is a) because most new screenwriters write as novel-readers, since that’s the only kind of writing they’ve read up until this point and b) because they want to impress you with how many words they know. Neither is a good thing.
Solution – During important moments (an important character, an important location, an intense scene) that’s when your description should be a little more colorful. Otherwise, keep it simple and clear. It’s a screenplay and meant to be read fast.
16) Too many characters – The writer just keeps introducing them. Every new scene has another character or two. And they actually expect the reader to remember all of them!
Solution: Ultimately, your story will determine the number of characters you include. I read a script last week with 4 characters. I read a script yesterday with 15. Just remember that you usually don’t need as many characters as you think you do. Try to combine or cut characters if possible. Use the extra script time you gain to develop your main characters. If you have over 20 named characters, you probably have too many.
17) Plot is unnecessarily complicated – Amateurs love to make things way more complicated than they need to be. Lots of plot twists. Triple-agents. The guy who works for the secret guy who works for the secreter guy. Complex plots are actually great when done well, but the amateur doesn’t yet know how to navigate these tricky waters. They’re still learning. So it’s a little like watching a 4 year old try to skate an Olympic freestyle routine. Sure, you’re really rooting for them. But after they’ve fallen down five times in a minute, you don’t want to watch anymore.
Solution – Your plot will be determined by your story. Chinatown is going to have more plot than Paul Blart: Mall Cop. But in general, your plot should be simple. Any complexity should be saved for your characters.
18) Terrible use of exposition – Characters talk endlessly about the plot and each other’s backstory, and there’s no attempt to hide this exposition at all.
Solution – However much exposition you think the audience needs, divide that by four. That’s how much you’re allowed to give them. Therefore, find the 25% of your exposition you believe is the most important, and hide it throughout your script in parts.
19) On the nose characters – This usually goes hand-in-hand with on-the-nose dialogue. This includes characters who act and talk exactly how they look. A big muscly guy who has a big burly Brooklyn accent. A small nerdy guy who loves computers. The hot girl is, of course, a bitch. The old hag who lives next door is a giant meanie.
Solution – A form of on-the-nose characters can be okay (by “a form” I mean still adding a twist to them. A meathead can still talk like a meathead, but maybe has some unexpected trait, like he loves cats). But mix in these on-the-nose characters with off-the-nose ones as well. The nerd who’s a stud with the ladies. The basketball star who’s a quiet recluse. The company CEO who’s a jokester. This is one of the easiest ways for me to spot a writer who knows what they’re doing, the ones who create off-the-nose characters.
20) Way too much mindless action – Amateur writers often mistake “something happening” for “lots of action.” But if we don’t know why the action’s happening or know the characters who are in the action well, we won’t care. Check your favorite action movies. Write down the ratio of scenes with action to those without action. You might be surprised at how many non-action scenes there are.
Solution – Put more emphasis on character development instead (putting your hero in situations where his flaw is challenged. So if your character is anti-social, make it so he has to go to a party). That way, when we get to the action scenes, we’ll care more, since we’ll know your characters better and care whether they survive.
21) Spelling/grammar – You might be surprised that this one is so low on the list. But I’d rather have all the things above than good spelling. With that said, bad spelling and bad grammar usually go hand in hand with everything else here. Once people start taking all that other stuff seriously, they take more pride in their presentation.
Solution – Get a proofreader. Either here with us, with someone else, with your friends, family, whoever. But if you want to be taken seriously, your work has to look professional.
