How do I make a character, who's kind of shy, show his emotions?

Writing really is the study of human beings and how they express 
themselves. Every opportunity you can - EXAMINE (like a being from 
another world) how the humans that surround you express the vast array 
of emotions that color our daily lives.

You’re right, some people are withheld - 
the merest lift of an eyebrow says volumes about what's going on in 
their heads. Other are like fireworks displays - about everything; 
love, hate, happiness, boredom it all gets colored with some 
incredible display of emotion. The films that affect us the most are 
the films where the writer has created a VISUAL language that relays 
even the tiniest detail of a characters INNER landscape (emotional 
landscape) to us, the audience.

So, give some thought to the multitude of NON VERBAL bits of 
communication that are peppered throughout your day... your child 
opens it's arms wide for a hug when you come home; but doesn't SAY 
anything. Your boss merely crooks a finger in your direction and 
disappears into her office. You know you've been summoned. At a chai 
shop, a handsome fellow merely meets your eyes over the lip of his 
cup, which mostly hides his smile of acknowledgment.... you TELL ME 
what that means!!

Start cataloging in your mind the various ways people SHOW 
us every day what they're thinking... instead of using words. Do this for a 
month and you will be on your way to understanding one of the key 
elements of screenwriting. Show - don't TELL what the characters are 
thinking.

I hope this helps. And I do wish you luck with your screenplay . Let me know when you’ve completed your script. I’d love to read your work!

I want to write something completely different; not the same old 3 ACT structure!

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That desire to create something different is going to serve you well in the writing process; hang on tight to that.

But first, let’s consider a couple of questions. WHO IS YOUR INTENDED AUDIENCE for this film? Are you thinking yours would be an ‘art house’ crowd? Maybe you’re planning an experimental film? Or are you hoping for a mainstream distribution deal? The closer your intended audience is to the mainstream, the more thoroughly your story should be grounded in the standard 3 act structure; beginning, middle and end (or resolution).

Next, let’s look at your bias against the 3 act structure. It IS true some really terrible movies have been created within the context of this format. But WOW, what about the really inventive films that have also adhered to it? Films like Shakespeare in Love, Being John Malkovich, Juno, The Fall, American Beauty are all firmly grounded in the 3 act structure too. What gives?

Many beginning screenwriters lay some really BAD MOVIES at the feet of the 3 act structure. But writing screenplays is a lot like writing sonnets (you know, Shakespeare - iambic pentameter) in that it’s a strict format that can produce some absolutely timeless writing… like Shakespeare’s “Shall I Compare Thee to a Summer Day.” Or the really horrible piece I wrote my sophomore year in college. I had the format down pat, but Shakespeare would have rolled over in his grave.

Great sonnets, like great screenplays, challenge writers to search for a completely fresh aspect on a timeless theme - and then test their inventiveness in pouring their story idea into a ‘jug’ of specific proportions. The bad movies you’ve seen aren’t a result of the 3 act structure - but a result of the lack of skill or persistence on the part of the writer.

I hope this helps. And I do wish you luck with your screenplay - and let me know when you’ve completed your script. I’d love to read your work!

Writing, and espcially SCRENNWRITNG is all about making choices!

CHAPTER ONE of the Screenwriting Essentials Online Tutorial & workbook discuss STORY CONCEPT and idea.

From the very first IMAGE you see on the screen you are telling your audience what to expect in this visual journey they are about to embark upon with you. That first image is the first step on the journey. I always say that writing is about choices and your choices for telling your story start with that very first image. Make sure you're clear about what you're saying.

Every artist faces a similar decision making process whether it’s a oil painter, a photographer or you the screenwriter. Visually speaking, you compose each scene - you choose the location (what does it say) to the viewer? You choose the apparel of each actor (to some extent - what does that say?) You choose the WORDS they speak. What is going on beneath the words that actually come out of the actors mouth? Are they saying ‘I LOVE YOU, I love you... while they shower each other with trash from a nearby garbage can?

Now that doesn’t mean that you become a ‘control freak’ as a writer. You leave many, many choices to the director and the actor and the set designer and the locations manager. BUT, WHEN IT”S IMPORTANT to our understanding of the story or the emotional landscape of the heroine/hero you create concrete details in your cinematic story choices that make that clear.

There is a power and a responsibility in every story choice you make as a writer. With proper planning - you can learn to revel in the choosing - not be frozen in place - unable to act; or stymied with indecision.


I hope this helps. And I do wish you luck with your screenplay. Let me know when you’ve completed your script. I’d love to read your work!