Screenwriting Notes

In screenwriting, understanding the difference between a character’s wants and needs is crucial
for crafting emotionally compelling stories. A character’s want refers to what they actively
pursue in the external world. These are concrete goals that drive the plot forward, such as finding
a missing person, winning a championship, or solving a mystery. In contrast, a character’s need
is more abstract and internal,it’s what they subconsciously crave on an emotional or
psychological level. These needs often reflect universal human experiences like the desire for
love, respect, or belonging, and they shape the deeper themes of the story.

Wants are typically tangible, specific, and measurable. They help make the story unique by
giving the protagonist a clear objective. For instance, a housewife might want to find her missing
daughter, a boxer might want to fight the world heavyweight champion as seen in Rocky, or a
detective might want to catch his wife’s killer. These goals are visually clear and create narrative
momentum. On the other hand, needs are tied to the emotional core of the character. They are
often more universal and relatable,for example, a baseball player may need his father’s approval,
a housewife may need to feel loved by her family, or a toy might need to feel a sense of
belonging, as seen in Toy Story. While these needs are not always stated openly, they resonate
deeply with the audience and reflect the character’s inner journey.

The dynamic between wants and needs is what gives depth and emotional power to a screenplay.
A well-crafted story often involves a conflict or tension between what the character thinks they
want and what they truly need. This contrast drives character development and allows for
meaningful transformation. For instance, a character might achieve their external goal only to
realize that it doesn’t fulfill them emotionally,highlighting their unacknowledged need.

Screenwriters can apply this concept in practical ways. First, it’s important to make the
character’s want visible and clear so that the audience can follow their journey. Next, identifying
the emotional need and tying it to the story’s theme ensures that the narrative resonates on a
deeper level. A successful screenplay balances unique wants, which make the story distinct, with
universal needs that emotionally connect with viewers. Additionally, leveraging the conflict
between want and need can add complexity and realism to the characters and their arcs.

Ultimately, the mastery of wants and needs allows a writer to tell stories that are both engaging
and emotionally rich. While the want drives the character’s actions and plot progression, the
need shapes their transformation and the story’s message. When these two elements are in
harmony, or better yet, in tension, the result is a compelling and memorable narrative.
 Understanding Screenwriting: Idea, Premise, and Theme

Screenwriting combines the visual storytelling power of the screen with the emotional and
narrative drive of a play. At its foundation are three essential elements: the idea, the premise, and
the theme. The idea is the spark that begins the writing process,it might be a “what if” question
or a scenario inspired by real life, personal experiences, or even fairy tales. This idea must be
strong and interesting enough to carry an entire story.

The premise builds on the idea and answers the question: “What is the story about?” It includes
the main character, the situation they’re in, and the central obstacle or conflict they face. A good
premise is clear, specific, and presents the core conflict that drives the plot. Meanwhile, the
theme is the deeper, often unspoken message of the story. It reflects universal human
experiences and emotions, such as love, redemption, identity, or courage. The theme becomes
clearer as the plot unfolds and the character evolves.

These three elements are deeply interconnected. The idea inspires the premise, the premise sets
up the story’s conflict, and the theme emerges through the resolution of that conflict. For
example, in The Shawshank Redemption, the idea is of an innocent man imprisoned for life; the
premise follows his quest for redemption and escape, while the theme explores hope, friendship,
and the resilience of the human spirit.

Character, Plot, and Structure

A screenplay’s emotional impact relies heavily on character. Each character has three sides:
professional, personal, and private. These aspects help shape believable, multidimensional
personalities. A strong character also undergoes change, which is known as a character arc.
This arc might be transformational, where a regular person becomes a hero (like Harry Potter);
a positive change arc, where the character learns and grows (like Scrooge in A Christmas
Carol); or a negative change arc, where the character descends into darkness (like Michael
Corleone in The Godfather or Walter White in Breaking Bad). There are also flat arcs, often
found in action films, where the character remains largely unchanged (like Indiana Jones).

Plot refers to the sequence of events that unfold in the story, driven by the characters’ decisions,
goals, and conflicts. It is the backbone of the screenplay. While the story answers “who, what,
and where”, the plot answers “how, when, and why”. A screenplay’s structure is typically based
on the Three Act Structure:

●​ Act 1 introduces characters and the world, leading to an inciting incident and a first major
turning point.
●​ Act 2 shows the character struggling, facing rising tension and complications, ending in a
low point or crisis.
 ●​ Act 3 resolves the conflict through a climax and conclusion, where the character often
changes or realizes something important.

Conflict and Tension

Conflict is at the heart of every great story. It arises when characters’ goals clash with
obstacles,internal or external. Internal conflict occurs within the character, such as emotional
struggles or moral dilemmas. External conflict pits the character against outside forces like
another character, society, nature, supernatural elements, or technology. These conflicts create
the drama and stakes that engage the audience.

Tension, on the other hand, is the emotional suspense of not knowing what will happen next. It
can be built through foreshadowing, time limits (a ticking clock), and internal character
dilemmas. For instance, Shakespeare’s Hamlet is full of tension due to the prince’s self-doubt
and indecision. Conflict and tension work together,conflict is the action, while tension is the
anticipation.

Wants vs. Needs in Character Design

One of the most powerful storytelling tools is the contrast between a character’s want and need.
A want is an external goal the character believes will make them happy,such as fame, love,
revenge, or power. This want usually ties to an internal wound or flaw. However, the need is
deeper and emotional: it’s the truth the character must accept to grow. While wants drive the plot,
needs drive the emotional journey and theme. Often, the character only gains inner peace or
transformation when they let go of their want and embrace their need. This contrast lies at the
soul of effective character arcs.

Film vs. Series Writing

Lastly, it’s important to note the difference between writing for films and series. Films tend to
focus heavily on a tight plot and a single arc. Series, in contrast, rely more on character
development and world-building, allowing for longer-term arcs and deeper exploration over
multiple episodes or seasons.

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rewritten into clear, fluid study notes:
 Tension, Conflict, and Character Motivation in Screenwriting

Tension and conflict are two essential components of compelling storytelling. While they are
closely related, they serve distinct narrative purposes. Tension refers to the feeling of suspense
or unease,like the sense that something ominous is about to happen. It builds anticipation in the
audience and keeps them engaged until the resolution. Writers often use techniques like
foreshadowing, time constraints (e.g., a ticking bomb), and internal conflict to create layers of
tension. For example, in Hamlet, Shakespeare portrays deep internal conflict through the prince’s
paralyzing self-doubt and hesitation, which sustains tension throughout the play.

Conflict, in contrast, is the visible clash of opposing forces,whether it’s character vs. character,
character vs. society, nature, or even technology. While tension often simmers beneath the
surface (like an unspoken rivalry), conflict erupts into action, such as an argument, battle, or
desperate attempt to survive. In simple terms, tension is the suspense of what might happen,
while conflict is the actual event when things go wrong.

In character development, understanding the difference between a want and a need is key. A
character’s want is something they desire,an external goal they believe will bring happiness or
solve their problems. This could be something lighthearted, like becoming prom king, or more
dangerous, like world domination. However, this want is usually just a surface-level attempt to
heal a deeper emotional wound. It’s like putting a band-aid on a deeper, internal problem.

The character’s need, on the other hand, represents their path to true growth. It’s the internal
realization or truth that they must accept to overcome their emotional struggle. This could be a
moment of self-awareness, emotional healing, or even a complete spiritual transformation. Often,
the character must sacrifice their original want to fulfill their need. This trade-off leads to
genuine character growth and emotional payoff for the audience.

Writers also use storytelling techniques like foreshadowing and set-up & payoff to build
narrative structure and impact. Foreshadowing involves planting subtle hints about future events
to create suspense or thematic unity. For instance, in Titanic, early claims about the ship being
“unsinkable” foreshadow its tragic end. In The Godfather, the appearance of oranges subtly
signals approaching death or violence. Similarly, in Get Out, a conversation about deer hits
reflects the protagonist’s trauma and hints at the film’s climax.

Set-up and payoff is a structural technique where something introduced early becomes
important later. It creates narrative cohesion and audience satisfaction. In Back to the Future,
Marty’s early skateboarding scenes pay off during key chase moments. In Parasite, a mysterious
scholar’s stone first seems symbolic but ends up becoming a literal weapon,surprising the
audience with a powerful payoff.
When comparing film and TV writing, the key difference lies in focus. Films emphasize plot:
they follow a tight structure with a beginning, middle, and end, and focus on high-stakes
protagonists. Films aim to tell a complete, visually compelling story that delivers closure. TV
series, however, focus more on character and world-building. They explore long-term
character development, layered subplots, and evolving relationships over multiple episodes or
seasons. A show like Breaking Bad, for example, thrives on the gradual transformation of
characters and the tension between status quo and change.