![]() ![]() Now you have a visual, action-based scene that truthfully and clearly brings the audience through the internal conflict raging inside the character without having to write a bunch of shitty dialogue like… Then let Rebel Ester take over – and so on and so forth! Then let Obedient Esther take over, crawl back into the room and shut the window. Let Rebel Esther throw open the window and crawls onto the roof. You simply think of Esther as two different characters in this scene and let them take turns perusing their wants. But she also wants to be a good, respectable daughter and obey her parents. ![]() Two characters who have conflicting wants perusing those wants until one overtakes the other.įor example, let’s say Esther wants to sneak out and meet up with Anna. This is often a struggle for writers but if you realize that there are many sides to your character that are in contradiction with each other, you can simple treat the scene just like you would a traditional scene. So we must discover ways of externalizing the internal conflict of the character in a way that allows an audience to feel this decision and conflict without using a bunch of stupid words, voiceover or exposition. Often the conflict in a scene is not external but internal. But in a good script or novel, a character is making decisions all the time. Watching a character “decide” is boring as hell. I later realized no I do not have DPD, but this did lead me to one of my most powerful and effective writing tools for dramatists. I could feel when one of these personalities inside me took over but I didn’t seem to have control over it. I was a weird kid. I always felt like there were three of me The Innocent Child, The Business Mogul, and the Artistic Genius. When I was a kid I thought I had Dissociative Personality Disorder.
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