character Screenplays that rely on character vs plot?

[RealJasonBourne]

My friend wants to write a murder mystery teen drama type story.

The only thing is, to me the story doesn't have a hook. Why should anyone care about this person close to the protagonist being murdered and them trying to find out why?

Breaking Bad and Dexter both have immediate hooks and they almost write themselves.

So when you have a plot like this, does it all rely on the character being likable? What do you need to carry a show like this? What area needs to be focused on the most?


We have some small ideas for scenes/structure.

What needs to carry the hook here?

TY

 

[maz]

Without knowing the story it's impossible to know. A murder is a pretty good hook, and a friend (rather than the police) trying to investigate it is a nice spin on it.

Characters don't need to be likeable to be engaging though. Most of the best TV shows in the current 'golden age' (including the two you cite) depend on unlikeable protagonists.

But yeah, it's difficult to know if your story idea has a hook without knowing what it is!

 

[Sweetie]

What area needs to be focused on the most?

Both. While you can sacrifice either and get away with it, the best stories come when you intertwine both. It's like asking, what's more important, picture or sound? They're both important. It'll depend on your film to which either takes the lead or they're both equally important.

 

[Modern Day Myth Prod. LLC]

It's all in how you create empathy for your characters.

That comes with experience, both in writing and people you meet in your real life.

 

[Alcove Audio]

The formula is the "quirk", cast chemistry, intelligent writing, "stylized" direction/cinematography.

Diagnosed with terminal lung cancer, a chemistry teacher teams up with a former student to cook and sell crystal meth.

Yup, I definitely want to check that out!

Your friends character needs his "quirk" to drive him in the search for answers. The "quirk" also gives something immediately to the audience they can identify with or be horrified/curious. For example, the series "Hannibal;" I'm sure most of us can't identify with a serial killer, but it sure does hold a lurid fascination. (BTW, I'm curious where it goes next...)

 

[ahennessey]

I'll just expand on Alcove's great point.

Start to think of character and plot as inextricably intertwined.

In other words, your character becomes unique and interesting by the way he or she responds to or creates plot points.

Let's take a murder mystery like you've presented.

Think of the different ways the following characters deal with tracking down a murder mystery. Think about their personalities, their choices in tough situations, their method of questioning people, etc:

Axel Foley (Beverly Hills Cop)
Sherlock Holmes
Rhee Dolley (Winter's Bone)
Jake Gittes (Chinatown)
Sam Spade (The Maltese Falcon)
Virgil Tibbs (In the Heat of the Night)
Marge Gunderson (Fargo)
Brendan Frye (Brick)
Inspector Clouseau (The Pink Panther)
Ezekiel Rawlins (Devil in Blue Dress)
Miss Marple
Hercule Poirot
Leonard Shelby (Memento)
Harvey Keitel in Bad Lieutenant
Jeff Jeffries (Rear Window)

Remember, the audience in a murder mystery doesn't necessarily have to identify with or feel bad for the victim actually.

As Alcove pointed out:

What the audience naturally wants is the same thing your protagonist/detective wants - the TRUTH. Find a way to make finding out the Truth very important to your protagonist.

These reasons can be external: They are wrongly accused of the murder (Gone Girl, Presumed Innocent, The Fugitive), they are facing hardship if they don't find out (Winter's Bone).

Or the reasons can be internal: they feel they owe revenge to somebody (Beverly Hills Cop, Memento, Hamlet), they have a sense of duty or justice: (Fargo, Sherlock Holmes, Chinatown, The Pink Panther, LA Confidential.)

 

[RealJasonBourne]

I'll just expand on Alcove's great point.

Start to think of character and plot as inextricably intertwined.

In other words, your character becomes unique and interesting by the way he or she responds to or creates plot points.

Let's take a murder mystery like you've presented.

Think of the different ways the following characters deal with tracking down a murder mystery. Think about their personalities, their choices in tough situations, their method of questioning people, etc:

Axel Foley (Beverly Hills Cop)
Sherlock Holmes
Rhee Dolley (Winter's Bone)
Jake Gittes (Chinatown)
Sam Spade (The Maltese Falcon)
Virgil Tibbs (In the Heat of the Night)
Marge Gunderson (Fargo)
Brendan Frye (Brick)
Inspector Clouseau (The Pink Panther)
Ezekiel Rawlins (Devil in Blue Dress)
Miss Marple
Hercule Poirot
Leonard Shelby (Memento)
Harvey Keitel in Bad Lieutenant
Jeff Jeffries (Rear Window)

Remember, the audience in a murder mystery doesn't necessarily have to identify with or feel bad for the victim actually.

As Alcove pointed out:

What the audience naturally wants is the same thing your protagonist/detective wants - the TRUTH. Find a way to make finding out the Truth very important to your protagonist.

These reasons can be external: They are wrongly accused of the murder (Gone Girl, Presumed Innocent, The Fugitive), they are facing hardship if they don't find out (Winter's Bone).

Or the reasons can be internal: they feel they owe revenge to somebody (Beverly Hills Cop, Memento, Hamlet), they have a sense of duty or justice: (Fargo, Sherlock Holmes, Chinatown, The Pink Panther, LA Confidential.)

Thank you VERY MUCH!