I had my first reading of my screenplay. After the reading was over, the person who read the main character told me they didn’t know who the character was.

My first reaction to that note was the actor would understand the character if they were a more careful reader. It was their responsibility to understand what I wrote rather than it being my job to write more clearly.

But I didn’t say anything. Just smiled and acted like I thoughtfully and professionally listened to their feedback. Over the years, I have learned to fake humble reception to criticism of my writing.

A few months ago, I had another reading. These were more serious people. These were Los Angeles people. We had an active, serious, Los Angeles discussion after we finished reading my screenplay. Across the board, they said they didn’t feel like they had a strong idea who the main character was. They didn’t know who they were at the start of the movie and they didn’t see much growth in what they did know about the character. In short, they were somewhat lost by what I had written.

I decided the reason they didn’t understand what I had written was it was the first time they had read it. If they had the screenplay to read over before the reading, they would have not been so disoriented by my writing.

But that can’t be right——people walk into movies all the time without having watched the movie the night before and they understand the movie just fine.

I thought back on what that first reader had said at the first reading. It was the same thing the second people said at the second reading.

Your main character is a mystery. Your main character is passive. Your main character is flat. Your main character doesn’t change.

I took the time to work on exposition and make sure the audience would know where they were, what was at stake, and why the story was unfolding as it did.

But even after I looked at all that, my main character was still reactive and listless, watching the other characters do stuff and then maybe having a response. They had no agency.

Still a mystery.

Sometimes, our main characters are so close to the heart of the author, they can’t see they are hiding themselves within their creation.

I couldn’t see that the character closest to me was the least developed character.

A blind spot.

I would not have my main character display problems, exhibit change, be vulnerable, or embarrass themselves.

Why is this happening?

I am the main character.

When I am the main character—-when I primarily identify with any character—–I am less likely to be transparent and truthful in their development. I am watching the world around me through the character but taking no action. Making no changes. Because I am scared to be vulnerable——to the audience and to myself.

This is an essay on making your protagonist better. It’s not about your own personal journey. It’s about a particular decision made by the writer to make their screenplay soar and become the compelling, brilliant story your audience watches movies for.

Audiences want characters that speak to their own fears and grief and dreams. To create a character that effectively delivers this internal emotional journey, the writer must reveal and invest their own capital of the soul. Consider sharing your own panic, your sadness, and joy when devising a deeper life for your character.

We must come to terms with the demands of truthful writing about people living their lives.”

While this task might prove quite uncomfortable and improbable for the writer to face, it is the solution to poor character development.

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