What's the best way to balance character development and plot progression?

The premise is the plot, but the characters are the story, and both are imperative to a fully realized script. Save The Cat can be a great reference for this. The Beat Sheet tool can help keep the plot moving. Structure is freedom… If you can be sure to adhere to the plot points, it will provide you freedom between points to give the characters their own distinct voices.

Actually I would say the best execution of this is when the development and plot progression match the intended theme. This can be hard to achieve without being either too obvious or too vague. But if that mission is clear, then the character development and their goals should ultimately lead the audience to the moral discussion of the piece. For example, all of the development and plot for Rocky adds up to a theme of something like 'Can a man endure?' or more simply 'does he have what it takes to win?'

I try not to write films that feels like films. The strain is in writing about genuine life. I tend to start with a concept, and from there map the plot. Once I have that I begin to design the characters which becomes a journey in self-awareness b/c they reflect aspects of myself. My strongest characters are often designed around my leading flaws. From this approach, I reach a place of deeply knowing them and so now the question is... will they abide by the plot that I mapped for them or will they resist and take me in other directions. The plot has a destination (a resolution) and the characters have their own volition. Yet, they certainly need to get to that culminating point, and the means by which they travel there BECOMES the story.

I may be in the minority, but I love to create the character first then create the plot around them. I find that when I create a character who feels real, I can create a better story around them and their life. For me, a character can drive the progression of a plot, rather than trying to find the right characters to fit the plot. Again, it may be backwards thinking for some but this is my preferred method. I even do it with TV shows, find the character and create fun content around them!

Why spend time in explaining or building characters and wasting screen time? Rather, simply use the story to help the audience understand your characters through their actions

Nebenhandlungen und Nebenfiguren werden oft untersch?tzt, obwohl sie essenziell für die Charakterentwicklung und den Handlungsfortschritt sind. In der Heldenreise dienen sie als Gef?hrten oder Mentoren, wie Gandalf in “Herr der Ringe” oder Dobby in “Harry Potter”. Sie unterstützen den Helden, bieten Kontraste oder Konflikte und helfen ihm, zu wachsen und zu lernen. Nutze sie weise, um deiner Geschichte Tiefe und Vielfalt zu verleihen. Es gibt immer noch Platz für eine weitere Nebenfigur, auch wenn diese nur wenige Sekunden im Film vorkommt.

Employ subplots and secondary characters strategically to maintain a balance between character development and plot progression. Introduce subplots that run parallel to the main narrative, involving the supporting cast to add depth and reveal different facets of the main characters. Utilize secondary characters to facilitate growth, change, or learning experiences for the protagonists, incorporating contrast, conflict, or support based on their roles and relationships. These narrative elements enrich the story, fostering a dynamic interplay between characters and plot.

Subplots help in building the atmosphere and the world of the story they are crucial to establish realism and authenticity about where the story is set mostly used in long formats subplots keep the audience guessing and following the story from different perspectives which gives in-depth insights into different characters.

I believe subplots can be highly effective in the story-telling process. I enjoy subplots in some of my favorite movies, particularly subplots which add complexity to the overall story or that add humor in some way. I think some of the best subplots let the audience into another angle of the story. I understand this is a personal choice by the writer and often by the director, but I love them when used properly.

Deine Dialoge sind schon gut, aber sie k?nnten noch besser sein, wenn man auch etwas sieht, was lustig ist. Denk mal an die alten Filme von Charlie Chaplin oder Buster Keaton. Die hatten keine Dialoge, aber wir müssen trotzdem einen Sixpack lachen, weil sie so lustige Sachen machen. Heute gibt es viele neue Filme, wo nur geredet wird, um Witze zu machen, aber niemand macht wirklich lustige Dinge. Es ist besser, wenn man beides hat: gute Gespr?che und lustige Dinge, die man sehen kann. Beispiel für die meisterhafte Verbindung dieser beiden Elemente ist der Regisseur Edgar Wright mit Filmen wie “Shaun of the Dead” und “Hot Fuzz”. Lass den Zuschauer nicht einfach nur h?ren. Nimm sie mit auf eine emotionale Achterbahnfahrt.

Watch the opening scene to the movie Up, which showcases the use of "show, don't tell". No words or voice, just a montage of the couple falling in love and growing old together. It lays out a story and makes you connect emotionally aka cry uncontrollably for five minutes.

Though "Show, don't tell" seems to be a very popular mindset, after watching and researching how stories are told in Japan, specifically anime, I've come to view this very differently. While over exposition can be harmful to the overall plot, sometimes exposition, characters going on tangents and talking about certain things rather than an audience "seeing" it can elevate how a character has evolved, and changed; how they ultimately view certain things. Dialogue, when written engagingly and dynamically, can be a great tool and asset to use to balance character development and plot progression or world-building.

A look. A smile. A wink. A tear. When George Bailey sees his brother walk in at the end. The look on his face. Shows it all. When Sally proves Harry wrong in the diner. lol. A great show. But dammit…every once in a while, a good “speech” is grand. Bogie could’ve just handed her the papers and walked away in Casablanca. But who in hindsight would wanna see that version? No, Rick tell me why she’s getting on that plane, dammit.

Embrace the principle of "show, don't tell" to enhance the balance between character development and plot progression in your film. Utilize visual and auditory cues over dialogue or narration to convey information, emotion, and meaning. Enhance dynamism, engagement, and immersion by expressing characters' feelings through facial expressions, body language, or actions, avoiding explicit verbalization. Similarly, reveal plot points through images, sounds, or symbols instead of relying on explicit verbal exposition. This approach fosters a more compelling and immersive cinematic experience.

This is extremely important. As fictional content has developed over the last century, it was bound to hold on to stereotypes, especially from eras we look back upon in disgust. Be original in your character development. This becomes extremely evident as your audience learn about your character’s motivations and challenges. With every character I’ve written, I always complete a 35 question questionnaire where I take on the character. I answer as if it was them. I then take a moment and look back at it after a few days. Allow your character to be built around their characteristics and personality. Don’t start with a slugline that describes your characters race etc because I’ve felt that will only lead you into cliches. Happy writing!

If you must cliché for the lack of something original, change one word to a common cliché. Eg. "Goes to show you" "Shows to go you"

I have mixed feelings on this. Stereotypes can guide the way, but they get boring quickly. Think about all the people you've met who end up being boring because you can so easily predict their opinions...

Once you employ a classical plot structure or a beat sheet, you are already within the realm of clichés — let's admit it. I see nothing wrong with using clichés; the key is to use them judiciously, finding the right balance. Clichés are about meeting the expectations of the viewer, making them a great instrument to play around with, as long as it's done in moderation. Everything depends on the context. Playing with stereotypes and turning them upside down at the right moment is a valuable tool. Why avoid it? I prefer to use every color on the palette if it fits my picture, so to speak.

Have a diverse creative team, listen to feedback from a variety of sources, and continuously challenge your own assumptions and biases. Avoid common storytelling tropes and character archetypes by introducing original elements that subvert expectations. It is crucial to conduct thorough research on the cultures, communities, or characters being portrayed, striving for a deep understanding of their nuances. Consult with others, especially individuals from specific backgrounds to ensure accuracy and cultural sensitivity -even collaborate with them. By approaching filmmaking with intention, empathy, and openness, you can create narratives that are authentic, respectful, and inclusive. And on a final note; No one is 100% evil or 100% good ;-)

Ideally, your main character's arcs, their wants, and needs should align with the inner logic of your story. A great example of this is Queen's Gambit. In short, the inner logic of the story is that drugs and alcohol help the main character excel at chess. (spoiler alert incoming) but when she experiences that she can replace this with friends and love that she lost (that caused her to use drugs) it all ties up so well

Yes! I would only add that I think plot should, as far as possible, emerge from the tension between the desire and flawed action of the characters. The more that plot is essentially reaping what you so sow (good/bad/funny/sad) the more it’ll be inextricably linked in the minds of the audience to their feelings for the characters. Make character the writer of the plot.

Using a Framework for the project with readily available character summaries for main character and having a definate story concept help me stay on track. If I plan to do something that I question, I refer back to these documents. If what fits the overall story and character great. If not then it may be someone else's story we need to tell or maybe it's for a different show.

Evitar que a história fica sem pé e sem cabe?a! A pior coisa é ver algo e se decepcionar. O enredo tem que ter come?o, meio e fim, mesmo que o filme seja divido em partes, como o filme "O Senhor dos Anéis".

Maintain balance between character development and plot progression by prioritizing consistency and coherence. Ensure that characters and plot adhere to the established rules and logic of your film's world and genre. Foster a sense of believability, satisfaction, and impact by avoiding plot holes, contradictions, or inconsistencies that may confuse or disappoint viewers. Strive for a seamless integration of characters and plot elements, creating a narrative that resonates with clarity and authenticity.

I like to map it out. I think of it as cake where you keep adding layers. I come from animation where this is very much the process. With each layer, it adds to the story, the world, and the characters. And I believe this is why animated stories are considered so well told. Where I start is defining the idea. I do this because in my case I want to create story concepts that make people DO something. (In my case currently that DOING is playing) I start by defining the inner logic and make sure I integrate play types into that logic. When that is done I then look at what characters would be the best to perform it, what world would help with that, and lastly what objects and tools do they need to do it.

Remember that locations can be characters. Sometimes leaning into navigating the spaces, cities and times they’re in can help with character development.

Der gr??te Trick für ein ausgefallenes Drehbuch! (Das habe ich aus der Masterclass von Spike Lee. :) Jedes Mal, wenn ich eine Idee für eine Szene habe, schreibe ich diese auf eine Karteikarte und lege sie in meine Box. Es sind Szenen, Dialoge, Voiceovers – alles, was mir gerade im Kopf herumschwirrt. Schreibe immer nur eine abgeschlossene Idee auf eine Karte. Nutze überschriften für eine schnelle Einordnung. Motiviere dich, jeden Tag mindestens eine Karte zu füllen. Wenn man genug Karten hat, hat man eine gro?artige Grundlage, um ein neues Drehbuch zu beginnen. Man bringt die Karten in eine sinnvolle Reihenfolge; einige werden es nicht in den Film schaffen, aber das ist nicht schlimm. Funktioniert für Filme, Werbespots, Imagefilme ...

Outline your acts, and know your ending. But don't be glued to them or be afraid to veer. Some of the best ideas come out organically while you are writing according to your outline but suddenly discover something when you are in the midst of your character's journey. These are the most rewarding times and you feel as though your story is writing itself.

It took me a while to realise that getting a final bit of work to 100% perfect often isn't worth the stress or the extra time input especially true if you're a perfectionist.