How can I show my protagonist's weakness in the opening if...?

[harmonica44]

https://www.youtube.com/watch?v=N4O...A4&feature=iv&annotation_id=annotation_507339

John Truby says it's important in screenwriting to show your main character's weakness in the opening. However, in my script which is sort of a detective/revenge thriller, the main character is sort of a perfect person to begin with. He is a good detective, a good cop, he has everything going for him family, and career wise, and then half way through the story, when he gets too close in the case, the villains hurt him real good, which is why he wants revenge after. This happens at about the midpoint, as it's often called in screewriting structure.

My character is set up similarly to how Harvey Dent is set up in the Dark Knight. He is the perfect person, with no flaws, and has it all, until half way through, something bad happens to him, and his weakness is then introduced.

So if I must show a weakness in my opening, what could it be, if he is content with his life, until the loss at the midpoint?

 

[dahwws]

Your protagonist needs to have flaws, otherwise there's little room for character development or synthesis at the end of the story. Maybe he seems to have a perfect life, but on the inside he's missing something.

The difference between Harvey Dent and your character is that Harvey is a supporting character while your's is a protagonist. In the Dark Knight, Harvey serves as the idol of justice that Bruce compares himself to and sees as a solution to all the crime in Gotham, meaning that Bruce is no longer needed. In some ways, Harvey is more of a symbol then a character. It just wouldn't work for a main character.

 

[Alcove Audio]

When everything is "perfect" it doesn't stay that way for long, because the situation is fixed in place; there is no change or adaptability. That's your protagonists flaw, his inability to change and adapt. So show how small changes in his life very seriously and adversely throw him off his "perfect" routine and push him into out of character over-reactions.

 

[Sweetie]

How can I show my protagonist's weakness in the opening

By making a scene that does just that. Yep, it's really that simple. Remove your tin foil hat and get writing.

John Truby says it's important in screenwriting to show your main character's weakness in the opening

So if I must show a weakness in my opening, what could it be, if he is content with his life, until the loss at the midpoint?

Use your imagination.
Not every story requires this framework.

There's a well known rule in writing:
Rule #1: "There Are No Rules"

You have a tendency of taking information that was given in context and taking it completely out of context by trying to apply it in the wrong situations. I haven't studied Truby that much, though I suspect your lack of understanding is at fault in this case.

Your protagonist needs to have flaws

While this *CAN* be true, it's not true of all stories. It's not a catch-all rule. While it is possible, it's also difficult to create characters that are 3-dimentional if they don't have flaws. The story that H44 is writing, may not require this. He may be able to tell the first part of the story using stereotypes and rely totally upon plot to carry the story. You know. His very own melodrama.

My character is set up similarly to how Harvey Dent is set up in the Dark Knight. He is the perfect person, with no flaws, and has it all, until half way through, something bad happens to him, and his weakness is then introduced.

Is this a Tragedy or a Riches to Rags type story?

Don't take my word on writing as gospel. I'm relatively weak in this subject.

 

[laughingcrow]

A weakness could be something as simple as he's jumpy. For example: we're seeing him at work; his interactions, his decisions, his actions, etc ... all point to a guy who seems really together. But then he climbs in his car, starts backing out and he damn near jumps out of the car because he thought something or someone was in the backseat. This could later unfold into an entire former, hidden life as a ... spy, bad guy, different person altogether, now living under an assumed name - anything.

The thing is; you need to know all of that now before you ever start writing.

 

[harmonica44]

Okay thanks. It's a tragedy story. In the end he, has to make a decision as to whether or not he wants to become a killer out of revenge. He does, and ends up going to jail.

It's more of a riches to rags story. The Dark Knight is not the best example then. How about Point Break? Keanu Reeves is the main character in this case, and he is the perfect FBI newcomer. He scored 100% and is doing well on his first case, which is a big one. He doesn't become flawed until he meets his love interest and starts doing wrong or unfair things to win his case, because of her.

But his flaw is not shown till he meets her, which is not till near the end of the first act, or start of the second around.

 

[sfoster]

How does the character hurt him ??

Does he kill his family? Then his weakness is his love of family.

Does he ruin is shooting hand and he can no longer be a cop.. then his weakness is his love of the job.

 

[harmonica44]

He basically takes away his money and frames him for being part of a scandal. His love interest leaves him as a result, he is demoted forever in his job, and his life is ruined, at least according to him. So he wants payback cause of that. His cop friend is killed also and wants to avenge him as well. But before he is hurt, I don't have a weakness for him. The first half is mostly a detective story investigating the villains and trying to catch them before they kill their kidnapped, held for ransom hostage, sort of deal. I can't think of a flaw for him before he is hurt.

 

[Sweetie]

There are heaps of flaws you can use, but it doesn't matter.

The real question is: Is the story good?

If the answer is yes, then who gives a rats ass whether it sticks to some subset of writing rules?

If the answer is no, then who gives a rats ass. It's a bad story. It's not like writing rules are going to fix the problems.

How about Point Break?

I don't think Point Break qualifies to be either a tragedy or a riches to rags type film. To me, I'd say it's more like a quest type of story, but as I said, what do I know?

So are you asking how to do it, whether you need it, or just some excuse to shoot the breeze?

 

[FantasySciFi]

You miss the point, H44. Truby and other writers are talking about making your protagonist human, relatable. It doesn't necessarily have to be a major flaw. It could just be a bad day to which we all relate. It's about caring enough about the main character to follow them.

That's a very subjective, intangible quality in the art of writing. Not even master writers hit it all the time. Maybe you can play up his being perfect. Perfect until he hits that bump driving to work that spills his latte on his pants as he rushes to an important meeting. It also kind of plays into the theme of your film--bad things happen to good people. That one minute glimpse of how he handles his predicament in the car--does he curse? does he nearly hit something as he shifts his attention to mopping up while driving?--makes us both feel empathy (he's vulnerable and human) and creates a connection.

Everyone has flaws and it sounds like you develop this throughout the movie. At least you should. No man goes from boy scout to killer instantly. Each choice he makes should show how he wrestles with his conscience a bit more, struggling to retain his 'perfect' idea of himself. The Antihero's Journey is a challenge to write because changing your hero into a villain too quickly can feel heavyhanded if there's no emotional struggle. It's the small, seemingly inconsequential choices that erode your 'perfect attorney'. So that at the end, when faced with the big choice, he could walk away but he chooses not to and seals his fate.

So, when Truby says a protagonist needs a flaw, he means there needs to be something that causes a crack that can grow over time unless it's addressed. But often it's not seen or recognized until the crack has grown or spread. That's the drama.

 

[mlesemann]

FantasySciFi

he means there needs to be something that causes a crack that can grow over time unless it's addressed

This. Exactly.

Hint at and suggest a weakness that will cause problems later.

If, for example, his impatience eventually creates problems for him, you can show him not waiting for the microwave to finish. Or rushing the barber who is trimming his hair.

If it's vanity that causes problems, show him checking his reflection frequently.

Just little things that both show humanity and that you can make larger later.

 

[harmonica44]

You miss the point, H44. Truby and other writers are talking about making your protagonist human, relatable. It doesn't necessarily have to be a major flaw. It could just be a bad day to which we all relate. It's about caring enough about the main character to follow them.

That's a very subjective, intangible quality in the art of writing. Not even master writers hit it all the time. Maybe you can play up his being perfect. Perfect until he hits that bump driving to work that spills his latte on his pants as he rushes to an important meeting. It also kind of plays into the theme of your film--bad things happen to good people. That one minute glimpse of how he handles his predicament in the car--does he curse? does he nearly hit something as he shifts his attention to mopping up while driving?--makes us both feel empathy (he's vulnerable and human) and creates a connection.

Everyone has flaws and it sounds like you develop this throughout the movie. At least you should. No man goes from boy scout to killer instantly. Each choice he makes should show how he wrestles with his conscience a bit more, struggling to retain his 'perfect' idea of himself. The Antihero's Journey is a challenge to write because changing your hero into a villain too quickly can feel heavyhanded if there's no emotional struggle. It's the small, seemingly inconsequential choices that erode your 'perfect attorney'. So that at the end, when faced with the big choice, he could walk away but he chooses not to and seals his fate.

So, when Truby says a protagonist needs a flaw, he means there needs to be something that causes a crack that can grow over time unless it's addressed. But often it's not seen or recognized until the crack has grown or spread. That's the drama.

Okay thanks. What about the movie Cell 211 (2009), which is a tragedy. SPOILER

In that movie, the protagonist is an innocent prison guard who has done nothing wrong for the first half. Then when he finds out that another character has accidentally killed his wife in the hostage stand off, he then murders him in two minutes, after finding out. He went from hero to antihero in two minutes which was very quick.

Impatience was suggested before. I am wondering, why is it so hard to believe that a man can go from good family and career man, to vengeful psycho, after he was had his life taken from him? Is that so hard to believe for the audience, that a person can be hurt so bad that they will change who they are, without that person having an emotional weakness beforehand?

My antihero has more time though to turn from good to bad in the last half. He changes as the villain becomes more powerful during the struggle. However, since he is not hurt till after the first half through, I cannot think of how to have an emotional struggle, for the first half. I just don't have that crack so far, until he is hurt. He is just a detective doing his job for the first half. But I will keep looking for one.

 

[rayw]

Many protagonists are specifically written to have two primary motivators, one by their id, one by the superego.
Protagonist is overtly interested in maintaining the socially lower id motivated goal, but becomes "the better person" by the end of the story by choosing the superego motivated goal.

Want this. Need that.

Zack & Miri Make a Porno: They want money. They need each other.
Kung Fu Panda: Po wants to be strong kung fu master. He becomes insightful of master.
Top Gun: Maverick wants to be center of attention. He becomes good pilot.
Black Swan: Nina wants to please director. She becomes the black swan.
The Game Plan: Kingman wants attention. Kingman becomes good father.
Star Wars: Luke wants to join the rebellion. He becomes a Jedi.
Chronicles of Riddick: Riddick wants to avenge Jack/Kyra. He becomes Lord Marshal.
Mr & Mrs Smith: They want to do their jobs. They save their marriage.

Big want.
Good want.

Key component in establishing a character arc is to establish one belief only to relinquish it for a socially greater good.

Christianity 101.

Deny the body. Serve the soul.

 

[rayw]

How do you show it?

Replace his pride with understanding.
False humility with compassion.
Erred belief system with awareness.

 

[harmonica44]

Okay thanks. Well for the first half, before he is hurt, his motivation is, is that he wants to solve the case, and do his job. Then later, when justice is not served, after he is wronged, his motivation changes. He sees the system for what it is, at least to him.

 

[rayw]

Solving a case is not a weakness.

How he goes about it MAY divulge a character flaw weakness.

Is he cocky?
Is he arrogant?
Is he dependent upon intuition or evidence?
Is he a rule follower in spirit or to letter?

Does he make an active decision to change to become "the better" man/cop/father/husband during act 3?

 

[harmonica44]

he is not arrogant or cocky I would say. In fact he feels out of his element sometimes, but takes charge when he feels he is onto something. He is driven by intuition more, and he ends up breaking a rule, which costs him later. He searches a villain's trunk without legal permission after pulling him over.

However, a lot audiences members are not aware that that can be illegal without permission given by the owner, if you do not have probable cause. So any reader of the script, not familiar with that law, will not see it as a weakness, until it's revealed that he broke the law later, though.

 

[rayw]

Then this protagonist is a boring regular guy just doing his job.

Watch the movie 'Heat.'
Both Vince and Neal are regular guys doing their jobs.
Neither experiences any character arc.
The story is still entertaining.

'Beverly Hills Cop' - same thing, cop does his job, no weakness, no arc, still an entertaining story.


Just forget about having the weakness thing.

Cop does his job.

Story will be fine.

 

[mlesemann]

However, a lot audiences members are not aware that that can be illegal without permission given by the owner, if you do not have probable cause. So any reader of the script, not familiar with that law, will not see it as a weakness, until it's revealed that he broke the law later, though.

Just work its illegality & his casual (I presume) acceptance of the necessity to do it into the dialogue - perhaps when he's chatting with a colleague. Make it casual and collegial, not a huge point, but it's there for people who don't otherwise know.

 

[time2focus]

In the end he, has to make a decision as to whether or not he wants to become a killer out of revenge.

This is his flaw. If he doesn't already have some sort of vengeful spirit about him in the beginning than the rest of the story makes no sense. Also, if it's a true tragedy, then his flaw is what takes him down so it should be vengeance. It can develop over the course of the film. In the beginning, he can be very successful but also dissatisfied with the punishment received by someone he's brought down (or a few "someone's"). This dissatisfaction festers and he is tempted to act on it. Build from there. My two cents