StoryNotesNewsletter

ISSUE #16:


(This is a continuation of the
article which began in Issue #15; see
the online archive at yahoo-groups if
you did not receive or save Issue 15:
http://groups.yahoo.com/group/StoryNotesNewsletter)


PART 2 (OF 4):


IN ADDITION TO THE EXTERNAL DESIRE,

CONSIDER THE


* * * I N N E R N E E D * * *


THE DEPICTION & EXPRESSION OF THE NEED

How is this need depicted onscreen? It can vary
greatly. Sometimes the need is quite obvious, sometimes
it's far more subtle. It can be a powerful need, vitally
important (or nearly so). Or it can be something that would
not doom the character to abject misery if unfulfilled, but
would be beneficial and lead to a better, happier life.
Sometimes it's never directly mentioned. Other times, it's
referred to, or even discussed, briefly.

First, let's reconsider the origin of the need -- how
much of this is revealed to the audience?

Sometimes, the origin of the need is not made explicit
in the onscreen story. When that is the case, generally the
reasons for the need can be at least partially inferred. In
E.T., Elliott craves companionship. Why? Well, he feels
picked on and left out by his older brother and his
brother's friends. His father is no longer part of the
family. It's not spelled out, but we sense the need, and
its origin.

Even when its origins are largely unexplained, the
writer should know them, in order to write the character
more believably, and to understand the character better.
But usually some hints will be given.

And sometimes, as in the opening of VERTIGO, or the mid-story
flashback in CASABLANCA, the origins of the need are
actually depicted. But that's rare.

More often, some clues are given, and the audience, upon
reflection, can make some reasonable deductions as to the
nature of the need and its origins. For instance, why does
Dorothy in THE WIZARD OF OZ long for a magical land, safe
and colorful, far away from Kansas? We aren't told in so
many words. But she lives a (to her) grim existence on a
farm (numerous and mundane chores, dangers from twisters, a
hardscrabble existence). At some time in the past, she lost
her parents -- we don't know exactly when, how, or why, but
we know it happened; she lives with her aunt and uncle. And
there's a nasty and somewhat wealthy neighbor who wants to
take away and destroy her beloved pet. We get it. We don't
need to have it spelled out.

So the origin of the need may be made known to the
audience, or it may be merely implied, and the audience will
infer it.

The same is true for the need itself.

For instance, Rose's need for freedom and self-expression (two
intertwined needs) are clear but not
belabored in TITANIC. It's depicted visually and through
actions, but it's not discussed in the dialogue.

In some movies, the need is less obvious. It may take
some time and thought to identify it. But as we watch the
film, we nonetheless *sense* it. And it still fulfills its
functions of adding motivation to the goal, and/or a reason
for the flaw, and sometimes affecting the character's
attitudes and moods.

Even in movies where the need is fairly (or very) clear
and obvious, there will be many sections where it doesn't
seem to be pertinent, where its presence isn't noticeable.
And of course, this is the case throughout in a film where
the need is subtle, or subtly depicted. But in both cases,
the need continues, if subtly, to affect the story --
because the need affects the pursuit of the goal (usually by
adding additional motivation toward its achievement). And
it is often the origin for the flaw. And it can affect a
character's attitudes and moods.

So even when its presence isn't noticed, the Inner Need
is still functioning much like subtext -- it's alive and
active, but beneath the surface. It's rather like a
computer program running in the background. We don't see it
at the moment, but it's still on and operative. Or like an
undercurrent beneath a river's surface.

The need's impact on the character is usually different
at the beginning of the story as opposed to how the
character behaves once something that might lead to the
fulfillment of the need occurs. And the character's
awareness of the need may also change as the story
progresses. Finally, anyone or anything that seems likely
to supply the need, will become a powerful attracting force.

Before we examine these concepts, let's return for a
moment to those two very different films, TITANIC and THE
WIZARD OF OZ.

In both cases, something is missing from their lives.
For Dorothy, it's some of the magic, fun, and safety that
the best childhoods contain. For Rose, it's the ability to
assert her own will and fulfill her innermost longings --
the freedom to be herself.

In those two stories and many others, the Inner Need is
something -- situational and/or internal -- that is not only
lacking in their lives, but which is longed for, even if
subconsciously. Quite often, the character is not fully
aware of his or her Inner Need. And when they are, they
generally don't fully appreciate its importance and
relevance to their behavior and to their emotional state.

This missing quality is almost like a void, a vacuum,
that seeks to be filled. And thus, without realizing it,
the person is drawn to situations, persons, opportunities,
even problems that might lead to the fulfillment of the
need.

The unmet need creates a general desire for an emotional
state or a quality in life that is missing -- such as for
adventure, to feel worthy and important, to trust those who
have proven worthy of trust, to find meaning for one's
existence, or one of the other states or conditions
mentioned earlier: self-esteem, acceptance, belonging,
respect, love, forgiveness, self-fulfillment, security, and
so on. When someone or something seems likely to provide
that, this person or opportunity will be like a magnet.
Even a problem or a risky, threatening situation can be, at
some level, embraced.

Which doesn't mean that characters embrace these people,
situations, opportunities (which are often well-disguised),
or problems instantly or eagerly. Sometimes that is the
case. But often they feel an attraction to them, yet an
aversion as well. There's an ambivalence, which may lead to
an initial reluctance. It depends on the character and the
specific situation.

This ambivalence can work well dramatically, because it
reflects that the character feels torn (inner conflict), and
it generally results in some external conflict as well. And
it can pique audience curiosity, even generate suspense as
to what the character will do.

What is the source of this ambivalence? Why not
enthusiastically welcome the person or situation that might
lead to a fulfilling of the need?

Well, sometimes, the characters do just that. But other
times, the character's key flaw -- the goal- and theme-relevant
character deficiency -- gets in the way. Also:
this means "change." And most people, at least initially,
resist significant and important changes in their lives.

This is one reason -- besides superficial quirks and
differences in personality and thinking styles -- that there
is often a kind of love-hate, start-stop element in screen
romances. A flaw stands in the way of the need. And
committing to this person will entail a significant personal
change -- and even though much of that change is desired,
change is still intimidating.

It depends on the specific situation, and the particular
character. In DIE HARD, there is no time for ambivalence. McClane
must act immediately if he wants to save these
hostages, including his wife. But in STAR WARS, the
situation allows Luke to initially turn down the request for
help -- until he is given more motivation, and his reasons-excuses
for saying no have been removed.

In addition to affecting a character's behavior, the
unmet need can result in a less-than-radiant overall mood --
at least until the character is involved in a problem or
opportunity that at some level seems likely to lead to a
fulfillment of the need, and which provides a change of
pace, a distraction, and a challenge.

Quite often there is some kind of negative state that
darkens the character's moods and attitudes in the opening
scenes, at least to some degree. It may be a certain
glumness, a sadness, a sense of frustration or despair, a
yearning, a restlessness, a resentment, or even a bitterness
or an anger that lessens the capacity for satisfying
relationships and happiness. This doesn't mean they are
wallowing in misery. But in their opening scenes, Luke in
STAR WARS, Rose in TITANIC, Will in GOOD WILL HUNTING, Riggs
in LETHAL WEAPON, Daniel in KARATE KID, Dorothy in WIZARD OF
OZ, and Rick in CASABLANCA -- and many others -- weren't
exactly happy campers.

They weren't all deeply troubled or constantly morose.
But there was something within them that was weighing them
down. That unmet need, that something missing, made them
feel less happy, cheerful, optimistic, content, and
enthusiastic about themselves and their lives than they
might have been. They can still smile and laugh. They can
still be fleetingly happy (usually, most of them). But not
as often. And not *as* happy as they would otherwise have
been. So a character with an unmet Inner Need is, in the
opening scenes, akin to a slightly under-inflated ball. It
will still bounce, but not as many times, and not as high.

And remember, it's possible for our main character to be
quite happy indeed, and with his or her life almost entirely
satisfactory and on-track. But then we'll likely have
another major character who has this sort of need.

It's also possible that even a main character with a
need can be relatively chipper, even at first -- if it's a
relatively minor one, and/or if he or she isn't just largely
unaware of the need, but *totally* so. He just doesn't know
what he's missing in life. Until later. He thought he was
happy -- like Cary Grant's character in NORTH BY NORTHWEST.
And up to a point, he was. But soon he'll discover that
his life was far too bland and empty.

So the need may be obvious and strongly displayed. Or,
instead, the need may be subtly expressed. But if so, we
still sense the need, and the effect it is having on their
moods, attitudes, and behaviors.

Most of the time, at the beginning of the story, little
conscious effort is being made toward the fulfillment of the
Inner Need -- except, perhaps, a faulty behavioral strategy
stemming from the Key Flaw. There's something missing from
the person's life, but he or she is accustomed to that.
Sometimes even resigned to it. The character doesn't know
how to go about fulfilling the need. And indeed, his or her
options may be limited, due to situational reasons.

So once something happens (an Inciting Incident or an
End of Act 1 event) that the character senses might result
in the fulfillment of the Inner Need, once the period of
possible ambivalence has passed, the person may "go
overboard" for a time. The pursuit of the need is still
largely unconscious, but vigorous nonetheless. And
sometimes not particularly prudent.

Therefore, once the character has embraced the person,
situation, and/or problem that may lead to the fulfillment
of the need, sometimes the means employed to attain this
love, adventure, excitement, validation, etc., are not wise,
positive, or healthy. The desire for this -- the need for
it -- is so strong, characters may sometimes behave in ways
that are risky, rash, somewhat excessive, even decidedly
extreme. But they are unconsciously driven by this inner
lack and the general need or desire it has created.

When this sort of zealous behavior is combined with a
still-active Key Flaw, the character's actions can put both
the Main Goal and the Inner Need at risk.

On the other hand, sometimes moderation isn't called
for. And when pursuing something vigorously, everyone makes
mistakes. But it's best to tie those mistakes into the need
and/or flaw(s), rather than have them be random.

NEED & GOAL

The Inner Need and the Outer Goal are, together, a
powerful combination. They jointly affect the character's
actions, working as a team.

This is assuming that there is some relationship between
the Need and the Goal. The Outer Goal -- that is, the Main
Goal, the ongoing, overall objective -- should generally be
something that will, directly or indirectly, help fulfill
the Inner Need. Or (a rare but interesting exception), it
could be an unwise goal that would pretty much destroy all
hope of achieving the need.

Either way, there should be a relationship between goal
and need. If there isn't, the writer might want to consider
changing either the goal or the need, so that there *is* a
relationship, a connection, between them.

For instance, the goal could be a specific manifestation
of the need. Luke's goal to help get the Death Star Plans
to Alderaan -- later changed to a goal of helping to destroy
the Death Star -- certainly is a means for fulfilling his
need for significance and for adventure.

In cases like this, the need supports the goal, and the
goal offers an opportunity or a means for fulfilling the
need.

In terms of the character's actions, the need pushes,
the goal pulls.

Sometimes the need must be fulfilled for the goal to be
achieved. Only then will the character have the strength
and balance necessary to achieve the goal.

Conversely, sometimes achieving the goal results in the
need being fulfilled. By having done this particular deed,
a person may also achieve the validation, self-worth, sense
of atonement, acceptance, or whatever it was that he or she
needed.

So the fulfilling of the need (together with the
elimination of the flaw) can lead to the goal being
achieved. Or the achievement of the goal can also fulfill
the need.

And sometimes it's the struggles, efforts, decisions,
and actions that occur during the *pursuit* of the goal,
together with enduring the ordeal, that leads to the need
being fulfilled. Even if the goal were not achieved, the
need would or will be, as a result of the pursuit and the
experiences and insights gained during it.

There is one exception to this pattern of need and goal
being mutually supportive.

As noted earlier, sometimes the need clashes with the
goal. They are mutually exclusive. A goal of obtaining a
big score (lots of money) may entail selling out one's only
relative, thus destroying an Inner Need for family, as in
TWINS. Or a goal of marrying for money might block a need
for love, as in SOME LIKE IT HOT.

In cases like this, there will come a point where a
difficult choice has to be made. The character must choose
between Need and Goal. This is great internal conflict, and
the opportunity for personal growth -- a big advance in the
character arc. If the character chooses goal over need,
it's a tragedy (or at any rate, an unhappy ending). If the
character abandons the goal and chooses need, it's a
relatively happy ending. Especially if he or she somehow
manages to also achieve some part of the goal, or a suitable
alternative, anyway.

However it works, in most stories, there is a connection
between need and goal.

And generally, the need supplies added motivation for
the goal, augmenting the other motivations such as the
specific reasons the character hopes to achieve the goal.
The need supports the goal, and in one way or another, the
goal will help to satisfy the need.

To use some visual aids:

INNER ==> MAIN >==> OUTER
NEED ==> CHARACTER >==> GOAL

Translation: Inner Need pushes, and Outer Goal
attracts/pulls.

And then there is the fairly rare but interesting
scenario of the need and the goal being mutually exclusive.
In which case, the character feels torn and ultimately has
to choose.

INNER <==< MAIN >==> OUTER
NEED <==< CHARACTER >==> GOAL

Translation: The Inner Need pulls the character in one
direction, the Goal in another.

Either way, there is a close relationship between Need
and Goal. They are either mutually supporting and
compatible, or mutually exclusive and antagonistic.

But:

NEED > FLAW || GOAL

Translation: the need leads to a key flaw, which often
acts to hinder the main goal.

So for the most part, the need supports the goal, and
provides added motivation for achieving it, but since it
also is, usually, accompanied by a Key Flaw which tends to
interfere with the pursuit of the goal at times, in that
sense the Need indirectly works against the goal.

All in all, the relationship of need to goal is a close
one.

(TO BE CONTINUED in Issue #17)