StoryNotesNewsletter

ISSUE #18:


(This is a continuation of the
article which began in Issue #15; see
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PART 4 (OF 4):


IN ADDITION TO THE EXTERNAL DESIRE,

CONSIDER THE


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


EXAMPLES

STAR WARS: Luke feels a need for adventure. But
actually, this is more of a generalized desire. The need
beneath it is a desire to do something important, to make
use of his potential. At the beginning, he feels stymied
and restricted.

The need is partially fulfilled soon after Luke commits
to helping Obi-Wan. Once he is involved with this
"adventure" -- one which he realizes is very important --
Luke blooms quickly. He is no longer the somewhat whiny and
unassertive fellow he was on his planet. Since this is an
ongoing type of need, it continues to motivate him
throughout.

This is a case of the need providing extra motivation to
help achieve the goal, as well as the goal helping to
satisfy the need -- a two-way street.

Because it's helpful for a story to be progressive, even
though his need was already, for the most part, fulfilled
well before the end of the story, the climatic event serves
to reinforce it. It also acts as a specific manifestation
and proof that his need has been realized. When Luke
demonstrates bravery and skill and is instrumental in
blowing up the Death Star, thus striking a blow for freedom
and saving many innocent lives that would otherwise have
been killed ... his need has now been totally, completely
fulfilled. For now. He has had a huge adventure, done
something important, and gone a long way toward realizing
his potential. Both pursuing and achieving the goal helped
fulfill the need.

And since some of his preexisting need is satisfied once
he becomes involved with the rebel struggle, a new need
emerges: to trust his abilities -- specifically, to trust
The Force. This need evolves from an earlier, secondary
need, where he is seen as not trusting that his involvement
with the rebels would make any difference. Thus, two needs.
And when the primary one is largely satisfied due to his
participation with the rebels, the secondary one rises to
the dominant position. And it, too, is satisfied at the
climax, when he *does* trust himself and The Force at the
critical moment.

BACK TO THE FUTURE: Marty wants to be a musician, but
doubts his abilities. Worse, he lacks the confidence to
take risks. His fear of failure and rejection holds him
back, as it did his dad. He needs courage and self-confidence.

By being involved in this situation, that need is
realized gradually, a bit at a time. We know he's well on
the way when he gives advice to his future father about
trusting oneself and being willing to take risks. We know
he has changed when he performs in front of the dance. The
fact he does it, risking rejection, says much. And the
thrill he gets from that, coupled with the self-confidence
he has gained by being involved and active in this overall
ordeal, leads to him being a changed person by the end.

OFFICER AND A GENTLEMAN: The Richard Gere character
feels a great need for acceptance and especially belonging.

As with many stories, this need isn't fulfilled all at
once, or at any one moment. But a large step forward occurs
when he sacrifices his own self-interest to help another
cadet. This earns him much more respect and acceptance. He
now is accepted by the group, and belongs to it. And later,
upon graduation, he "belongs" to the Navy as a whole. He
has fulfilled his need.

ROCKY: Rocky needs to feel like he *is* someone -- to
feel like a somebody. Someone who is or has done something
significant and worthwhile. He needs a sense of self-worth.

This is partially fulfilled by being aware of how much
progress he has made due to his intense efforts. And as a
result of his relationship with Adrian. But it's only truly
fulfilled when he sets a high standard for himself: to go
the distance. Once he actually does that -- by giving it
his all -- he then feels like a someone. He gains the full
measure of self-worth that he lacked. So in this film, it
doesn't really happen until the very end.

THE FIRM: Mitch's need is roughly similar to Rocky's,
but tied in with a need for security as well. His quest for
status and material goods is a result of his need for
feeling important and secure.

By taking the clever and heroic actions that he does in
the course of the movie's events, by the end of this ordeal,
Mitch can certainly feel like a somebody, and he now knows
he doesn't need wealth or a glamorous job to achieve that.
Just as he comes to realize that the security he needs won't
come from material sources, but from any satisfying work
that provides basic needs, coupled with a solid relationship
with his wife.

CASABLANCA: Rick needs to end his emotional
isolationism so he can again connect with others, so that he
can once more be emotionally alive. And he needs to heal --
to get past the hurtful and disappointing event in his past.

He fulfills part of this when he allows Ilsa to explain
why she did what she did, and then when he does, indeed, put
the bitterness and hurt behind him. The remainder of the
need is fulfilled at the end, when he puts the needs of the
many above his own, and once more becomes not just
emotionally, but morally and politically involved, by once
again become a freedom fighter.

IT'S A WONDERFUL LIFE: George needs to feel important,
that he's doing something big and worthwhile in his life.
He thinks he needs to leave his hometown to do this, to be
an architect or builder, designing or constructing
skyscrapers, towns, airports, and so on. But by the end, he
realizes that his life has been and is important, that he
has contributed greatly. Many people's lives would be much
darker or emptier without him. And some wouldn't be alive
at all. So starting at about the 3/4 point, and continuing
until the end, George realizes how significant and rich his
life really is, and how much he's appreciated by others,
thus attaining the satisfaction and joy that he had been
missing.

A number of films feature characters who feel guilt, and
who have a need to forgive themselves or be forgiven. This
can be seen in IN THE LINE OF FIRE, ORDINARY PEOPLE,
VERTIGO, and CLIFFHANGER. And others as well.

However, as stated earlier, it's not always a primarily
internal need that we're speaking of, as the need to expiate
guilt, gain (or give) forgiveness would be -- or the others
mentioned before (belonging, self-worth, how to trust, a
sense of security).

Instead, it can be a life situation that affects one's
psychological, emotional, and/or spiritual well-being. For
instance, the need could be about finding one's true path or
role -- the need to become the person he or she was meant to
be. To find and pursue one's passion or bliss. Such as in
LA BAMBA.

Frequently, people find themselves in vocations that
they are not suited for, and while they may be competent,
they are miserable. Whether due to greed, trying to please
parental desires or continue family traditions, lack of self-
confidence, or some other factor, some individuals
pursue a line of work that goes against their natural
aptitude. So that person's need could be to stop doing that
which is "wrong" for them, and discover his true aptitude,
and pursue it. This was seen in RUDY. By finally pursuing
a dream that he'd cast aside, he discovers an aptitude for
learning and for goal achievement that opens up a whole new
future for him.

In HOOK, Peter needs to rediscover the child within him,
and free himself from the stultifying effects of
conventionalism, conformism, and materialism. And by
recapturing his inner child, he regains joy, spontaneity,
and a new, better relationship with his children.

We know he's partially fulfilled his need when he
regains the ability to fly; that is a physical manifestation
of his progress (and in turn, it spurs his progress). We
know the need has been fully satisfied at the end, when he
flings his cell phone away.

In THE GODFATHER, Michael needs to honor his family
while also honoring his wife and his values. He fails.

In GHOST, he simply needs to learn the importance of
expressing his love. And at the end, he does so.

EXCEPTIONS

Are there movies where there is no discernible inner
need? Yes, but then usually a deep, long-held yearning or
desire takes the place of a need, and fulfills the same
function.

Sometimes rather than a need or even a strong positive
desire, we simply have a character flaw, a faulty strategy
for attaining goals or dealing with others, or some kind of
vulnerability. We don't know the source of it. We assume
there is one, but there aren't even any clues or evidence
that would lead us to a reasonable conclusion. Whether or
not this is dramatically sufficient is a subjective
judgment.

Another exception, as noted earlier, is that it may not
be the main character with a need, but rather one or more
other characters.

Still, in most mainstream film stories -- and many
independent-style films -- there *is* an important character
with a detectable Inner Need which is relevant to the
character's moods and attitudes, to the goal and its
pursuit, to the key flaw, and/or to the theme. A primarily
internal quality or a life situation that affects the
character's psyche is missing, which, if attained, would
prove beneficial.

But it's not a rule.

Can a character have two or more inner needs? Again,
you can do anything you want, as long as it works. Yes,
there are a few plays and films that do that. And sometimes
it's effective.

When it's done, it's best to try to find a need that
encompasses both or the several needs. For instance, Hamlet
needs to find a better balance between extremes of excessive
thought ("paralysis by analysis") and rash action (acting
without thinking), and between excessive swings between
reason and passion, admiration and disgust, energy and
depression. So yes, he has at least four inner needs. But
we could say that there is an overarching need: to balance
his life; to achieve a balanced, moderate state of mind and
behaviors.

If tempted to have more than one inner need, the thing
to beware of is too much complexity. It can become
confusing and unnecessarily complicated, and can create a
lack of focus in the story. But if you know what you are
doing, and if you can evaluate your work honestly and have others
evaluate it objectively, you may be able to pull it
off, and it may work well.

In KARATE KID, there are two main needs, one of which
encompasses several related, subordinate needs.

One of Daniel's two most important needs: to find
belonging and acceptance in his life. He's new to this
neighborhood and school. He doesn't have a father. His
mother loves him, but that's not enough. He feels like an
outsider (and he is). He longs for peer friendships and
approval. And it wouldn't hurt to have a father-figure in
his life. He gets the father figure (and acceptance) from
Mr. Miyagi, and he gets acceptance and approval from his
girlfriend (except when his actions justifiably anger her).
And at the end, he achieves acceptance and respect from many
of his other peers.

His other major need actually encompasses several needs
which, while separate, are also related. He needs to learn
to at least try to spot the differences that often exist
between appearances and reality; currently he often is
fooled. He needs to think before he acts; too often he acts
rashly, with negative consequences. And he needs to learn
how to trust those who have earned his trust. That's a lot.
Together with his need for belonging and acceptance, that's
four needs!

But it's really only two major ones. The others --
learning that appearances can be deceiving, to trust when
it's been earned, and to look before leaping -- these are
all part of learning how to think clearly. Those four are
all about going beyond fast, superficial, inadequate, and
lazy thinking. So his second major need -- one that
encompasses four others -- is to learn to think more, and
more deeply and clearly. To become a more thoughtful and
discerning person.

SUMMARY

For the character in question, an unmet Inner Need can
be extremely important. Until that need is realized, the
main character will not be truly happy -- *even if he or she
achieves the goal.* Of course, sometimes achieving the goal
will result in the need being met -- as a kind of side-benefit, an
unexpected bonus.

Until the need is satisfied, the character will not feel
complete, content, healed, or fulfilled. Chances are, he or
she will not be able to sustain a satisfying relationship.

And from a story-telling perspective, giving your main
character an Inner Need -- something missing within the
character or the character's life that would prove
beneficial, if gained -- serves to enrich the level of
characterization. It also helps the audience to identify
with the character more, and often to sympathize, as well.

In addition, it provides additional motivation for a
character's actions and goals. The need supports the goal.
The goal itself provides ample incentive. But if gaining
the goal would also help fulfill the need, then there is
even greater reason to struggle mightily and to persevere.

For instance, if the goal is to win the race (or
contest, tournament, bout, or game), an Inner Need for
approval, respect, or self-esteem would motivate the
character to struggle harder for the goal than someone
without one of those internal needs and who was only trying
to win to get the reward money. The character with the
Inner Need has a *double* motivation. He wants the reward
money, too. But he also has an Inner Need pushing him even
harder.

It works the other way, as well. Besides the need
providing extra motivation to help achieve the goal,
sometimes the goal can help satisfy the need. Either the
pursuit of the goal, or the achievement of it (or both) can
lead to the fulfillment of the need.

The goal pulls, the need pushes. The need helps the
goal to be achieved; the pursuit and/or achievement of the
goal helps satisfy the need.

But sometimes the character is mistaken. The goal would *not*
help fulfill the need -- it may, in fact, work against
it. For instance, a goal to gain a promotion and a raise
(working 80 hour weeks) could clash with a need for love or
family.

When this is the case, when the Inner Need and the
external Goal are at odds -- well, then we've got some
wonderful inner conflict. And a key decision looms ahead.

So having an Inner Need can work both ways. And either
way, there's a strong connection to the goal.

An Inner Need can lend credence to a key flaw or flawed
strategy as well, since this flaw often arises as a response
(albeit an inappropriate, counter-productive one) to the
unmet need. Thus, the flaw or deficiency will seem more likely, more
understandable, and less random.

An Inner Need can provide a story with a whole other
dimension -- an internal track, which interacts with, lends
significance to, and enriches the external track.

Not every movie uses an Inner Need, or strong, long-held
desire. But most mainstream films do, to one extent or
another. So if a story you are struggling to create lacks
motivational power or seems a bit superficial, perhaps it
needs an Inner Need.


# # #

Copyright Jeff Newman, 2001


JEFF NEWMAN is a screenplay consultant -- rated #2 out of 17
script analysts reviewed and ranked by "Creative
Screenwriting" (March-April 1999).

* * * NOTICE * * *

The 2001 Las Vegas Screenwriting Conference will take place
this July 12-15 at the Tropicana Hotel and Casino. The list
of guests is unparalleled! The opportunities are too good
to miss. For details, go to: vegasscript.com

* * *

A NOTE from the author of this article (and all the
"StoryNotesNewsletter" articles:

I offer a $300 screenplay evaluation consisting of on-script
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If even more extensive feedback is desired, there are two
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There is also a "Testimonials" link -- feedback from some writers who
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like, you may call me in Los Angeles at (310) 715-6455.

To see other of my articles on screenwriting, go to:

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http://hollywoodnet.com/StoryNotes/board.html

http://creativescreenwriting.com/storynotes/storynotes.html

And here's one you'll have to cut and paste, since it's too
long to fit here and stay all in blue:

http://groups.google.com/groups?
q=StoryNotes&hl=en&lr=&safe=off&sa=G&scoring=d

NEXT MONTH: a one-time departure from our craft-oriented
articles. June's article will be about marketing -- in
particular, how to write effective query letters and log
lines. And some info on some services available that can be
of great help to the outsider struggling to break in.


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