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Beginning Screenwriting: The Inner Villain

© Travis Sexton

I am constantly learning throughout the screenwriting process. Without grossly exaggerating, I can claim that I learn something new every time I start a character’s biography, or with a new mini treatment, or even with every scene – basically, everything. Every screenplay I’ve ever written has been addressed differently. Different stories call for different approaches. The one aspect that has given me the most difficulty, however, and the one aspect that I enjoy tackling the most, is the inner villain. Man versus himself.

Exploring and drawing out the inner villain is a very difficult and exhausting process. It’s this way for me because I approach this exploration the same way I approach acting. I delve into the unknown - the psychological whirlwind forcing me to constantly question “Why?” It’s a matter of getting deep into the mind of your character and then, much like a trial lawyer, once you’re in you must analyze both the good and evil. To me, this type of exploration is more difficult than with acting because I’m creating this character from my own mind. I have to separate myself from my character even further than I normally would. I should confess that I’m not always successful with this separation.

I begin this process by re-reading my main character’s biography. As with reading a textbook, I first read through without taking any notes or paying any real close attention to details. I’m simply reacquainting myself with my character. I’ll then think about the storyline I have locked safely in my head. I’m doing this because I have to weigh this biography against the need of my character against my storyline and decide if my main character’s struggles should be caused from within or from an outside source. If I make the decision that my storyline is best fit with my main character struggling from within, I’ll then read through the biography a second time looking for specific details – any event or interaction with a specific person that may have served as an internal turning point for them.

Once I find this event or point in my main character’s life, I’ll then write a separate biography focusing on the psychological effects on my main character from that point. Here is where I’ll ask the question “Why?” I’m searching for feelings and emotions. Typically, I’m looking at darker, more frightening feelings and emotions. Because I’m always searching for conflict, I try to continue on with this as long as possible, refusing to give-up too easily. Often, the crazier I let things get, the better results I see once I start writing. Keep in mind that if I choose an event early on in my main character’s life, I’m forced to carry on with this up until the point where my screenplay begins. I’ve already established where my screenplay is going to begin, so I’m always working towards this point. I’m constantly searching for the reasons why my main character’s inner villain is choosing to surface at this point.

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