STORY DEVELOPMENT: How Plot Can Kill Your Character

Tim Long has sold, optioned, and pitched feature film projects at the studio level, along with having original screenplays in development with Academy Award®-winning and nominated producers. A nationally recognized screenplay consultant and Screenwriting Instructor at the MFA level in a top ranked University film program, Tim’s currently Founder and C.E.O of PARABLE, an online, interactive, screenwriting course. Follow Tim on Twitter: @ScreenplayStory

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Every story begins at your Initial Stimulus – that spark of an idea that captured your imagination. The thing that got you excited and revved up. That initial flash of creativity you just knew would make for a great movie idea.

Initial Stimulus is also something much deeper though. Simply put, it’s your inspired connection to that basic story idea.

STORY DEVELOPMENT: How Plot Can Kill Your Character by Tim Long | Script Magazine #scriptchat #screenwriting

Having an inspired connection to your story idea is significant because inspiration is significant. It’s important to recognize that inspiration comes from passion, whereas motivation does not. When you’re motivated to do something you want to accomplish that objective and then move on.

Inspiration is much more profound than motivation because it stems from passion. As such, it causes you to personally invest in what you’re working on. To connect to it emotionally. In short, motivation can be fleeting, while passion always endures.


The Initial Stimulus can come to us in many different forms. It can be an intriguing character, like the dark side of Tyler Durden in Fight Club. It can be fascinating subject matter or event that interests you, such as the civil rights movement led by Dr. Martin Luther King, Jr. in the film, Selma, or one woman’s inspiring activism portrayed in Erin Brockovich.


Or the Initial Stimulus can just be a simple “what if” that comes from the ether of your own imagination. What if a serial killer used the seven deadly sins as his modus operandi? The “what if” behind the film, Seven with Brad Pitt and Morgan Freeman.


No matter how it comes to you though, it’s important to understand the psychological impact that the Initial Stimulus has on the overall creative process. Having an inspired connection to your story idea is crucial to story development.

Why? Because it’s the driving force behind why you want to tell a particular story. It’s the momentum that will sustain you throughout the lengthy process of developing and writing a feature length screenplay. And it’s also the thing that can cause your story to crash and burn, killing your character in the process.


Having taught Screenwriting at the MFA level for almost two decades, as well as having professionally consulted on north of five-hundred screenplays and films, I can say that a pervasive mistake I see all too often is that the writer gets so excited about their Initial Stimulus, that they instantly jump in and start plotting.

And in doing so, never stopping to first define the single most important building block of story – character, which is the narrative cornerstone in building a screenplay with emotional resonance that an audience can connect with.

Jumping right in and plotting your story is the equivalent of eagerly hopping into your car to go somewhere cool and exciting… Only to have no idea where you’re going or how to get there.

It doesn’t make any sense. So why do screenwriters do this then? Two reasons.

One, because plotting a movie is one of the more creatively exciting parts of the entire story development process. It’s one of things that gets the artistic adrenaline pumping. It’s enjoyable to do.

Secondly, as people we tend to be vertical thinkers, so sequencing and creating order (or plotting) is something that is intuitive, it comes natural to us.

Think about it, if a person looks up at the stars at night, the first thing their mind will do is to form shapes and patterns out of the stars.


The reason being is, they’re intuitively trying to make order out of chaos. It’s called, “Pareidolia” which is where the mind perceives a familiar pattern of something where none actually exists. This is actually hardwired in us as humans.


Our natural instinct of wanting to jump in and instantly create order by plotting ends up causing all sorts of narrative repercussions.

Most notably of course, we end up with un-compelling characters that are afterthoughts – ones that lack authenticity and connection. Instead, they become broad characterizations that are devices solely needed to serve our plot. Human chess pieces being moved around in a story in order to oblige a plot’s end result. Which is hands down the quickest way to cut the life of your screenplay short.

Not to mention, by putting the cart (plot) before the horse (character), we often end up losing track of that inspired connection (Initial Stimulus) we originally had with the basic story idea to begin with!

All of this is why there are more unfinished screenplays than finished ones. More first drafts that never see the light of day than do. And more just plain bad spec scripts out there than good ones.

So as you begin to develop your story idea, always remember that once you have your Initial Stimulus in place… Stop!

Resist that urge to jump in and start plotting the story. Fight that feeling of wanting to instantly work on plot. Instead, first develop and define the key building block of all successful stories – character.

In doing so, you’ll be able to better craft a plot that has emotional resonance that an audience can connect with.

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4 thoughts on “STORY DEVELOPMENT: How Plot Can Kill Your Character

  1. AlCielo

    I agree with the basics here. Unfortunately, character development (as typically preached by some experts) can be stymied by Pareidolia as well, e.g. “character biographies” that superimpose a predetermined set of characteristics onto the protagonist rather than keeping open the options of the protagonist’s essential make-up so that they can develop as the character faces challenges.

    As I understand it, both plot and character should evolve from the development of the Initial Stimulus, each one informing the other as the writer delves inward to discover the story that dwells there inchoate. The Initial Stimulus is simply the externalization of the inner story that swirls around in the writer’s story pit.

    Plotting / outlining can help shape that embryonic story into a form that can be experienced by an external audience, but, as you suggest, it should be imposed only after the writer has experienced the story as a series of emotions.

  2. pgsundling

    I’m a heavy plotter and it’s where my strength is, but characters were harder for me. Hundreds of my ideas are all plot heavy. So I chose one of the few character driven pieces I had in my plethora of story ideas.

    Also I think it’s easier to stretch character muscles in novels where you have more words to work with. So my characters are much better in my upcoming novel, The Internet President: None of the Above. My heavy plotting still found it’s way back in to the novel, but the concise style of a screenwriter makes my novel quick paced. As long as I land the ending I think I really have something.

    So when one of my novels takes off, I can adapt it into a script and the richness of characters will already be there from the novel.

  3. Artor

    I’ve just started using Tim Long’s “Parable” to develop an idea for a feature I have been working on for almost a year. Up until now I’ve been hitting brick walls, It’s been a struggle, (it always will be!) I’ve read pretty much every book on story structure, used two different software programs and attended Mckee, Truby and Save the cat lectures and classes… it’s typical that you find your keys in the last place you look for them! Not only is his method clear and easy to understand you also get to ask him questions as you go through the process. This guy’s the man and am so happy he’s been featured on SCRIPT!