Screenwriting LessonsScrewriting Lessons
Compelling Returning to 2011, I have written this article about the importance of a congenial protagonist: Hollywood is not silly.
Unless your name is Aaron Sorkin and you're writing Hell out of a protagonist (Mark Zuckerberg) who's not a very likeable person in The Social Network. In fact, if you believe Zuckerberg's fictitious future ex-girlfriend Erica, he is.... well, here's what she has to say: You know, from the bottom of her deepest hearts, you're an arsehole.
We' ll tell you how we can take this character to be an asshole: When they dissolve, he immediately created a website and blog about the birth, "Erica Albright is a female dog..... do you think all B.U. females are bitches", then offers filth on the minimum breast area. Why then does The Social Network work when it directly violates one of the most widespread convictions in Hollywood - that for a film to be successful, does it need a friendly character?
For in Zuckerberg Sorkin made a convincing person. And compassionate. The youngest multibillionaire in the underworld. Create a societal backbone that has changed the way people live and even global policy has changed the way they live in the past hundred million years. After this last point, quite openly, when you go through all his dialogues where his self-centredness is in full swing and he is an arsehole, we can't help but overhear what comes next from this guy's jaw.
In view of Hollywood's focus on this area, I would suggest that you think twice about working on a storyline in which the character is not likeable, let alone an arsehole. If you' re writing one, make sure you do: Get a convincing main character. Does your main character convince? When you make a likeable and convincing character, how much more likely is it to make a tale a reader will be interested in.