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	<title>The MISP Screenwriting Blog &#187; Character</title>
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		<title>Subtext: the basis of scene breakdown</title>
		<link>https://www.screenwritersbreakdown.com/subtext-the-basis-of-scene-breakdown/</link>
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		<pubDate>Tue, 31 Mar 2020 09:50:38 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[Show. Don't tell]]></category>
		<category><![CDATA[Subtext]]></category>
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		<description><![CDATA[One of the most moving scenes from Marriage Story takes place in the third Act of the film. Previously, after an excruciating, heartbreaking fight, Charlie (Adam Driver) and Sandra (Scarlett Johansson) managed to find an&#8230;]]></description>
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		<title>Chernobyl and the obligations to history</title>
		<link>https://www.screenwritersbreakdown.com/chernobyl-and-the-obligations-to-history/</link>
		<comments>https://www.screenwritersbreakdown.com/chernobyl-and-the-obligations-to-history/#comments</comments>
		<pubDate>Tue, 21 Jan 2020 15:19:23 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Biopic]]></category>
		<category><![CDATA[Character]]></category>

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		<description><![CDATA[When telling a story about true events, to what degree is it acceptable to alter facts for the sake of drama? At which point can a writer let his creativity loose to invent facts regarding&#8230;]]></description>
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		<title>The good lesson from &#8216;The Office&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/the-good-lesson-from-the-office/</link>
		<comments>https://www.screenwritersbreakdown.com/the-good-lesson-from-the-office/#comments</comments>
		<pubDate>Fri, 18 Oct 2019 09:22:31 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Television Shows]]></category>
		<category><![CDATA[To root for]]></category>

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		<description><![CDATA[In the first version of the screenplay for First Blood, Rambo was pretty much just a sociopathic killer. However, when Sylvester Stallone came on board, he requested a substantial change to the script: that his&#8230;]]></description>
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		<title>Patience, a way to increase character relatability</title>
		<link>https://www.screenwritersbreakdown.com/patience-a-way-to-increase-character-relatability/</link>
		<comments>https://www.screenwritersbreakdown.com/patience-a-way-to-increase-character-relatability/#comments</comments>
		<pubDate>Tue, 10 Sep 2019 15:07:53 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[To root for]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=760</guid>
		<description><![CDATA[Captain Miller (Tom Hanks) in Saving Private Ryan, Dr Green (Anthony Edwards) in ER, Erin Brockovich (Julia Roberts) in the eponymous film, Tony Lip (Viggo Mortensen) in Green Book, Randy “The Ram” Robinson (Mickey Rourke)&#8230;]]></description>
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		<title>Characterization through dialogue</title>
		<link>https://www.screenwritersbreakdown.com/characterization-through-dialogue/</link>
		<comments>https://www.screenwritersbreakdown.com/characterization-through-dialogue/#comments</comments>
		<pubDate>Thu, 28 Mar 2019 10:56:29 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Dialogue]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=744</guid>
		<description><![CDATA[What a character says should ring true considering the kind of person he is. Concurrently, his lines should reveal who he is. A longshoreman and a psychotherapist don’t speak the same way. Characterization through dialogue&#8230;]]></description>
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		<title>A powerful line in &#8216;Life, Animated&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/a-powerful-line-in-life-animated/</link>
		<comments>https://www.screenwritersbreakdown.com/a-powerful-line-in-life-animated/#comments</comments>
		<pubDate>Thu, 08 Nov 2018 18:09:35 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Dialogue]]></category>

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		<description><![CDATA[Owen Suskind, an autistic child, is completely unable to communicate — totally cut off from the world. Years of therapy and interventions have been fruitless. Until one day, sitting in the kitchen with his father,&#8230;]]></description>
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		<title>Stories and the Idea of Fate</title>
		<link>https://www.screenwritersbreakdown.com/stories-and-the-idea-of-fate/</link>
		<comments>https://www.screenwritersbreakdown.com/stories-and-the-idea-of-fate/#comments</comments>
		<pubDate>Thu, 26 Jul 2018 14:03:38 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Coincidence]]></category>
		<category><![CDATA[Irony of fate]]></category>
		<category><![CDATA[Television Shows]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=703</guid>
		<description><![CDATA[Narrative pleasure relies on a bunch of underlying ideas: that good and evil exist; that people can change; that change isn’t easy; that the effort to change and improve should result into a reward (see&#8230;]]></description>
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		<title>How much tragedy in Walter White’s ending?</title>
		<link>https://www.screenwritersbreakdown.com/how-much-tragedy-in-walter-whites-ending/</link>
		<comments>https://www.screenwritersbreakdown.com/how-much-tragedy-in-walter-whites-ending/#comments</comments>
		<pubDate>Sat, 10 Feb 2018 09:18:51 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Antihero]]></category>
		<category><![CDATA[Character]]></category>
		<category><![CDATA[Endings]]></category>
		<category><![CDATA[Television Shows]]></category>
		<category><![CDATA[Breaking Bad]]></category>

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		<description><![CDATA[This ending is a part of TV history now. (Spoilers ahead.) Walter White, mortally wounded, alone. His hand on the machinery he’d been using to demonstrate his immense talent for cooking meth. The Felina episode&#8230;]]></description>
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		<title>&#8216;The Fugitive&#039;: using one line of dialogue to convey characterization</title>
		<link>https://www.screenwritersbreakdown.com/the-fugitive-using-one-line-of-dialogue-to-convey-characterization/</link>
		<comments>https://www.screenwritersbreakdown.com/the-fugitive-using-one-line-of-dialogue-to-convey-characterization/#comments</comments>
		<pubDate>Wed, 25 Oct 2017 08:31:02 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Rewriting]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=627</guid>
		<description><![CDATA[  You know the rule of thumb: reduce dialogue as much as you can in your script. Whenever possible, avoid it. Sometimes, though, one line of dialogue is better than a silent beat. For example,&#8230;]]></description>
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