Who holds the power in your scene?
This is something we really explored during my time at film school, and is easier to see on the screen but still very applicable on the page. Essentially, in every scene there is one character who is holding the power—meaning they are driving the conversation, driving the action, they are in control because they are going after a goal, and if they are in power, are going to get the closest to achieving it. Every character should have some sort of goal going into every scene, and thus the power can and should shift between characters within the scene to create more interesting dynamics. So how do we do this?
1. Understand each character’s goal—and who is going to “win”
Each character comes into a scene with expectations that form their goal. Let’s do a breakup scene. Character A comes in with the expectation to go on a hike with their partner and have a good time. Their goal may start out as something simple like: “have a good time on this hike” or “avoid fighting with Character B”. Character B is going into this scene knowing they are going to breakup with character A, their goal is to literally just breakup with them.
If we know, as the author, that Character B is going to be successful, we know that this is their scene and they will ultimately hold the majority of the power. Vice-versa if Character A is successful in achieving their goal.
In knowing that, we can get into the actual mechanics of a power shift.
2. Character spacing and movement
Spacing and movement is the most obvious aspect in filmmaking, but may be forgotten on the page. In our example, I would place Character B ahead of Character A on the hike so that they are standing slightly above them on the incline. When they begin discussing their breakup, I would turn them around. Subconsciously, we know that B is “lording” over A, they have the high ground (har-har) and thus are the more imposing, powerful person.
Even the act of turning around would be a display of this power. So I would write it as,
B: Listen, I’ve been meaning to talk to you about something… I just don’t really think either of us are happy—I don’t think this is really working anymore.
A: What are you saying?
B stops walking, turning on their heel to face them.
B: I’m saying I want to break up.
3. The Driver of Conversation
Seen a bit in the last section, whoever is driving the conversation, steering the topic and tone, holds the power. You may notice throughout dialogue that there tends to be a questioner and an answerer, or someone providing the action while the other(s) are reacting.
A: I thought we were trying to connect more. Isn’t that what this stupid hike is about?
B: Well it’s not working. I’m sorry. I’m done trying.
However, a character can grapple for and shift the power by calling them out or otherwise steering the conversation in a way that they would like instead. At this point, A would likely have shifted their goal from “having a good time” to proving that they were right about some change they picked up on, or in another case, may be trying to convince them to not breakup. If you allow them to “win” for a portion of the scene, you can reverse the power.
A: This is because of that person you met at work isn’t it? How dare you try to pretend that it has anything to do with me.
B: Hold on—this has nothing to do with her…
A scoffed, stepping forward on the incline.
A: You are such a liar. You have been since the day we met. I don’t know why I ever trusted you.
B: I didn’t lie about that. I swear.
And let’s reverse the scene back:
A: What is it then? What is this really about?
B: We’re just too different! I’m sorry.
B steps past A and starts walking back the way they came.
Power can shift because another character took it, but it can also shift by the character in power giving it up, either intentionally or unintentionally.
4. The leader of action
Otherwise, the person who directs the action; is winning the fight, points out directions or creates the plan, or otherwise is determining where the characters go next or what they do next, holds the power in the scene. A grapple for power doesn’t necessarily need to be verbal but could rather be two people going opposite directions and one of them relenting, for example. This one is more obvious because it’s very visual, but is still an important aspect to how characters “win” or “lose” their goals in a scene.
