Interview: Dana Coen — Part 5

I have the pleasure of working with Dana Coen as a colleague through the Writing for Screen and Stage program at the University of North Carolina at Chapel Hill, a dramatic writing minor for which Dana is the director.

Dana has an extensive background in television, penning episodes for “The Wonder Years” and “NCIS,” as well as eight seasons on the CBS series “JAG” [co-executive producer] and the Fox series “Bones” [co-executive producer].

Dana is also a produced playwright and freelance screenwriter, currently about to go out with an original thriller screenplay.

Today in Part 5, Dana delves into more aspects of the writing craft:

Scott: How do you go about developing your characters? Any specific techniques or tools you find yourself using regularly?

Dana: I always begin with character. My stories develop from a notion about the protagonist’s journey and expand from there. In general, I avoid archetypes to prevent myself from being influenced by screen characters. I prefer to be informed by those I observe. I’ll imagine the character walking towards me. As in life, I first notice the physical traits. The behavioral mannerisms come next. Finally, I listen to the character express his/her world-view. By this point I have a pretty strong image of the individual. I try not to rely too heavily on backstory, which I find is often used as a substitute for active character development. A small amount can be useful but I believe characters should reveal themselves through the choices they make. The industry phrase for this is “character is as character does.” In my experience, the strongest stories are guided by what characters want and are built on the energy created by how they go about getting it.

Scott: What about dialogue?

Dana: Like character development, dialogue needs to drive the action in order to be useful to the storytelling. The amount of dialogue, though, depends on the style. I intentionally made “Mr. Messiah” speechy and dialogue-heavy because I wanted the writer’s signature to be apparent. But in my prior spec, “Downriver,” which charts an elderly bluesman’s journey down the flooded Mississippi, I explored visual and behavioral ideas before putting words in my character’s mouths.

Scott: How do you go about finding your characters’ voices?

Dana: I’ll generally start by determining the central behavioral element in each of them. I then use it to find the rhythms in the character’s speech patterns, which allows me to articulate their differences. That said, every character is passed through same filter. All writers have an imbedded identity, which I don’t think should be denied. In fact, that bit of subjectivity is what provides the material with a unified sensibility.

Scott: How do you suggest writers develop their ability in writing dialogue?

Dana: I learned by continually asking myself those essential craft questions. Is the scene driven by the intent of the characters? Are there external and internal obstacles, and are the obstacles creating conflict? Is the conflict creating dramatic tension? Is the dramatic tension heightened by behavior and subtext? Is the exposition active and veiled? Do all the characters in the scene have good arguments? Is there rhythm and music in the exchanges? For me it’s less about the words and more a result of good scene design.

Scott: How would you define theme? How important is it? Do you start with themes or do they emerge in the context of developing and writing the story?

Dana: I interpret the theme of a work as the proposition that defines it…a conclusion about the story that the writer is trying to prove. Without one a script can seem pointless or unexplored. A theme limits the choices, which sharpens the story. Sometimes I’ll choose a theme but will give myself permission to alter it along the way. Other times I’ll allow it to develop as the story progresses. The protagonist’s point view is often a good way to locate the theme. An example I like to use is the 70s biopic “Patton.” The character of General George Patton believes he is destined for military greatness, which produces a passionate, arrogant attitude that gets him into trouble with his superiors, limits his participation in the war, and eventually leaves him alone and unengaged. For me, the theme of “Patton” is “passion dilutes power,” an idea that has universal relevance.

Scott: What do you think about when writing a scene? What are your goals?

Dana: My central goal is to treat each scene as a story unto itself with its own arc. I identify the characters’ objectives, introduce the scene’s dramatic question, establish its main tension, and either present a resolution or ask a new question.

Scott: Here’s a nitty-gritty craft question: What keys do you have to write entertaining scene description?

Dana: I put more emphasis on being literate than entertaining and use a less-is-more approach, where I focus on the specifics of the action. I’ve found through examining countless screenplays that the cleaner the description, the better the read.

Scott: Okay, so you finish a first draft, and now you’re faced with the inevitable rewriting process. Are there some keys you have to rewriting your scripts and if so, what are they?

Dana: Rewriting is a tricky term, as some writers tend to create as many problems as they solve. I prefer the word re-engineering, which suggests a more deliberate and studied approach. My first objective, though, is to seek constructive feedback. This means being able to hear and absorb criticism. Defensiveness is unproductive. So is a blanket acceptance of what’s wrong. The trick is to be able to effectively filter the feedback through one’s intuitive mechanism. That means avoiding immediate reactions or judgments so that the comments have time to sink in. I find if I don’t agree with or understand a critique, that asking questions is the most effective way of clarifying things. But, most importantly, I look for a consensus of opinion or similar reactions to an issue. Only then can I get out of my own way and return to my script with a clear plan of action. As for the process itself, I begin by working through the draft from the beginning, typing in highlighted notes in the sections that need work. This allows me to track, structure and shape the subsequent changes.

Tomorrow in Part 6, Dana provides several pieces of wisdom about the writing life.

For Part 1, go here.

For Part 2, go here.

For Part 3, go here.

For Part 4, go here.

Please stop by comments to thank Dana and ask any questions you may have.

Dana is repped by Rosa Entertainment.