Screenplay Diagnostics

Tools for identifying and fixing common screenplay problems based on Blake Snyder's methodology.

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The Hero Leads Test

Your hero must be ACTIVE, not passive. Ask these questions:

1. Is the hero's goal clearly stated in the set-up?

• Yes: Good. We know what they want.
• No: The audience is confused about who to root for.

2. Does the hero seek clues, or are clues handed to them?

• Seeks clues: Active, engaged hero
• Handed clues: Passive protagonist (bad)

3. Is the hero active or passive?

• Active: Makes decisions, drives the plot
• Passive: Reacts, waits, follows

4. Does the hero tell others what to do, or ask questions?

• Strong heroes discover answers through action, not by asking other characters for information. They command. They know.
• Exception: Rhetorical questions or interrogating villains

If your hero fails this test: Rewrite scenes so the hero drives action instead of witnessing it.

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Talking the Plot

The Problem: Characters say things for the WRITER, not for themselves.

Symptoms:

• "As you know, Bob..." exposition
• Characters explaining their feelings
• Backstory delivered in monologues
• People saying things they'd never actually say

The Fix: Show, Don't Tell

Instead of:

"I'm so nervous because my father never believed in me and now I have to prove myself."

Show:

• Hands trembling
• Looking at a photo
• A flashback action
• A reaction from another character

Every Character Has Their Own Agenda

Characters should speak from their own wants, not yours. Ask:

• What does this character want in this scene?
• How are they trying to get it?
• Why would THEY say this line (not why do I need them to)?

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Make the Bad Guy Badder

The Rule: Hero and bad guy should be matched in power - with the bad guy having a slight edge.

Why It Matters:

• Stronger villain = greater heroics
• They're often opposing reflections of the same core conflict (light and dark)
• The hero must be the underdog

How to Make the Bad Guy Badder:

1. Give them more resources

   • More money, more minions, more weapons

2. Give them more intelligence

   • Always one step ahead
   • Predicts the hero's moves

3. Give them more ruthlessness

   • Willing to cross lines the hero won't
   • No moral limits

4. Connect them to the hero

   • Former mentor
   • Family member
   • Dark mirror

The Test:

If your hero's victory feels too easy, your bad guy isn't bad enough.

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Turn, Turn, Turn

The Problem: Plot moves forward without spinning or intensifying.

What Should Happen:

• Each scene reveals MORE about characters
• Stakes escalate continuously
• Complications compound
• Speed accelerates toward climax

Symptoms of Not Turning:

• Scenes feel flat or episodic
• "And then... and then... and then..." pacing
• No surprises or reversals
• Characters remain static

The Fix:

For each scene, ask:

• What new information is revealed?
• How do stakes increase?
• What flaws, treacheries, or secrets emerge?
• Is this scene faster than the last?

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The Emotional Color Wheel

The Problem: Your script only hits one emotional note.

Full Spectrum Required:

A good movie wrings out the audience emotionally. Include:

• Fear
• Joy
• Sadness
• Anger
• Longing
• Lust
• Humor
• Tension
• Relief

Even in Comedies:

You need moments of:

• Real danger
• Genuine emotion
• Actual stakes
• Poignant connection

Even in Dramas:

You need moments of:

• Levity
• Hope
• Connection
• Release

The Test:

List the emotional beats of your screenplay. If they're all the same color, add variety.

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The "Hi, How Are You? I'm Fine" Test

The Purpose: Ensure each character has a unique voice.

The Test:

1. Cover all character names in your script
2. Read only the dialogue
3. Can you tell who's speaking without the names?

If Not, Characters Need:

• Verbal tics - Catchphrases, speech patterns
• Vocabulary level - Educated? Street? Technical?
• Rhythm - Short sentences? Long rambling?
• Agenda - What they want colors how they speak
• Background - Regional dialects? Professional jargon?

Examples of Distinct Voices:

• Uses profanity constantly
• Speaks in questions
• Never completes a sentence
• Always references sports
• Quotes movies
• Overly formal
• Mumbles asides

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Take a Step Back

The Problem: The hero's emotional journey doesn't have enough runway.

The Principle:

Start the hero as FAR BACK as possible to give them the longest arc.

Drawing the Bow:

Think of a rubber band — the further you stretch it back, the more powerful the snap forward.

Common Mistake:

Protecting the hero from their full flaw. Making them "too good" at the start.

Examples of Starting Far Back:

• Scrooge begins as miserable as possible
• Andy in The Devil Wears Prada begins as schlubby as possible
• The Grinch begins as hate-filled as possible

The Test:

Could your hero be MORE flawed, MORE stuck, MORE wrong at the start? If yes, push them back.

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A Limp and an Eyepatch

The Purpose: Make minor characters memorable.

The Technique:

Give every minor character a distinctive visual or verbal hook.

Examples:

• Physical: Limp, eyepatch, scar, unusual height
• Clothing: Always wears red, distinctive hat, rumpled suit
• Behavior: Nervous tic, always eating, chain smoker
• Speech: Accent, catchphrase, stutter

Why It Works:

• Readers remember characters
• Actors can latch onto something
• Creates visual shorthand
• Enables callbacks

Running Reminders:

Once established, reference the trait throughout to cement the character.

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Is It Primal?

The Test: Are your characters motivated by primal drives?

The Primal Drives:

• Fear of death
• Protecting loved ones
• The drive to find a mate
• Hunger
• Basic survival

Sophisticated vs. Primal:

Sophisticated: "I want to get the promotion." Primal: "If I don't get this promotion, I'll lose my home and my family will starve."

The Caveman Test:

Would a caveman understand why the hero cares?

• ✓ "Save my children"
• ✓ "Get food"
• ✓ "Find a mate"
• ✓ "Escape the predator"
• ✗ "Increase quarterly earnings"

Making It Primal:

Connect abstract goals to survival stakes.

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Full Diagnostic Checklist

Run through when your script feels "off":

Structure

• Does the Catalyst hit by page 12?
• Does Break into Two happen by page 25?
• Does the hero CHOOSE to enter Act Two?
• Is there a clear Midpoint?
• Is All Is Lost the opposite of Midpoint?
• Is there a "whiff of death"?
• Does the Final Image oppose the Opening Image?

Character

• Does the hero pass the "Hero Leads" test?
• Is the bad guy bad enough?
• Do all characters have unique voices?
• Is the hero's journey primal?
• Does the hero start far enough back?
• Does every character arc (except bad guys)?

Scene Craft

• Does every scene have emotional change (+/-)?
• Does every scene have clear conflict (><)?
• Does the plot turn, not just move forward?
• Are you showing instead of telling?
• Is the full emotional color wheel used?

The Basics

• Is the logline ironic and compelling?
• Does the title say what it is?
• Are stakes primal?
• Do minor characters have "limp and eyepatch"?

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Scene-by-Scene Fix Protocol

For any scene that feels flat:

1. Identify the +/-

   • What's the emotional state at the start?
   • What's the emotional state at the end?
   • If they're the same, the scene needs work.

2. Identify the ><

   • Who wants what?
   • Who opposes them?
   • Who wins this scene?
   • If there's no conflict, combine with another scene or cut.

3. Check the Pope in the Pool

   • Is necessary exposition buried in action?
   • Is there something visually interesting happening?

4. Apply the Hero Leads test

   • Is the hero driving this scene?
   • If not, can you rewrite so they are?

5. Turn up the turn

   • What new information is revealed?
   • How do stakes escalate?
   • What accelerates?