As screenwriters we are are often told to layer our scripts with subtext, reversals, etc. This is important because it adds ‘depth’ to the characters and the plot bringing thee story alive on the page and screen. Yet layering is a technique which often eludes even the best screenwriters.

This post focusses on creating character depth via reflection techniques because these ‘techniques’ often create layering without much effort on the screenwriter’s part. A screenwriter who masters reflection techniques will often discover their screenplay has built-in subtext and reversals because the reflection techniques often allows the more difficult areas of screenwriting to fall into place.

The easiest way to utilize the reflection technique in your script is to start with the hero and reflect all other characters off him. By doing so, the story will automatically have built-in subtext.

Here's an example:

The hero is Josh. He has a commitment phobia and won’t ask a long-term girlfriend to marry him. She’s prepared to leave him if he doesn’t pop the question.

Josh’s best friend has been married for 10 years and has a solid relationship – this “reflects” what Josh really wants, but is too afraid to commit to. His boss is reluctant to make him a partner in the firm. This reflects Josh’s reluctance to marry and have a life-time partner. Maybe Josh’s mother is married to her fourth husband and looking for a fifth. Maybe Josh’s college buddy has a different woman every night….etc.

When the other characters reflect the hero’s internal conflict the story becomes layered. Subtext seems built-in and reversals are easy to accomplish.

In most stories, the only character the screenwriter uses to “reflect” the hero is often the antagonist. This is done by creating an antagonist with an opposing viewpoint to the hero. This is great, but if you want to create a layered plot and character depth, then try reflecting all the characters off the hero!

Be careful not to overdo the technique in terms of reflecting off the hero. If the hero has a courage issue, the plot could easily become overdone if all the other characters have a courage issue.

The trick is to downplay the other character’s reflective issue.

Josh’s best friend isn’t likely to have his marriage end soon.
Josh’s boss won’t lose his business if he doesn’t to make Josh a partner.
Josh’s problem is the main conflict and the other character’s issues only serve to reflect it.

Another easy technique to create reflection is via “opposite” visuals.

Here’s an example:

Put a single guy in a room filled with Valentine couples and the couples will “reflect” what the single guy longs for.

Another easy technique to create reflection is via “the same” visuals.

Here’s an example:

Two friends who regularly go for a beer together. One is more emotionally mature than the other and he sees his friend as a reflection of the person he no longer wants to be.

Another easy technique to create reflection is via visual metaphor.

Here’s an example:

Give a hero with the need to redeem himself for a past mistake a friend who collects things from the past (eg: vinyl records). His friend’s need to hold onto the items from the past reflects the hero’s redemption issue.

Another technique is take inventory of every item in the hero’s world. Determine how each item reflects the hero’s internal conflict.

A great example is the movie “The 40 year-old Virgin”. The film’s character rides a bike and collects superhero figures. The bike and the figures reflect his need to move beyond boyhood into manhood. Also, notice how this film’s secondary characters reflect the hero’s issues regarding sex.

There are more complex psuchologial techniques where one character reflects their issue onto another character.

Here’s an example:

A husband accuses his wife of cheating with no basis for the accusation whatsoever. It’s more likely she wasn’t cheating at all and he was. He’s reflected his guilt onto his wife.

This technique is more difficult because it requires a setup and payoff to work.

There are many reflective techniques a screenwriter can develop that will add character depth.
 The more reflections there are in a script, especially when the reflections revolve around
the main character, the more layered a story becomes.