Getting Started in Screenwriting with Xandy Sussan

My sister, Spenser, and I go on the same highly anticipated adventure every time we’re together. We drive from our parents’ home in Connecticut into Manhattan for a quick, food hit-and-run on Original Ray’s on 9^th between 23^rd and 22^nd and then on to Billy’s Bakery, half a block away between 22^nd and 21^st. It’s my favorite two blocks in Manhattan, next to Zabars and H&H. Mmm. Delicious! The drive usually takes us one hour and forty five minutes roundtrip to complete and then there’s forty five more minutes of scarfing pizza and cupcakes while we giggle. We are on a mission, specific solely unto us, which can only be satisfactorily concluded with that first bite of pizza and end with the last moist bite of a chocolate cupcake with vanilla frosting.

Like Peewee and his bike, Citizen Kane and his Rosebud, Lt. Aldo Raine and his Nazi scalps, Spenser and I wanted something so much that it prompted us to act just to get it. That slice and cupcake, in the movie of our cross-state adventure, is our MacGuffin: the “thing” we seek.

A MacGuffin, plainly and simply is everything and nothing at the same time. It is the object of your character’s desire; it’s the thing that drives him and forces him to act. It is the carrot at the end of your plot’s stick. It is an excellent character motivator and every movie has one, regardless of genre. Some movies have a tangible thing, like Harold and Kumar’s White Castle, while others can be intangible, like Dorothy wanting to “go home.” While she’s not yearning for a “thing,” she’s yearning for “something” and that’s enough to motivate her to act.

The term MacGuffin was coined by Alfred Hitchcock while working on Notorious. The spies were originally going to be hunting diamonds, but then Hitchcock decided Uranium would work better. The thing about MacGuffins is that even though there’s a huge difference between diamonds and Uranium, there’s really no difference at all. Hitchcock recognized that all that needed to remain constant was the characters’ desire to obtain the “thing” not what the “thing” is. The “thing” itself is really just a random thing. Sam Spade had his Maltese Falcon, The Terminator has John Connor, Neo has his whatever The Matrix is about. Everyone wants something different. What they want doesn’t matter, just that they want something does.  It’s really a spectacular revelation when you think about it.

Hitchcock dubbed this concept a “MacGuffin” after a joke: Two Scotts are on a train. One points to the other’s case. “What’s in the case?” “It’s a MacGuffin. It’s an apparatus used to trap lions on the Scottish Highlands.” “But there are no lions on the Scottish Highlands.” “Well, then sir, that is no MacGuffin.” And that’s it. A MacGuffin was born.

According to Hitchcock, a MacGuffin can really be as varied as the character. My cupcake, is one spy’s papers is another thief’s diamond necklace. But what that “thing” is, isn’t important. What is important is the character’s desire to possess that “thing.” Because it is desire that drives us as people, and it is desire that makes for relatable and accessible characters.

It is this desire that will prompt a cross-state adventure to satisfy a food craving, but it is also this desire that puts your character on their journey to self discovery. The MacGuffin gives your character something to focus on, to strive for, to be pushed to the limit to have. It is through this process that your character will develop and ultimately grow as a result of participation. The MacGuffin is such an integral piece of all writing, fiction and non, because it is a comment on the human condition. Everyone wants something… that “thing” that they want, isn’t important. Their hunger for it is everything.

Just because your character is on a quest for some “thing,” it is really how he gets it and if he gets it that is important. So while it might be of the highest importance to eat that slice and cupcake, it’s the getting there, and the trip with Spenser that makes the movie exciting. It is the minutia of what happens to us in the car ride that makes the movie special.

Whereas the object of your character’s desire can be as varied as the landscape in which you create it, the one thing that will always remain constant is that the MacGuffin is the most important thing to your character. It is this unabashed love of something that drives your character to act, to journey, to grow. So no matter if it’s a waffle or a sports car, whatever the “thing” your character wants, should inform their choices to obtain it.

The MacGuffin also allows you to show a little bit of character in a fun and clever way. The Dude’s attachment to a small throw rug in his living room is odd. It was weirdly sized, awkwardly placed and grungy. It was something of little consequence to basically everyone in the world; everyone in the world but The Dude.

You see, if The Dude hadn’t so seriously wanted his rug back, he might never have met The Big Lebowski, nor been sucked into the caper of The Missing Bunny Lebowski. It was his desire for his rug’s safe return that lead him to Maude, it was the rug that led him to the Nihilists. If Jackie Treehorn’s porno-actor thug hadn’t micturated upon the rug “that really tied the room together,” The Dude might not have realized how important this item was to him. He might have done his bowling Thai Chi over it for 10 more years as it gathered dust, unnoticed below him. But it was the loss of this rug, the ever present desire to reclaim it that forced him to realize how important it really was to him. That this rug didn’t just “really tie the room together,” it really made him whole, it defined him.

So, when you’re crafting your character think about what they want. By giving them a MacGuffin, you’re giving them something that explains something about their personality while also giving them a built in goal. The item itself is immaterial, as it can be anything. But what makes it so exciting and so mysterious, is that while it’s so important, it’s really of little consequence. Ascribe them something strange and different, make the object a poignant character point rather than some throw away. Use your MacGuffin to center your journey around, and let it inform your character’s choices.

I believe that when you employ an interesting MacGuffin, you’ll find the same satisfaction I find in my slice and cupcake, as your character will find in their adventurous expedition to get the “thing” they’re after. It is in the hunting for that “thing,” the lusting for that “thing,” the obtaining of that “thing” that your character will find their happiness. It is in the adventure to get the “thing,” their MacGuffin that will actually force your character to grow.