I think this is the one area of writing with which acting helped me the most- externalizing desire. I just picture my characters in their world, one at a time, and think ok- I want this. What do I do to get it? How do I start?
And then I figure out how to make it hard for them- how to prevent them from getting whatever it is that they want. How to make them try something else, until they've run out of options.

Only then do I consider letting 'em have whatever it is they want.

Hi Scott! Quick question if you have time:

How do you conceptualize the plotline in a story where the character's 'want' is different at the end than it is at the beginning? THE GRADUATE could possibly be seen as an example of this, in that his desire for Elaine doesn't manifest until (if I remember correctly), after the midpoint.

P.S. Apologies if that's slightly off-topic.

@Matt: Re The Graduate, I think the 'want' and 'need' paradigm works. At first, Benjamin didn't know what he wanted - that is an apt description of his problem. He sought out sex with Mrs. Robinson as something to do, and likely fueled by a subconscious desire to rebel against the wishes of his parents and the moral values of their social class.

Then he meets Elaine. And over time, she became the object of his need. That he idealized her as a person who would be the key to his existence - i.e., give him meaning - by being in a loving relationship with her is, of course, wrongheaded. I have no doubt that the couple would split up within a few years of them taking off in the back of that bus together, and I think you see that reflected in the "what the hell have I done" look on both their faces as the movie ends.

But in terms of his transformation, Benjamin starts out not knowing what he wants, reflected in his inertia, then locks onto Elaine as the object of his need.

Thanks Scott! I must admit to being a bit sappier about the ending. But what you're saying makes sense to me. Much appreciated.

Also, I want to thank you for your Narrative Throughline lecture, which I downloaded several months back and was an invaluable lifeline with a concept I was trying to beat out at the time. Again, many thanks.

Hey Thanks Scott! I like what you said about how the story should be a dance of the plotline and the themeline.

That was the major problem I encountered while conceptualizing my story; the internal journey felt very disconnected from the physical one. I guess I just have to dive into the characters more.

And thanks for the link to the throughline lecture, I think it's going to be a major help. Cheers!