Categories: Historical
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That you have "too much" material is always a good thing, an indicator of a story's dramatic potential.
BUT:
>>>the story would have 4 lead female characters in different situations as migrant women in Australia in the 1960?s.
IOW: you have in mind an ensemble story. I suggest combining and condensing into one protagonist, or dual protagonists at the most.? Having four separate co-equal characters and story threads in a feature film? can lead to truncated story lines (for want of time to adequately develop each story) diffused focus, and diluted emotional impact.
That you have "too much" material is always a good thing, an indicator of a story's dramatic potential.
BUT:
>>>the story would have 4 lead female characters in different situations as migrant women in Australia in the 1960?s.
IOW: you have in mind an ensemble story. I suggest combining and condensing into one protagonist, or dual protagonists at the most.? Having four separate co-equal characters and story threads in a feature film? can lead to truncated story lines (for want of time to adequately develop each story) diffused focus, and diluted emotional impact.
Is the idea being developed or is this already written?
Even with four characters, one is still technically the protag or has the most significant arc so keep it from her pov. Maybe you can state the others in general or it simply doesn't belong in the logline if they're a subplot.
Make sure the others are needed because it's usually best for one protag to represent the experiences of many.? Like 12 Years A Slave, the movie wouldn't have been as good? had even one other character experienced a different form of the same predicament. (We see a few in Act I, not Act II.)
This sounds more character-driven than plot-driven and having to make money is enough to hold it all together. Clarify that she has to work and that it's not about the husband sending money.
To avoid the wrong impression, avoid "force."? Consider something like, "...parents send her away...."
