1. Researching the character 2. Consistencies and paradoxes 3. Creating the back-story 4. Psychology 5. Relationship 6. Supporting and Minor characters 7. Dialogue 8. Non-realistic characters 9. Stereotyping 10. Solving character problems 1. Researching the character General research: think about what you already know about it The context: it shapes your character (historical period, location, culture, occupation) Specific research: the news things you have to imagine about it Who, What, Where, When, Why It paves the way for the imagination to give the character life 2. Consistencies and paradoxes Getting the first idea from observation or experience (authors identification) Creating the first broad stroke physical description (must be evocative and actable) Finding the core of the character consistency (predictability) Finding the paradoxes within the character to create complexity (conflict) Adding emotion, attitudes and values to further round out Adding details to make the character specific and unique (imperfections) Breaking up the characters souls unity 2. Consistencies and paradoxes Adding emotion, attitudes and values to further round out Deepen a characters humanity emotion attitudes values Opinions, point of view, how it looks at life Something the character brings into situations Strong in comedy Believes, values at stake. The character must Communicate its values, it doesnt discuss them 3. Creating the back-story Characters biography The information may never be conveyed to the audience What the actor needs to know to play the scene The sense memories. It is not important what happened to the character but how he felt about it You want to get more of the character as you would do whit a newfriend Dont get stuck with the past: its no dramatic (drama happens at the present time) It helps to keep up the character in unusual or incredible situations 4. Psychology Inner back-story The unconscious The character types The abnormal You have to track down the past inner experiences of the character Your characters behaviour, gesture and speech come from the unconscious Knowing types will help you to orchestrate Conflicts. People usually have greatest conflict with their opposite 4. Psychology The abnormal Normal behaviour line maniac paranoid psychopath or sociopath depressive schizophrenic Anxiety neurotic EXTRAVERTED INTROVERTED 5. Relationship The couples: you have to set the qualities for the most sizzle (love affair, friendship, partnership, etc.) Character have something in common that brings them together There is a conflict between the characters and this provides most of the drama Characters have contrasting qualities (opposite) The characters have the potential to transform each other for better or for worse 1 2 3 4 CONFLICT The television series may run for five to ten year, delaying the resolution of the relationship In television series changes are minimal. In films and novels transformation may be massive attraction conflict contrast transformation Drama is essentially relational 5. Relationship Midnight Run Their contrasting qualities include choice of jobs, relationship to their spouses, moral choices and even eating J ack (bounty hunter) J onathan (bookkeeper) Fatal attraction Dan Beth Alex The most workable triangles occur when each character exercises wilfulness and intentionally Give further depth, colour and texture to the story 6. Supporting and Minor characters Helps define the role and importance of the protagonist (children for teMother, Secretary for the CEO, etc.) Can be a catalyst figure, giving out information that moves the story forward (children for teMother, Secretary for the CEO, etc.) Contrasting the character with the protagonist Physical (heavy and slim), Attitudes (passionate and cold) They can be similar (occasionally) They can have their own paradoxes and personalities They can be character types (instantly recognizable to audiences) Give them part of your attention. Invent some little details The function How to fulfil the function Details You must know: 7. Dialogue It has a beat, a rhythm, a melody Tends to be short, and spare (character do not speak for more than two o three lines) It is like a tennis match (constant exchange of power sexual, physical, political, social, etc.) Conveys conflict, attitudes and intentions (do not tell it: reveal it) It is easily spoken (it makes good actors) 7. Dialogue Text Sub text The lines spoken by the character into the script What the character is really saying beneath and between the lines energy plot drama 7. Dialogue Bad dialogue PRODUCER Well, come in. It is a real pleasure to meet you. You know, I liked your script very much it is really very good. YOUNG WRITER Well, thank you. It is my first script, and Im really very scared about what youll think about it. Im from Kansas, and I have never been to a big city before, and I feel really lucky to meet someone like you. I have admired your work for so many years. PRODUCER Oh, that is very nice of you to say that. Lets talk about making a deal. wooden boring The lines says what theyre thinking No difference between the characters 7. Dialogue There are tens of things to do before you write the dialogue You have to translate real talk into fictional dialogue (stylized, compressed) For a good dialogue you must sense the character as an actor does 8. Non-realistic characters One-dimensional, they personify one quality. Symbolic character One dimensional symbolic character Multi dimensional character Mars Stepford Wives Everyman Superman Batman J oker Clark Kent Bruce Wayne Scarlet Rick Taxi driver Villains and superheroes are often symbolic characters 8. Non-realistic characters Choosing one or two attributes that will begin to define the identity of the character Non human character Most animal characters are likely to not change at all in the story Emphasizing the associations that the audience brings to the character in order to expand on this identity Creating a strong context to deepen the character The process of associating a quality to a non human character isthe same of the one used in ads for associating a quality to a brand Most of the strength for the non human character comes from the context Lassie Rub Tin Tin King Kong 8. Non-realistic characters Character in magical context Fantasy character Merlin Wicked Witch of the West (Oz) Mermaid (Splash) 8. Non-realistic characters Must add an understanding of the audience Mythic character A mythic story represent the meaning in our own lives You are talking about real heroes The hero is transformed in the course of his journey They need enough dimensionality to seem like real human beings There must be a sense of mystery (past, dark side, etc.) The hero is not just a person: hes an idea. 9. Stereotyping Get rid of the stereotypes! Usually you tend to stereotype who is different from you (ethnic minorities, different sexual orientation, religious groups) You do not need a stereotype in comedy: you want character type (The character type doesnt suggest that everyone in a certain group has the same characteristic) 10. Solving character problems Some advices for breaking through free writing hidden agenda other person reading what if? gender switch You can solve problem if you realize where they come from Un-likable characters You must come to a term with your own psychology Vague character improve the research and add some details General problem it is a story problem, not a character problem
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