Creating unforgettable characters Linda Seger (1990)
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 (author’s 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 character’s soul’s unity
2. Consistencies and paradoxes
Adding emotion, attitudes and values to further round out emotion
attitudes
values
Deepen a character’s humanity
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 doesn’t discuss them
3. Creating the back-story Character’s 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 new friend Don’t get stuck with the past: it’s 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 You have to track down the past inner experiences of the character
The unconscious Your character’s behaviour, gesture and speech come from the unconscious
The character types
The abnormal
Knowing types will help you to orchestrate Conflicts. People usually have greatest conflict with their opposite
4. Psychology
INTROVERTED
depressive
maniac
schizophrenic
paranoid
Anxiety neurotic
psychopath or sociopath
Normal behaviour line
The abnormal
EXTRAVERTED
5. Relationship The couples: you have to set the qualities for the most sizzle (love affair, friendship, partnership, etc.)
Drama is essentially relational
Character have something in common that brings them together
1
attraction
2
conflict
There is a conflict between the characters and this provides most of the drama
3
contrast
Characters have contrasting qualities (opposite)
4
transformation
CONFLICT
The television series may run for five to ten year, delaying the resolution of the relationship
The characters have the potential to transform each other – for better or for worse
In television series changes are minimal. In films and novels transformation may be massive
5. Relationship Midnight Run
Jack
Jonathan
(bounty hunter)
(bookkeeper)
Their contrasting qualities include choice of jobs, relationship to their spouses, moral choices and even eating
Dan
Fatal attraction
The most workable triangles occur when each character exercises wilfulness and intentionally
Beth
Alex
6. Supporting and Minor characters
Give further depth, colour and texture to the story
You must know:
The function
Helps define the role and importance of the protagonist (children for te Mother, Secretary for the CEO, etc.)
Can be a catalyst figure, giving out information that moves the story forward (children for te Mother, Secretary for the CEO, etc.)
How to fulfil the function
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)
Details
Give them part of your attention. Invent some little details
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 It is easily spoken
(it makes good actors)
(do not tell it: reveal it)
7. Dialogue Text
plot
The lines spoken by the character into the script
drama
Sub text
What the character is really saying beneath and between the lines
energy
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 I’m really very scared about what you’ll think about it. I’m 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. Let’s talk about making a deal.
wooden boring The lines says what they’re 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 Symbolic character
One-dimensional, they personify one quality. Villains and superheroes are often symbolic characters
One dimensional symbolic character Mars
Stepford Wives Everyman
Multi dimensional character Superman Batman Joker
Clark Kent Bruce Wayne
Scarlet Rick Taxi driver
8. Non-realistic characters Non human character
Choosing one or two attributes that will begin to define the identity of the character 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
Lassie Rub Tin Tin King Kong
Most animal characters are likely to not change at all in the story The process of associating a quality to a non human character is the 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
8. Non-realistic characters Fantasy character
Character in magical context
Merlin Wicked Witch of the West ( Oz ) Mermaid ( Splash )
8. Non-realistic characters Mythic character
Must add an understanding of the audience 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: he’s 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 doesn’t suggest that everyone in a certain group has the same characteristic)
10. Solving character problems 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 Some advices for breaking through – free writing – hidden agenda – other person reading – what if? – gender switch
