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 (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 emotion

Deepen a characters humanity

attitudes

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

values

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 new friend 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

You have to track down the past inner experiences of the character

The unconscious
Your characters behaviour, gesture and speech come from the unconscious

The character types

Knowing types will help you to orchestrate Conflicts. People usually have greatest conflict with their opposite

The abnormal

4. Psychology

depressive

maniac

INTROVERTED

schizophrenic

paranoid

EXTRAVERTED

Anxiety neurotic

psychopath or sociopath

Normal behaviour line

The abnormal

5. Relationship The couples: you have to set the qualities for the most sizzle
(love affair, friendship, partnership, etc.)

Drama is essentially relational

1 2
CONFLICT

attraction

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

conflict

3 4

contrast

transformation

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

5. Relationship Jack Midnight Run

(bounty hunter)

Jonathan
(bookkeeper)

Their contrasting qualities include choice of jobs, relationship to their spouses, moral choices and even eating

Fatal attraction

Dan
The most workable triangles occur when each character exercises wilfulness and intentionally

Beth

Alex

6. Supporting and Minor characters

You must know:

Give further depth, colour and texture to the story

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 (do not tell it: reveal it) It is easily spoken (it makes good actors)

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 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 Symbolic character

One-dimensional, they personify one quality.
Villains and superheroes are often symbolic characters

One dimensional symbolic character

Mars Stepford Wives Everyman Superman Batman Joker Clark Kent Bruce Wayne

Multi dimensional character 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: 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 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