Embedded Files
Understanding Us = Character Building
Understanding Us = Character Building
Let’s Face It…
Let’s Face It…
Stories emit from characters.
Stories emit from characters.
WHY? - because...
WHY? - because...
Stories are:
Stories are:
'an account of imaginary or real people and events told for entertainment'
'an account of imaginary or real people and events told for entertainment'
Oxford Dictionary
Oxford Dictionary
'an account of incidents or events'
'an account of incidents or events'
Webbster
Webbster
Situations, incidents & events are initiated by people.
Situations, incidents & events are initiated by people.
Issues that develop out of situations & events, are brought about by people.
Issues that develop out of situations & events, are brought about by people.
People are characters:
People are characters:
Character:
Character:
the particular combination of qualities in a person or place that makes them different from others.
the particular combination of qualities in a person or place that makes them different from others.
Our character defines how we will respond to situations, incidents, events & issues.
Our character defines how we will respond to situations, incidents, events & issues.
So it is our character that causes the particular development and route of 'our story'.
So it is our character that causes the particular development and route of 'our story'.
Character is defined by what your hero does over the course of the story.
Character is defined by what your hero does over the course of the story.
In other words, plot and character define one another.
In other words, plot and character define one another.
You can’t have a great plot (route*) without a strong, complex main character to generate those actions.
You can’t have a great plot (route*) without a strong, complex main character to generate those actions.
And you can’t have a great main character without an intricate plot to test him to the depths of his being.
And you can’t have a great main character without an intricate plot to test him to the depths of his being.
Let's look at some news stories and consider what prompted them:
Let's look at some news stories and consider what prompted them:
Task 1.
Task 1.
An Icelandic volcano erupted.
An Icelandic volcano erupted.
Why do you think it was a story on the front page of all of the news papers, and headline TV news, across the world?
Why do you think it was a story on the front page of all of the news papers, and headline TV news, across the world?
Who might be the characters that could give a perspective on this story?
Who might be the characters that could give a perspective on this story?
Task 2.
Task 2.
A Bank of England interest rate rise.
A Bank of England interest rate rise.
Who do you think this financial situation would be important to?
Who do you think this financial situation would be important to?
Who might be the characters that could give a perspective on this situation?
Who might be the characters that could give a perspective on this situation?
Task 3.
Task 3.
A Coal Mine to close.
A Coal Mine to close.
What issues are raised by this event?
What issues are raised by this event?
Who might be the characters that could give a perspective on this issue?
Who might be the characters that could give a perspective on this issue?
In each of these three cases, Volcano, Economy and Coal Mine, how far could you cast your net, away from the obvious, directly affected ones, for characters who might have an interesting perspective on these events?
In each of these three cases, Volcano, Economy and Coal Mine, how far could you cast your net, away from the obvious, directly affected ones, for characters who might have an interesting perspective on these events?
Task 4.
Task 4.
Explore each scenario and list the characters, together with a brief description of their 'story'.
Explore each scenario and list the characters, together with a brief description of their 'story'.
If you have watched Breaking Bad (Gilligan, 2008), you will know that, beyond the main characters:
If you have watched Breaking Bad (Gilligan, 2008), you will know that, beyond the main characters:
Walter, (whose issue is being diagnosed with terminal cancer, his fear is his lack of a legacy to leave his family, which grows to expose his weakness - his self-importance/inflated ego) and his soon to be partner in crime:
Walter, (whose issue is being diagnosed with terminal cancer, his fear is his lack of a legacy to leave his family, which grows to expose his weakness - his self-importance/inflated ego) and his soon to be partner in crime:
Jesse (whose issue is he was the kid who had everything but let his parents down by - weakness - getting involved in drugs realising his - fear - being rejected by his family) -
Jesse (whose issue is he was the kid who had everything but let his parents down by - weakness - getting involved in drugs realising his - fear - being rejected by his family) -
there are very many other characters that orbit around these individuals and are affected by their actions and the issues that result from them.
there are very many other characters that orbit around these individuals and are affected by their actions and the issues that result from them.
The potential for these other character's backstories, are so good, that they not only lend a colourful and constantly surprising dimensionality to the Breaking Bad story, they resulted in a fully formed spin-off (prequel) for four of them: Better Call Saul (Gilligan, Gould, 2015).
The potential for these other character's backstories, are so good, that they not only lend a colourful and constantly surprising dimensionality to the Breaking Bad story, they resulted in a fully formed spin-off (prequel) for four of them: Better Call Saul (Gilligan, Gould, 2015).
Better Call Saul
Behaviour = Action = Response = Reaction = Interaction
Behaviour = Action = Response = Reaction = Interaction
The qualities of a person’s character lead them to behave in certain ways,
The qualities of a person’s character lead them to behave in certain ways,
to respond to things,
to respond to things,
and thus interact with things,
and thus interact with things,
in a particular way –
in a particular way –
this is the outward evidence of a person’s ‘character.
this is the outward evidence of a person’s ‘character.
In medical terms it is referred to as ‘how they present’.
In medical terms it is referred to as ‘how they present’.
It is therefore important for us to start to understand human behaviour in order to be able to create believable, interesting, dimensional characters
It is therefore important for us to start to understand human behaviour in order to be able to create believable, interesting, dimensional characters
from whom
from whom
believable, interesting, dimensional stories can evolve.
believable, interesting, dimensional stories can evolve.
Task 5.
Watch the following clip from Breaking Bad (Gilligan, 2008).
Watch the following clip from Breaking Bad (Gilligan, 2008).
- Consider and make notes on the 'nature' of each of the characters, that is, the 'recognisable' or 'relatable' aspects of each individual;
Mom, Dad, Son Vs the Bully and 2 friends
Mom, Dad, Son Vs the Bully and 2 friends
Task 6.
Task 6.
- Also consider and make notes on the 'state of being' that each character is experiencing - what do they want, from moment to moment?
We, as individuals, have different characters from each other,
We, as individuals, have different characters from each other,
our characters are formed by a mix of our parents and ancestors genetics and the waves of their experience, learning and perspectives that have shaped our childhoods.
our characters are formed by a mix of our parents and ancestors genetics and the waves of their experience, learning and perspectives that have shaped our childhoods.
This is summed up in the famous poem by Philip Larkin, 'This Be The Verse' 1971.
This is summed up in the famous poem by Philip Larkin, 'This Be The Verse' 1971.
We are also shaped by
We are also shaped by
our own needs, and wants.
our own needs, and wants.
Establishing these for each of your characters is essential, as they and they should follow the following descriptors:
Establishing these for each of your characters is essential, as they and they should follow the following descriptors:
Want:
Want:
Something your character desires, because they believe it’ll improve their happiness.
Something your character desires, because they believe it’ll improve their happiness.
Need:
Need:
The lesson they need to learn to overcome their inner struggle and achieve true happiness.
The lesson they need to learn to overcome their inner struggle and achieve true happiness.
Like all of us, your characters will have things in their life that make them unhappy, uncomfortable, or discontent.
Like all of us, your characters will have things in their life that make them unhappy, uncomfortable, or discontent.
Their want is the thing they think will free them from these problems.
Their want is the thing they think will free them from these problems.
On the other hand, their need is to learn and grow. This is how they’ll achieve true happiness, and how they’ll overcome the conflict of your story.
On the other hand, their need is to learn and grow. This is how they’ll achieve true happiness, and how they’ll overcome the conflict of your story.
For example, your protagonist believes that by becoming prom queen they’ll gain friends, popularity, and happiness.
For example, your protagonist believes that by becoming prom queen they’ll gain friends, popularity, and happiness.
However, in reality what they need is to let go of their ego and embrace those lower on the popularity ladder to find true, lasting friendships.
However, in reality what they need is to let go of their ego and embrace those lower on the popularity ladder to find true, lasting friendships.
This is why it is important, and very helpful, to always create as detailed a
This is why it is important, and very helpful, to always create as detailed a
Character Development Profile as possible.
Character Development Profile as possible.
I suggest using the following adaptation (which allows for contemporary social and gender awareness) of the profile guide in ‘The Art of Dramatic Writing’ by Lajos Egri, first published in 1942.
I suggest using the following adaptation (which allows for contemporary social and gender awareness) of the profile guide in ‘The Art of Dramatic Writing’ by Lajos Egri, first published in 1942.
How to create a
How to create a
Character Development Profile
Character Development Profile
Respond to the prompts in the Character profile Tool below.
Respond to the prompts in the Character profile Tool below.
Be descriptive and expand where you can; give reasons where appropriate.
Be descriptive and expand where you can; give reasons where appropriate.
The criteria in brackets is to prompt and is not definitive, you may add other criteria that is more appropriate to the character that you are creating.
The criteria in brackets is to prompt and is not definitive, you may add other criteria that is more appropriate to the character that you are creating.
Download Character Profile template here:
Download Character Profile template here:
Character Profile Tool.docx
Further to Egri’s criteria in the tool above, I would suggest that it is especially valuable to you to consider:
Further to Egri’s criteria in the tool above, I would suggest that it is especially valuable to you to consider:
What is each character's:
What is each character's:
Main Strength
Main Strength
Main Weakness
Main Weakness
Main Fear
Main Fear
By considering and allowing for the audience's understanding of these contrasting aspects, you will ensure that you create 'dimensionality' and characters that we can believe in because no one is perfect.
By considering and allowing for the audience's understanding of these contrasting aspects, you will ensure that you create 'dimensionality' and characters that we can believe in because no one is perfect.
One of the biggest traps that writers can fall into, is in mistaking 'perfect' for 'interesting'.
One of the biggest traps that writers can fall into, is in mistaking 'perfect' for 'interesting'.
For example, In Game of Thrones, Khal Drogo is a 'perfect warrior', undefeated and feared by all but he was an engaging character because of his contrasting traits, beyond being a callous thug. As Jason Momoa, who played him says,
For example, In Game of Thrones, Khal Drogo is a 'perfect warrior', undefeated and feared by all but he was an engaging character because of his contrasting traits, beyond being a callous thug. As Jason Momoa, who played him says,
"Here's your lead characters, you're supposed to think about them one way, and you hate them, then you love them, and then they're killed and it's a whirlwind of emotion.
"Here's your lead characters, you're supposed to think about them one way, and you hate them, then you love them, and then they're killed and it's a whirlwind of emotion.
All the little kids and even the smallest of characters just grow and grow and grow."
All the little kids and even the smallest of characters just grow and grow and grow."
Warrior King
Lover & Father
Helpless & Vulnerable
And, in terms of your story:
And, in terms of your story:
What does each character want? - This is their starting point, their motivation
What does each character want? - This is their starting point, their motivation
What do they need? - This is where their story concludes, what they realise about themselves.
What do they need? - This is where their story concludes, what they realise about themselves.
This is often a case of your character believing that they are one thing and you knowing that they are something else - that something else is what they (and we) realise they are by the end of the story.
This is often a case of your character believing that they are one thing and you knowing that they are something else - that something else is what they (and we) realise they are by the end of the story.
Uses his talent to selfish ends
Uses his talent to save himself
Acknowledges the value of others
Uses his talent to protect others
As illustrated by this interview with Brian Cranston (Walter) and the writer Vince Gilligan, talking about Breaking Bad:
As illustrated by this interview with Brian Cranston (Walter) and the writer Vince Gilligan, talking about Breaking Bad:
In the second season, [Cranston] told Gilligan, “I really think Walt’s doing it for his family,” and Gilligan replied,
In the second season, [Cranston] told Gilligan, “I really think Walt’s doing it for his family,” and Gilligan replied,
“No, I think he’s actually kind of selfish.”
“No, I think he’s actually kind of selfish.”
Gilligan says,
Gilligan says,
“It dawned on me, slowly, that I was telling the actor he’s mistaken about his own character — and that my stupidity was jeopardising the whole show.
“It dawned on me, slowly, that I was telling the actor he’s mistaken about his own character — and that my stupidity was jeopardising the whole show.
You don’t have to be Freud to know that Hitler thought of himself as a wonderful guy.”
You don’t have to be Freud to know that Hitler thought of himself as a wonderful guy.”
The actor can’t let himself know things that he knows. And so, for a long time, Cranston has been lying to himself that the monster he carries in his belly is a wonderful dad."
The actor can’t let himself know things that he knows. And so, for a long time, Cranston has been lying to himself that the monster he carries in his belly is a wonderful dad."
This, for me, illustrates a similarity between the craft of an actor and the craft of a writer -
This, for me, illustrates a similarity between the craft of an actor and the craft of a writer -
both have to inhabit the characters they are creating,
both have to inhabit the characters they are creating,
to believe in them as 'real' people,
to believe in them as 'real' people,
to love them,
to love them,
as any human needs to love themselves and,
as any human needs to love themselves and,
at the same time, be objective.
at the same time, be objective.
Consider what Morgan Freeman's detective, Somerset, in Se7en (Fincher, 1996) says about the serial killer John Doe:
Consider what Morgan Freeman's detective, Somerset, in Se7en (Fincher, 1996) says about the serial killer John Doe:
If we caught John Doe and he were the devil himself,
If we caught John Doe and he were the devil himself,
if it turned out he were actually Satan, then, that might live up to our expectations.
if it turned out he were actually Satan, then, that might live up to our expectations.
No human being could do these things, right?
No human being could do these things, right?
But, this is not the devil. It's just a man."
But, this is not the devil. It's just a man."
In the following clip, John Doe tries to justify his appalling actions.
In the following clip, John Doe tries to justify his appalling actions.
Note how his calm, dismissive demeanour
Note how his calm, dismissive demeanour
(the de-humanised mask that allows us to perceive him as a 'monster' and thus separate from us)
(the de-humanised mask that allows us to perceive him as a 'monster' and thus separate from us)
fractures to expose his emotional ('human' if deluded) sincerity -
fractures to expose his emotional ('human' if deluded) sincerity -
this is the point where Somerset's theory is proven, and what makes John Doe so frightening.
this is the point where Somerset's theory is proven, and what makes John Doe so frightening.
To play, or write, any character, even one with a viewpoint vastly polarised from yours, you have to do so from the point of view of someone who believes that they are right. Even if that's in being right to hate them selves, doubt themselves, admire themselves, whatever.
To play, or write, any character, even one with a viewpoint vastly polarised from yours, you have to do so from the point of view of someone who believes that they are right. Even if that's in being right to hate them selves, doubt themselves, admire themselves, whatever.
The process of change in a character is illustrated in their story arc, or the character's journey through their story.
The process of change in a character is illustrated in their story arc, or the character's journey through their story.
In this journey your audience should piece things together just before the protagonist does in the story...because you wrote it so they would!
In this journey your audience should piece things together just before the protagonist does in the story...because you wrote it so they would!
Audiences like to feel clever, and get fulfilment from following a storyline that involved them in working things out.
Audiences like to feel clever, and get fulfilment from following a storyline that involved them in working things out.
If you think about it, a story is a series of clues and audiences piece the clues together to reach a conclusion, so it's a good idea to let them feel like they 'worked it out' - they 'find' the answer, right where you placed it.
If you think about it, a story is a series of clues and audiences piece the clues together to reach a conclusion, so it's a good idea to let them feel like they 'worked it out' - they 'find' the answer, right where you placed it.
Task 7.
Task 7.
Consider three of your favourite stories and list the following for the protagonists in each:
Consider three of your favourite stories and list the following for the protagonists in each:
What do they want (initial motivation, intention)
What do they want (initial motivation, intention)
What do they need (realisation, new intention)
What do they need (realisation, new intention)
Their main strength
Their main strength
Their main weakness
Their main weakness
Their main fear
Their main fear
Our Relationship to Fictional Characters; EMPATHY
Our Relationship to Fictional Characters; EMPATHY
Empathy is:
Empathy is:
the ability to share someone else’s feelings or experiences by imagining what it would be like to be in that person’s situation
the ability to share someone else’s feelings or experiences by imagining what it would be like to be in that person’s situation
When you are working on a Character Development Profile it is all too easy to be very kind to your protagonist, and very cruel and unforgiving to your antagonist.
When you are working on a Character Development Profile it is all too easy to be very kind to your protagonist, and very cruel and unforgiving to your antagonist.
The problem with this is neither character will be very interesting, why do you think this is?
The problem with this is neither character will be very interesting, why do you think this is?
Task 8.
Task 8.
Look at a few successful protagonists and antagonists and analyse the aspects of their characters in terms of what makes them who they are...for example,
Look at a few successful protagonists and antagonists and analyse the aspects of their characters in terms of what makes them who they are...for example,
Harry Potter & Voldemort
Harry Potter & Voldemort
Eve & Villanelle
Begbe & Renton
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