The Art Of Words: Finding The Character

When writing a story, great characters don't just happen.  Every character requires care and nurturing to develop into someone worth following to the end of their journey.

Fade In:

As we read our favorite books and watch our favorite plays, TV shows and movies, the inherent connections to the material are in the characters and their portrayals of good and bad, right and wrong, yin and yang, and all the gray areas in between.  Our belief in those characters is what compels us to keep our attention on the peaks and valleys of their lives.  Their triumphs and tragedies resonate with us, and their journeys become our journeys.  Getting all the components of a character to work in concert is a fundamental goal of every writer; to make the reader/viewer believe whomever we create are living, breathing, sentient beings worth knowing.  Through the centuries there have been countless characters created by countless writers.  Which means those countless writers have succeeded in creating the crucial connection between character and audience.  Now it's our turn.

The Foundation, or "Where, How, and Why" of a Character

Often (but not always) the premise of our story dictates who our characters will be, i.e. a tense story about a bank robbery will probably have violent criminals; a funny story about kid's daycare will have wild, rambunctious kids and frazzled adults; a thrilling pirate story will have... well, thrilling pirates.

But it starts with an idea, the "I want to write a story about..." impetus.  And, whether we realize it or not as we construct the twists and turns of our plot, it all comes down to justifying the existence of each character in the universe we create.  How we choose to shed light on our characters directly affects our audience's reaction to them. If we know the reason why a character(s) is the focus of the whole story, or only appearing in one scene, we are already on the path to defining what that character is about: Who are they?  What do they want?  Why do they need it?  Do they get what they want?  Why, or why not? What are the ramifications of them achieving (or not achieving) their goals?  How does it affect other characters in the story?  How do these actions affect the resolution? And so on.  The process of character development takes time and patience, attributes that can be in short supply, especially when you're facing a tight deadline.  But many writers believe a story isn't created until it's been re-written at least ten times, which means the characters are constantly molded and recreated in the process; their subtleties, nuances,and flaws re-shaped and perfected until, finally, the characters "live and breathe".

If we look at +Greek mythology, +Aesop's fables, etc., we see that many of these stories possess the same attributes of modern storytelling: a hero, a villain, and their trials and triumphs to attain their goals.  The only real difference between now and then is in the presentation.  What does that mean?  The Greeks (and, to be fair, Chinese, Japanese, Egyptians, and others) figured out story mechanics over 2000 years ago.   It means that the basics, or foundation, of storytelling hasn't really changed all that much, and the Greeks knew that if audiences didn't identify with their characters, no one would pay attention to their morality plays and fables.  The Greeks employed some of the greatest tools a writer has: character dynamics, which are the personality traits that dictate a character's actions.  Going back to +Aristotle's Poetics, the fundamental groundwork of just about every story (and every character) ever written is laid out, and we discern that "action is character, character is action".  Why do I mention the Greeks' approach?   Because they laid out the path.  There's no need to "re-invent the wheel" when it comes to creating character; the method already exists.  What we can do is modify the "wheel", and create characters that relate to our modern world.

Some writers use a character attribute list, or "personality tree".  It's simply a short outline of a character's personality.  It might go something like:

Character "1" - the Protag.
A traits: smart, selfless, reactionary
B traits: contemplative, distant, loner
C traits: insecure, slightly arrogant, cynical

Character "2" - the Antag
A traits: driven, cunning, ruthless
B traits: witty, educated, calculating
C traits: insecure, petty, bitter

Each trait list is a "layer" to your character. The trait lists are a well to draw from when creating your character's actions and reactions.  While the above lists are short examples, you can add as many traits to the list as you want, and rearrange the traits to best reflect the character you want to create.  (If there are any words of caution I would have for using the trait list, it would be this: only use high value personality traits.  What does high value mean, in this situation?  It means no matter how many traits you list for your character, only keep those which you truly believe reflect the character you want to portray.  Overloading your list with every trait you can think of gives rise to the possibility that your character will become diluted, convoluted, or even lost, in a deluge of choices.)

You may have noticed that the Protag and Antag above share the "insecure" trait.  Shared traits are perfectly legitimate when creating character relationships, and add a kindred spirit dimension which may result in complications in the resolution.

You can add notes to reflect why a character has a certain trait.   If we take the "driven" trait from the Antag list we might make a simple note about what drives the Antag into their actions:

A traits: driven (revenge for father's death), cunning, ruthless

Now we have a reminder of why the Antag feels the way they do.  And, again, the notes can be as detailed as you feel is necessary.

How Come the Character in My Head Isn't on the Page?

Great characters don't just happen.  They aren't written in five minutes, and if they are they won't resonate for a lifetime.  Like people in real life, characters must evolve and grow (aka the "character arc").  They need to have ups and downs, and learn (or not learn, depending on your story) from their mistakes, even if their learning curve is painfully slow.  We now know the more we develop our characters the more we get to understand them and furnish them with a better realized world to inhabit.  Let's look at some examples:

+Rocky - One of the most beloved screen characters of all time.  Why?  Because he's portrayed by +Sylvester +Stallone as a real person whom we can identify with: he looks for meaning in his life, and finds it with Adrian; he has a big heart and, though he's street tough, shares his heart with the people closest to him; he's a bit naive, not always understanding how the world works; he's pragmatic, knowing that he's only a club fighter who's far out-classed by champ Apollo Creed, which is why Rocky refuses to fight (at first); he's determined, and comes to realize this fight is his shot at redemption, then shows not only Adrian, Apollo, and himself, but the whole world that he's got what it takes to go the distance with the champ (the 15th and final round).

+Erin Brockovich - Another great portrayal. If we go down the list of her character attributes we find she is: smart, determined, desperate, cynical, loyal, loving, scared, rude, fierce, noble, confrontational, stubborn and a born crusader. That's a lot for +Julia Roberts to pack into one performance, and she did it beautifully.

+Death Of A Salesman - Willy Loman is the quintessential tragic hero. His life is rendered almost meaningless. His job leaves him feeling unfulfilled and unsuccessful. His family life is something less than ideal. Willy is depressed, remorseful, delusional, insecure, foolhardy and, ultimately, suicidal (Willy's justification of his suicide is only an excuse for him to escape his life). He tries desperately to hold onto the last shreds of self-respect and dignity through daydreams of an affair from the past. Willy walks a line between reality and despair that is both relatable and heartbreaking.

+Breaking Bad - +Walter White is a different tragic hero. He has something to live for: his family. He's a nice, average man pushed to extremes by his circumstances (cancer, lack of funds for medical care), and reacts in an extreme way (by being a ruthless meth dealer). Walter redefines who he is for the course of the entire series and, as portrayed to near perfection by  +Bryan Cranston, discovers his dark side is his greatest asset, his personal demons his greatest allies. Walter is in turns a loving husband/father and a tortured soul, put through an emotional ringer largely by his own doing.  By the end we feel that Walter has masterminded his tragic path for the sake of his family, and exits this life on his own terms.

Epilogue

As we've seen, there are many ways to communicate character to your audience.   And really knowing who your characters are is the best way to get them out of your head and onto the page.  There is no wrong method to develop characters, unless your method isn't getting the results that you want.  Development takes time and experimentation. That being said, the process isn't the same for everybody. Some writers have a natural gift for character, and the personality components come along quickly.  But I truly believe we should give the characters a chance to "tell" us who they are and what they want.  Let the characters gestate and grow.  You'll be surprised by the results.

These are just my opinions, do with them what you will.  Best of luck.

A few quotes:

One day I will find the right words, and they will be simple - +Jack Kerouac

Don't give people what they want, give them what they need - +Joss Whedon

The most valuable of talents is never using two words when one will do - +Thomas Jefferson

You can fix anything but a blank page - +Nora Roberts

Learn the rules like a pro, and break them like an artist - Pablo +Picasso

A few links:

+Writer's Guild - www.wga.org - register your work

+Writer's Store - www.writersstore.com - books, dvd's, seminars, software

+ Simply Scripts - www.simplyscripts.com - produced and unproduced screenplays

+Script - www.scriptmag.com - all about writing

+Zoetrope - www.zoetrope.com - +Francis Ford Coppola's company website

+WordPlay - www.wordplayer.com - web site of writers Terry Rossio & Ted Elliot

+The Script Mentor - www.thescriptmentor.com - script coverage

The Art Of Words: Word Energy

Writing a screenplay, a book, an article, or any other creative endeavor requires several crucial elements for success.  One not to be overlooked is the energy within the material.

FADE IN:
Everyone whom enters into an artistic endeavor obviously has an idea, a feeling, or an impulse that motivates them to at least make an attempt to release their artistic expression.  Some ideas are clearer than others, but even the slightest motivations can manifest fantastic results.  The desire to create and the passion to see it through are at the heart of what the arts are all about, be it writing, performing, producing, or some other form of creative expression.  For each facet to be successful the end result needs to embody one primary element: energy.  Not necessarily physical energy, but emotional energy, one so strong that we are drawn to the artist's work, again and again.

Every creative endeavor should begin and end with a purpose. Whether it is to enlighten, entertain, educate, or some combination of the above, every artist must know the reason they are creating their material. Intent should be a key factor that drives creativity, and brings your idea to fruition. Weak intent can garner weak results, and lead to frustration upon frustration. That's not to say that knowing the intent of your material will make the process frustration free, but knowing what's behind the meaning of your work will make traversing the peaks and valleys of the creative process far more bearable.

When artistic material has meaning, the "energy" is inherent. It inspires and motivates the artist, as well as the public. That energy keeps us turning the pages, our eyes glued to the screen, our ears in the headphones, and keeps us visiting the material again, and again. It impacts fans and admirers and, hopefully, keeps them asking for more.

What Is Word "Energy"?
Word energy is the inherent component in your story/script/article that compels a reader to continue on from one word to the next. It's in the formulation of the words you choose to place on the page that takes the reader into the belly of the beast, and makes them want to continue the journey to the end. It's what makes a reader want to know "Who's the monster under the bed?", "Who's the stranger at the door during the storm?", "Who's calling my motel room in the middle of the night, when no one knows where I am?", "Who is that masked man who helps people whenever he's needed?"

Solid writing always has energy to it, and is always compelling. Think about the opening to the U.S. Constitution, and the energy in the words "We, the people of the United States, in Order to form a more perfect Union..." How different would that document be without its intent and purpose? "A bunch of us, stuck here in the Colonies, thought it would be really, really great to govern ourselves..." Energy is vital to selling an idea or story. But where do we find that "energy"? Where do we get a jar of it and slather it in heaps on our labors at the keyboard? The answer is both simple and arduous: work your butt off. There is no magic formula other than hard work. The right combination of words is what turns a story into a story.  Re-write/edit your pages, and apply the principles of good writing until the story flows like water.  Don't fight the process, embrace it. Keep trying different approaches and angles. Research how your favorite writers have created their work, what their failures and impediments have been, and how they overcame those obstacles. Think about the reasons you re-visit a particular book, TV show, movie, or song. Think about why those works inspire you, and how that inspiration motivates you in your own work. Make no mistake, finding the "energy" can be elusive and frustrating. But that energy is a prime factor in our motivation to keep writing, and to continue a creative journey we hope is endless.

Sooner or later, you will come to realize that the elusive "energy" you've been seeking actually resides within your own writing "voice"; your unique style that separates you from every other writer. Once you find it, you have to nurture it, you have to refine it, you have to perfect it. And, ultimately, you have to trust it, which is sometimes easier said than done. Knowing who you are as an artist is key, and that trust in yourself will come across through your material.

Pure Energy
While I had read many scripts and books early on, the first screenplay I read in one sitting was +Pulp Fiction by +Quentin +Tarantino, which isn't a lite read, if you've read it yourself. But, I simply couldn't put it down. The words bristled like nothing I had read before. It overflowed with energy. I immediately felt like the story was leading me somewhere, and I couldn't wait to find out what it was. It simultaneously followed and broke every writing rule I had known at the time, and is still looked on as a benchmark in screenwriting.


Another phenomenal read is +William Goldman's +Butch Cassidy & The Sundance Kid. Like Pulp Fiction, the script, very deservedly, won the Oscar for best original screenplay. The story, humor, and pathos are all terrifically laid out. The energy, so evident on every page, demands you pay attention and rewards you with an outstanding tale of friendship and destiny. The characters are so well defined, so engaging, it's impossible not to root for them.

The screenplay for +Up by Bob Peterson and Pete Docter is lean, engaging, and brimming with energy. It's a fast, involving read that, in my opinion, should be required reading for any screenwriter who wants to learn about writing efficiently and with heart.


+Stephen King's +The Stand is a masterwork. It's compelling to the end, and difficult to put down, even at over 1100 pages (or over 800 in the first printing). He is a peerless storyteller, master of horror, suspense and supernatural thrillers. But his true strength is creating characters the reader identifies with, and roots for.

The Word's The Thing
Possibly more than any other writer in history, +William Shakespeare (or Edward de Vere, 17th Earl of Oxford, if you're a conspiracy theorist) understood the power of intent and purpose in the creative process. No playwright has ever applied more thought, purpose, or ingenuity into their efforts. The incredible creative energy in his works is unparalleled, which is why performers and scholars have been compelled to remake, reference, and decode his catalog for going on five centuries, now. He exhausted the breadth of 16th century English so severely, he had to create over 1700 of his own words to complete his work (that's right, if you've ever said the words advertising, elbow, or fashionable, you can thank Willy Shakes). His seminal play, +Hamlet, is basically perfect. While it's not the easiest read in the world, the hero, villains, and ancillary characters are so well defined, we almost feel like we know them personally. Every motivation fully captured, every nuance fully formed. The most famous moment is a soliloquy to a human skull, and everyone knows that reference as well as any other pop culture reference you can think of. It's also one of the most quoted pieces of popular work ever created. His play +Romeo & Juliet is perhaps the most remade work of fiction in history. The title characters are universally regarded as the embodiment of true love. The opening soliloquy "Two households, both alike in dignity, in fair Verona, where we lay our scene..." is one of the best openers ever written. The list goes on. Shakespeare was, indeed, a wordsmith like no other.

More Bard
In staying with the +Shakespeare theme, several years ago I attended a seminar whose featured speaker was Marc Norman, writer of +Shakespeare In Love. He talked about how his career had become stale, and he had been thinking about quitting the biz as a development writer at Universal. His son was attending college, and had been studying Shakespeare for a thesis. They had a conversation about The Bard, and within their discussion the spark of an idea struck Mr. Norman, one that motivated him to keep writing. But if he was going to continue to write, it was going to be his way.  And he would write his story, not one from a pile of "development hell" castoffs. Energy, intent and purpose flowed from his head to his fingertips; he was writing the script he always knew he was capable of creating. And, after many months of blood, sweat, and coffee, the toiling at his keyboard would payoff. The script was sold, produced (after several production starts and stops), and went on to garner seven +Academy Awards, including best original screenplay. The script (which was punched up by Tom Stoppard) is excellent from start to finish. It's a wonderful, engaging, compelling read, and has been one of my favorites since I first laid eyes on it. (For a little bit of fun, check out this link detailing some of the insane moments from Shakespeare's works: http://www.cracked.com/article_19245_the-6-most-wtf-moments-from-shakespeare-plays.html)

Epilogue
Simply bringing "energy" to your project doesn't guarantee success, and straight enthusiasm doesn't always translate to the page. "Energy" is another cog in the wheel of creation, and one that will serve you well. But it still takes diligence and persistence to find the winning combination of words that tell your tale the way you really want to tell it, and hopefully the way readers want to read it. The usual steps in preparation and execution will still give you the best chance to succeed. It's up to you to make the effort.

These are just my opinions, do with them what you will. Best of luck.
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A Few Quotes:
Write drunk, edit sober - +Ernest Hemingway
You fail only if you stop writing - +Ray Bradbury
I'm not a very good writer, but I'm an excellent re-writer - +James Michener
Easy reading is damn hard writing - +Nathaniel Hawthorne
Be obscure clearly - +E. B. White
Write the first draft with your heart, re-write it with your head - Finding Forrester
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A Few Links:
+Writer's Guild - www.wga.org - register your work!
+Simply Scripts - www.simplyscripts.com - download hundreds of scripts
+The Writer's Store - www.writersstore.com - Books, vids, seminars, software, etc.
+Film Independent - www.filmindependent.org - for independent filmmakers/writers
+Wordplay - www.wordplayer.com - great info on writing
+Zoetrope - www.zoetrope.com - +Francis Ford Coppola's company website