Hi All:
i wanted to open a discussion on character because i think often this is an element of writing that can be overlooked, misunderstood and/or neglected.
character in character is vital to a story. this is my phrasing. pick the phrasing that works for you and go from there. what this means to me, is that your character must ALWAYS be behaving, reacting, acting and speaking through the filter of the lens you have chosen for them.
and it must be consistent throughout the entire script. that is how you create characters that are distinguishable from one another. it is also where the unique voice of the character arises from.
introduction
character intros are important, i think we can all agree on that. sometimes i'll see a character introduction that gives a descriptor of a character's primary weakness/flaw (a trait) but the character won't be acting or behaving or even thinking through that lens.
every actor looks forward to their character introduction and if you say that this guy is cruel you better be showing us that trait when you intro them. and every moment after that character's actions must be focused through that lens or one of the other trait-lenses you've assigned him.
one trait as an example:
if you introduce a character to a reader as haughty that character is going to have a set of associated behaviors and attitudes that come along for the ride. as a writer you must understand: what it means (actual definition), the negative aspects of the trait, the positive aspects of the trait (they do have positives until taken to the extreme), how they might overcome this trait (if it has to do with their character arc), and what kind of supporting characters might align or create conflict with this character-- even if they are allies.
then the writer must ensure that the character's dialogue, actions, reactions are all filtered through the haughty lens. basically it comes down to, what would Haughty do in this instance? what would Haughty say? how would Haughty respond? and the writer must also understand what Haughty is thinking. that's how you create character consistency. that's how you create a unique character voice.
when writers say the character tells them what they will do, or that their character directs their own dialogue and actions, they are saying that they understand their character so well that it writes itself. of course we know the writer is still in charge.
when you get a note or comment that says: "it doesn't seem in character." that's a queue for the writer to check themselves because the writer might be indulging in a desire to "expose" information instead of filtering it through the character's lens.
here's an extreme example...
you'd never hear a character who is terrified of heights say, "yeah, let's bungee off a thousand foot high bridge, man. i'm in." unless he's being sarcastic, or follows it up with, "no ****ing way." subtext in dialogue is another topic
okay so back to traits:
i'm using one trait in order to simplify the explanation. you could see how taking two or three traits together can amplify a character's on screen presence.
even the worst character has positive traits, just like your hero will have negative traits. character traits can be in conflict within a character as well and this in one of the best ways to add depth to characters. this is where two characteristics are in opposition to one another.
consider the Matt Dillon and Thande Newton characters in CRASH. Dillon is an outright racist. he doesn't hide it. doesn't apologize for it. but he is also a loyal police officer who wants to do the right thing by serving and saving people. he abuses his authority when he pulls over and gropes Newton in a stop that is based on racial profiling. he wants to **** with her and her husband. he wants to assert his authority over them and show that he is in control and they are not. but later when Newton is in a terrible car crash he must save her even thought she would rather die that have him touch her again. he MUST save her because it's his duty and his honor at stake. he values human life even as a racist. that's not all--
because in the same film is when Dillon talks to his father's insurance handler and she happens to be a black woman. he insults her acting through the lens of being a racist, until he realizes that he's bitten his nose to spite his face because he is also a loving and devoted son doing his best to ease his father's terrible suffering, but because he is also a racist he causes his own father's continued suffering and he cannot undo what he's already been done. he tries to appeal to the handlers own sense of compassion but she's so offended by his racism, that she (acting through her lens) will not submit and forces Dillon to look at his own behavior and begin the transformation of change that helps him save Newton.
internal conflict creates character depth. it's just one example, look to any really good film. Schindler's List that is a character in conflict, right? he's German, profiting off the war but also trying to save as many Jews in his factory as possible. he is always torn between being German and being a savior.
i think it's possible that a writer's whose characters do not live up to their character expectations it is because the writer themself does not understand the psychology behind the trait. that's the only thing i can think of to explain why characters don't behave within their essential traits.
writers also must understand how to communicate character emotions through their actions. your characters are going to be acting/reacting based upon emotional responses. as a writer you'll want to understand, from a physiological POV what that looks like. you'll need to understand the internal state of mind because that will determine how they take action as much as what they will say as a way to escape or diffuse the emotion.
think about fear as an example. physiologically your heart rate increases, hands get clammy, face may turn ashen, flaring nostrils, panting or hyperventilating, you may whisper or your voice may become shrill, you may keep your back to the wall, might hide, chin quivering, rapid blinking, furrowed brow, wide eyes--
maybe you can't speak, or move, maybe you're holding back a scream, you could be dizzy or weak-kneed, not thinking straight, panic attacks, insomnia, false bravado... all these things can be associated with this one single emotion.
understanding the definition of the emotion as well as the physical signs, what the internal thoughts might be, and how they might react is how a writer creates an access point for the reader/audience to identify with and empathize with their character.
okay, i think i'm tapped out now. at least this can serve as a start to the conversation about character in character.
oh and btw, i'm not saying i'm right, these are just my opinions.
i wanted to open a discussion on character because i think often this is an element of writing that can be overlooked, misunderstood and/or neglected.
character in character is vital to a story. this is my phrasing. pick the phrasing that works for you and go from there. what this means to me, is that your character must ALWAYS be behaving, reacting, acting and speaking through the filter of the lens you have chosen for them.
and it must be consistent throughout the entire script. that is how you create characters that are distinguishable from one another. it is also where the unique voice of the character arises from.
introduction
character intros are important, i think we can all agree on that. sometimes i'll see a character introduction that gives a descriptor of a character's primary weakness/flaw (a trait) but the character won't be acting or behaving or even thinking through that lens.
every actor looks forward to their character introduction and if you say that this guy is cruel you better be showing us that trait when you intro them. and every moment after that character's actions must be focused through that lens or one of the other trait-lenses you've assigned him.
one trait as an example:
if you introduce a character to a reader as haughty that character is going to have a set of associated behaviors and attitudes that come along for the ride. as a writer you must understand: what it means (actual definition), the negative aspects of the trait, the positive aspects of the trait (they do have positives until taken to the extreme), how they might overcome this trait (if it has to do with their character arc), and what kind of supporting characters might align or create conflict with this character-- even if they are allies.
then the writer must ensure that the character's dialogue, actions, reactions are all filtered through the haughty lens. basically it comes down to, what would Haughty do in this instance? what would Haughty say? how would Haughty respond? and the writer must also understand what Haughty is thinking. that's how you create character consistency. that's how you create a unique character voice.
when writers say the character tells them what they will do, or that their character directs their own dialogue and actions, they are saying that they understand their character so well that it writes itself. of course we know the writer is still in charge.
when you get a note or comment that says: "it doesn't seem in character." that's a queue for the writer to check themselves because the writer might be indulging in a desire to "expose" information instead of filtering it through the character's lens.
here's an extreme example...
you'd never hear a character who is terrified of heights say, "yeah, let's bungee off a thousand foot high bridge, man. i'm in." unless he's being sarcastic, or follows it up with, "no ****ing way." subtext in dialogue is another topic
okay so back to traits:
i'm using one trait in order to simplify the explanation. you could see how taking two or three traits together can amplify a character's on screen presence.
even the worst character has positive traits, just like your hero will have negative traits. character traits can be in conflict within a character as well and this in one of the best ways to add depth to characters. this is where two characteristics are in opposition to one another.
consider the Matt Dillon and Thande Newton characters in CRASH. Dillon is an outright racist. he doesn't hide it. doesn't apologize for it. but he is also a loyal police officer who wants to do the right thing by serving and saving people. he abuses his authority when he pulls over and gropes Newton in a stop that is based on racial profiling. he wants to **** with her and her husband. he wants to assert his authority over them and show that he is in control and they are not. but later when Newton is in a terrible car crash he must save her even thought she would rather die that have him touch her again. he MUST save her because it's his duty and his honor at stake. he values human life even as a racist. that's not all--
because in the same film is when Dillon talks to his father's insurance handler and she happens to be a black woman. he insults her acting through the lens of being a racist, until he realizes that he's bitten his nose to spite his face because he is also a loving and devoted son doing his best to ease his father's terrible suffering, but because he is also a racist he causes his own father's continued suffering and he cannot undo what he's already been done. he tries to appeal to the handlers own sense of compassion but she's so offended by his racism, that she (acting through her lens) will not submit and forces Dillon to look at his own behavior and begin the transformation of change that helps him save Newton.
internal conflict creates character depth. it's just one example, look to any really good film. Schindler's List that is a character in conflict, right? he's German, profiting off the war but also trying to save as many Jews in his factory as possible. he is always torn between being German and being a savior.
i think it's possible that a writer's whose characters do not live up to their character expectations it is because the writer themself does not understand the psychology behind the trait. that's the only thing i can think of to explain why characters don't behave within their essential traits.
writers also must understand how to communicate character emotions through their actions. your characters are going to be acting/reacting based upon emotional responses. as a writer you'll want to understand, from a physiological POV what that looks like. you'll need to understand the internal state of mind because that will determine how they take action as much as what they will say as a way to escape or diffuse the emotion.
think about fear as an example. physiologically your heart rate increases, hands get clammy, face may turn ashen, flaring nostrils, panting or hyperventilating, you may whisper or your voice may become shrill, you may keep your back to the wall, might hide, chin quivering, rapid blinking, furrowed brow, wide eyes--
maybe you can't speak, or move, maybe you're holding back a scream, you could be dizzy or weak-kneed, not thinking straight, panic attacks, insomnia, false bravado... all these things can be associated with this one single emotion.
understanding the definition of the emotion as well as the physical signs, what the internal thoughts might be, and how they might react is how a writer creates an access point for the reader/audience to identify with and empathize with their character.
okay, i think i'm tapped out now. at least this can serve as a start to the conversation about character in character.
oh and btw, i'm not saying i'm right, these are just my opinions.
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