March 5
7 comments
March 5
7 comments
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A succinct bit of well-appreciated advice at just the write time. Waiting to do the “character pass” can have serious plot consequences if the character’s foundation hasn’t been interwoven throughout from the beginning. Thanks for the fresh take. This old word-dog can learn new tricks. Time to hit the obituaries.
OH WOW!!! This was so amazing! I loved every detailed and learned so much; like “mirror character”. I’ve never heard that term before. Thanks as well for that historical insight on forgotten stories of people from the past like the street names; Pico for example; Pio Pico who was a governor of Cali from 1845 to 1846 and was of African ancestry. Thanks so much for this!!!
How incredibly helpful. This was like a masterclass in character development. I’m kind of surprised that character is so much much more powerful than plot. This is a great example of why this is true. If the characters are developed enough, the plot can spring forth from their struggles. It is awesome to have so many angles to create deep characters in one place. I’ll refer to it often. Much appreciated.
There is no plot without having the character first. Actors don’t play plots they play people for a reason. Focusing too much on what happens without proper nourishment given to who it happens to is exactly how bad screenplays are born. At the end of the day, we’re more compelled and moved by human transformation than a mere series of events. You can get a real bang for your buck by manipulating your reader’s feelings by getting them invested in your characters. See screenplays Moonlight, American Fiction, Fruitvale Station, The Joker, The Dark Knight, Nightcrawler, Little Miss Sunshine, or Eternal Sunshine of the Spotless Mind for examples of stories where who it is happening to is masterfully crafted.
The article is very informative and straight to the point. Whatever I write about my unforgettable character, I will remember my own life, including my childhood, because I want to make the audience understand and empathize.
Be careful about using your own experience to craft characters. Everybody has a built-in blindspot that allows them to miss how the world sees them and overemphasize how they see the world. The result often is the motivations and “truths” of subordinate characters can feel wooden and the lead character can become a tad cliched. 60 Minutes did a great piece this past week on recently exonerated people and victims of rape and other violent crimes whose testimony sent the wrong person to jail which exposed how society completely misses what really happens to both parties after DNA proves the wrong person was sent to prison. Most writers would completely miss what goes on in the mind of the rape victim once. the innocent man is freed. My point is you can’t see your blindspot so try to get outside of yourself by creating characters rather than being the character. You can still use your experience, but you’ll likely have a more compelling script if you can see yourself through other’s eyes.
This article was very informative. Character profiles are my strong suit, primarily since all my stories are rooted in real-life experiences; however, the piece took me to ideas and resources I had yet to consider, especially when exploring supporting characters. I especially like the age breakdown based on the characters’ stressors. The article also caused me to stop in the middle and research “code-switching.” I’m working on wordsmithing the dialogue in my current script, and “code-switching” is a crucial point in developing my supporting character. Thank you for all of this; it is beneficial and something I will refer to regularly.