7 Character Development Keys

Start with character. End with character. Find the story in between.

A few year’s back, I was a guest of the weekly #scriptchat conversation (if you don’t follow #scriptchat, you should). The topic: Character Development Keys. Here is an abridged version of my tweets.

Welcome all! I’ve been a #scriptchat supporter since it started, so I’m happy to be here. Thanks @kim_garland for moderating!

Today’s subject: Character Development Keys.

Not a fan of ‘listicles’, however to maximize our time today, here you go: 7 Character Development Keys.

One of the most common critiques in Hollywood about spec scripts: FORMULAIC WRITING!

Too many writers focusing too much attention on plot using this or that screenplay paradigm or formula.

The single best way to avoid formulaic writing? Write from character. So the first key to character development is this:

#1: Start with character. End with character. Find the story in between.

Embrace your characters and the importance of working with them. No one knows the story as well as your characters.

You’ve heard: Character = Plot? Well, BELIEVE that. If you work with your characters, the plot will emerge.

Which leads to the second point…

#2: Your characters EXIST. Their story universe EXISTS. Your characters WANT you to TELL their story.

Jules Renard: “The story I am writing exists, written in absolutely perfect fashion, some place. All I must do is find it.”

These first two points are about getting you into a mindset: Writing a story is about wrangling magic.

Books on screenplay structure are fine, but if you don’t engage the magic of your story…

More than likely you will end up with a formulaic, flat script. And as I said upfront, that will get you nowhere in Hollywood.

How to find that magic? By immersing yourself in the world of your characters… and magically, they come to life.

#3: Think Protagonist. Think Disunity.

Your Protagonist is more than likely the single most important character in your story-crafting process.

The Protagonist usually goes on some sort of physical / emotional journey. That journey creates the spine of the plot.

The Protagonist’s goal almost always dictates the story’s end point.

All the other major characters are linked to the Protagonist and his/her journey.

Of all the story’s characters, the Protagonist generally undergoes the most significant personal metamorphosis.

You have probably heard: “Give your Protagonist a ‘flaw’. That is surface level writing.

Instead think of the Protagonist as beginning in a state of Disunity…

Disconnected from core aspects of their psyche. Living an inauthentic life. Who they are not who they are destined to be.

This is a more dynamic place to start a story and gives you, the writer, much more to work with re this key character.

Also this: If you begin with a Protagonist in Disunity, that implies a transformation that takes them toward Unity.

This is THE most common transformation type in Hollywood movies: Positive arc from Disunity toward Unity.

The thing is, all the other characters in most Hollywood movies are tied to the Protagonist and their transformation.

So think Protagonist. Think Disunity.

#4: Your characters come alive through DIRECT ENGAGEMENT.

You can do questionnaires, answering a series of questions about a character.

You can find some suggestions in a GITS post here.

You can do biographies, stitching together a character’s personal history.

These can be helpful tools, but I encourage you to do exercises which engage you DIRECTLY with your characters.

Here are three suggestions.

First, Interview. Create a scenario where you are engage a character in a question and answer scenario.

You: Psychologist. Them: Patient. You: Reporter. Them: Subject. You: Police Officer. Them: Suspect.

Create a scene and aim questions directly at your characters, soliciting their responses.

Second, Monologue. Sequester yourself. Quiet room. No distractions. Get into the head space of your character.

Put fingers on keyboard, then type what you HEAR them saying. Let your fingers go. No judgment. Whatever you type, great.

Here, you are reaching out to your characters. Remember they WANT you to tell the story. Monologues give them a voice.

Third, Sit-Downs. Again sequester yourself. Almost a meditative state. Go into the head space of your character.

Fingers on keyboard. Type WHATEVER comes into your mind. Anything and everything. For 15–20 minutes.

Don’t edit, pre-judge. Just type. 80% may be gibberish. But if 20% is authentic to the character… that’s pure gold.

Direct engagement with your characters. Magic happens here.

There are a lot more ways to develop characters. These are just some of the best ones I’ve found over the years.

#5: Character = Function. In a screenplay, every character has a narrative function.

They are not random, rather they exist in the story for a reason.

As you develop your characters, at some point ask: Why are you here? What is your purpose?

Often the key is to ask, How do you connect with the Protagonist’s journey? Which leads us to the next key…

#6: Five Primary Character Archetypes: Protagonist, Nemesis, Attractor, Mentor, Trickster.

I’ve been working with a theory for over a decade that most movies have these five narrative dynamics at play.

There is the character who has a goal and moves toward it. We call that forward-moving character Protagonist.

There is a character / characters who OPPOSE that forward movement. We call that Nemesis (or Antagonist).

There are ally characters most associated with the Protagonist’s emotional development. Call this Attractor.

There are ally characters most associated with the Protagonist’s intellectual development. Call this Mentor.

Finally, characters who test the Protagonist’s will. Ally, enemy, enemy, ally, shifting allegiances. Call this Trickster.

After you have worked with your characters and engaged them directly, step back and think character archetypes.

What is each character’s purpose? What is their respective narrative dynamic? Why do they exist in this story?

It’s likely you will be able to ascribe one of these five archetypes to each major character.

This can serve as a lens through to see them, a foundation upon which you shape their role in the narrative.

For more on the five primary character archetypes, here are some of my many blog posts analyzing movies:

True Grit / Up / Casablanca / Star Trek

BTW Mad Max: Fury Road has five primary character archetypes in it. Awesome movie in part due to strong characters.

#7: Perhaps the single best character development tool of all: Switch Protagonists.

Work with EVERY character as the Protagonist.

Think about it: Every character BELIEVES they are the Protagonist. That’s how THEY experience the story universe.

So when you are developing your Nemesis, look at the universe through HIS/HER eyes as Protagonist.

Same with all of them. Inhabit each character as if they were the story’s Protagonist.

Writing exercises where you switch Protagonists is a terrific way to dimensionalize ALL of your characters.

To recap: 7 Character Development Keys.

#1: Start with character. End with character. Find the story in between.

#2: Your characters EXIST. Their story universe EXISTS. Your characters WANT you to TELL their story.

#3: Think Protagonist. Think Disunity.

#4: Your characters come alive through DIRECT ENGAGEMENT.

#5: Character = Function. In a screenplay, every character has a narrative function.

#6: Five Primary Character Archetypes: Protagonist, Nemesis, Attractor, Mentor, Trickster.

#7: Perhaps the single best character development tool of all: Switch Protagonists.

My final thought: Focus as much or more of your time on developing your characters.

Everyone responds to great characters: Managers, agents, producers, execs, actors, and most importantly audiences.

Go through every year’s @theblcklst scripts. What you see over and over: Great stories with great characters.

Great characters are the heart, soul, blood and sinew of your stories.

If you work with your characters, immerse yourself in their lives, your characters will emerge… and your plot with it.

For the entire transcript including comments by participants, their questions, and my answers, go here.