Character, Scene, and Story: New Tools from the Dramatic Writer's Companion
240
Character, Scene, and Story: New Tools from the Dramatic Writer's Companion
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Overview
Product Details
| ISBN-13: | 9780226393506 |
|---|---|
| Publisher: | University of Chicago Press |
| Publication date: | 10/09/2017 |
| Series: | Chicago Guides to Writing, Editing, and Publishing |
| Pages: | 240 |
| Sales rank: | 823,575 |
| Product dimensions: | 6.00(w) x 8.90(h) x 0.90(d) |
About the Author
Read an Excerpt
CHAPTER 1
CHARACTER INTERVIEW
THE QUICK VERSION
Use the interview process to learn more about a character
BEST TIME FOR THIS
Anytime you need to know a character better
FLESHING OUT CHARACTERS: AN ONGOING PROCESS
Dramatic characters are each a combination of physical, psychological, and social traits shaped by the lifetime of experiences that have brought them to the threshold of a story. Some of these traits are common: we see ourselves and others we know mirrored in them. This enables us to understand and often sympathize with the character as conflict ensues. Other traits may be uncommon: we see what sets the character apart from the crowd. If we approve of such distinctions, we may root for the character to succeed. If we disapprove, we may wait for the character to get his or her just deserts. Either way, we are drawn into the story because we care about what will happen next.
To develop the kinds of characters who can grab our attention and keep us engaged, dramatic writers need to know whom they are writing about and how these characters will cause a dramatic journey to take place. This journey will be the most memorable period of their lives. They will have to do things they have never done before and find resources they didn't know they had. They will make discoveries that affect them and those around them in profound ways.
Fleshing out characters who can accomplish such feats is not a simple or one-time task. It is a multidimensional process that can be both enjoyable and challenging and that requires the writer's attention throughout script development, including revisions. When it comes to any character in a dramatic story, there is always more to be discovered.
ABOUT THE EXERCISE
You can learn a lot about your characters by interviewing them. This exercise offers forty revealing, emotionally charged questions to help you do this. Answer each question not as the writer but as the character. Since you will be responding from the character's perspective and in the character's voice, this process will be similar to writing dialogue.
The answers to some questions will depend on when in the story your character responds. If you are exploring a new character or starting a new script, try focusing on the character at the beginning of the dramatic journey. This can help you learn more about who is entering the world of your story. If you are well into script development, you may benefit more from focusing on the character at a later point in the story — the middle or end. This can help you learn more about how the dramatic journey is affecting him or her. To begin the exercise,
• identify a character to interview, preferably a principal character, and
• choose a timeframe for the interview: beginning, middle, or end of story.
As you conduct the interview, remember that the character may be truthful and insightful at some times and mistaken, misinformed, or deluded at other times. As a result, the answers will reveal what the character believes but not necessarily what is true and accurate in the world of the story. Keep in mind, too, that your character's responses may be influenced by the timeframe you have chosen for the interview.
For best results, try to find your character's response to every question. If he or she has no response, you need to determine whether the subject at hand is irrelevant to the story or a sign that you need to dig deeper into the character's identity and life.
* TO THE CHARACTER
1. In one word, how would you describe yourself as a child?
2. When you were growing up, who loved you most?
3. Whether good or bad, what is your most vivid childhood memory?
4. In two or three sentences, how would you describe yourself today?
5. Who among your friends and family would describe you in the most positive light, and what would this person say?
6. Who among your friends and family would describe you in the most negative light, and what would that person say?
7. Have you ever had a serious illness or injury? If so, what happened, and how has this affected you?
8. Think about where you live now and whom, if anyone, you live with. How would you describe your home life today?
9. If there were a fire in your home, what three things would you save first?
10. How do you feel about your current job or the type of work you do?
11. What is your current financial status, and how does this affect you?
12. What would you do if you suddenly inherited a fortune?
13. What is the biggest lie you ever told? To whom did you tell it, and why?
14. What makes you angry?
15. When are you the happiest?
16. What is your greatest fear, and what has it stopped you from doing?
17. What turns you on sexually?
18. How would you describe your current love life?
19. When is the last time you cried, and why?
20. On an everyday basis, which do you tend to live in most: the past, present, or future? Why?
21. What trait do you admire most in others?
22. Who is your closest ally?
23. What about your closest ally do you most dislike?
24. Who is your worst adversary?
25. What about your worst adversary do you most admire?
26. Living or dead, what famous person would you most like to meet, and why?
27. How would you sum up your spiritual beliefs?
28. What would you never do under any circumstances?
29. What illegal or immoral act would you consider if the price were right?
30. For whom or for what would you be willing to give your life?
31. Who, if anyone, would be willing to give his or her life for you?
32. What is the scariest experience you've ever had, and how has that affected you?
33. When you think back about your life and the things you have done and not done, what are you most proud of?
34. What are you most ashamed of?
35. What is the greatest loss you have experienced, and how has this affected you?
36 What are your three greatest secrets?
37. If you could have a second chance in life, what would you do differently?
38. What is the most important lesson you've learned in life?
39. If you could ask God one question, what would it be?
40. How would you title your autobiography?
* CHARACTER SUMMARY Using what you've discovered during the exercise, sum up who your character is by writing two simple descriptions:
• Literal description that identifies the character factually. From the play Doubt: A Parable by John Patrick Shanley, for example, Sister Aloysius might be described literally as the principal of a Catholic elementary school in the Bronx.
• Figurative description that uses a poetic comparison, such as a metaphor or simile, to sum up the essence of the character. For example, Sister Aloysius might be described figuratively as a guard in a tower overseeing a prison yard.
WRAP-UP
You can use a variety of techniques to flesh out your characters, such as developing a biography that focuses on major events of the past, writing a typical day in their lives around the time the story begins, and imagining them in other situations not related to the story so you can see how they behave without the encumbrance of a dramatic plot. Character interview is an especially valuable tool when it is emotionally based. By interacting with characters directly, you can not only learn more about their lives but also gain a working sense of each one's unique perspective and dramatic voice.
CHAPTER 2
BEYOND BELIEF
THE QUICK VERSION
Flesh out a character's personal credo
BEST TIME FOR THIS
Anytime you need to know a character better
CREDO: WHAT A CHARACTER BELIEVES TO BE TRUE
A dramatic character's belief system, or credo, evolves from his or her life experiences, both positive and negative, and consists of the various conclusions the character has reached as a result of what has happened. The credo reflects what the character believes to be true — even if it's not. It is often a character's credo that explains why he or she behaves a certain way under certain circumstances.
Since this credo is so closely tied to the character's individual identity and life, it is unique. Even in the case of twins, such as Myrna and Myra in The Mineola Twins by Paula Vogel, no two credos are alike. More often than not, a character's credo is also dynamic. It changes as the character enters the new, uncharted territory of the story and begins to acquire new experiences.
ABOUT THE EXERCISE
Use this exercise to explore the credo of one of your characters: what types of beliefs this credo includes, how these beliefs arose, and, most importantly, how they might affect the character's emotions and behavior during the story.
Examples are from August Wilson's play The Piano Lesson, which received, among other honors, the 1990 Pulitzer Prize for Drama. Set in Pittsburgh in 1934 just after the Great Depression, the story centers on a fight between brother and sister about what to do with the family piano. The brother, Boy Willie, wants to sell it and use the money to buy land where their ancestors once worked as slaves. The sister, Berniece, wants to keep the piano, which she views as a sacred family heirloom. Exercise examples focus on Berniece.
To begin, choose a character from your story whom you would like to know better. As you explore this character's credo, keep looking for a new belief in each round. Do not repeat a response you've already given.
* TOPICS
Through character traits, dialogue, actions, images, events, and other dramatic elements, The Piano Lesson addresses certain topics about which Berniece has certain opinions and beliefs. In random order, such topics include historical legacy, family, ghosts, murder, racism, slavery, making a mark in the world, vengeance, reparation, self-worth, memory, and music. Think about the character you chose to explore. In a word or phrase each, identify at least a dozen topics that your story addresses and that are important to your character at some point in the dramatic journey.
* SHARED BELIEF
You and your character most likely have some important beliefs in common. These similarities can help you understand the character.
1. Topic. Review your list of topics and choose one to explore. Trust your first instinct and mark your choice — for example, historical legacy.
2. Belief. Your character may have a number of different opinions and beliefs about the topic you chose. In regard to historical legacy, Berniece believes that it is important to remember the past and to protect and honor the memory of one's ancestors. Think about the topic you marked. Identify a strong character belief about this topic with which you agree. This is an example of how you and your character are alike.
3. Trigger. Berniece's belief about historical legacy was taught to her by her mother, who is now dead and who bequeathed the family piano to Berniece and her brother. The piano bears the faces of their ancestors carved in wood. Think about the character belief you are exploring. Recount an experience from any time in the character's life, past or present, that led to this belief or reinforced it.
4. Emotion. Strong beliefs tend to arouse strong emotions. Berniece's belief about historical legacy inspires reverence. What is your character's emotional connection to the belief you are exploring?
5. Action. Strong beliefs can also lead to decisive action. Because of her view of historical legacy, Berniece will fiercely resist her brother's plan to sell the family piano. Her resistance fuels the central conflict of the story. Think about the belief you are exploring and what it might motivate your character to do. Identify an important action your character could initiate at any time during the story as a result of this belief.
* UNIQUE BELIEF
Your character most likely has certain important beliefs that you do not share. These differences help make your character unique and may sometimes require you to do research to understand the character's perspective.
1. Topic. Review your list of topics and choose another to explore. Trust your first instinct and mark your choice — for example, ghosts.
2. Belief. As before, your character may have a number of opinions and beliefs, right or wrong, about the second topic you chose. Berniece believes actively in the presence of ghosts. In fact, she believes that there is one living upstairs in her house. She also believes that the spirits of her ancestors reside in the family piano. Think about the second topic you chose to explore. Name a strong belief about this topic that your character holds but that you do not share. This is an example of how you and your character are different.
3. Trigger. Berniece believes that her house is haunted because she has seen a ghost at the top of her stairs. (She thinks it is the vengeful spirit of a man whom her brother murdered.) She believes that ancestral spirits reside in the family piano because this is what her mother taught her. Think about the second belief you're exploring and how your character came to this conclusion. Recount an experience from any time in the character's life, past or present, that led to this belief or reinforced it.
4. Emotion. Berniece's belief in ghosts makes her feel fearful. What is your character's emotional response to the belief you are exploring?
5. Action. Because she believes her house is haunted, Berniece asks a preacher to bless the house and exorcise the ghost. Because she believes that ancestral spirits reside in the family piano, she refuses to cooperate with her brother's plan to sell it. This belief also keeps her from playing the piano, for fear that it will wake the dead. Think about the belief you are exploring and what it might motivate your character to do. Identify an important action that your character could initiate at any time during the story as a result of this belief.
* MISTAKEN BELIEF
Not all of your character's beliefs are accurate. These mistaken views and delusions can often lead to trouble.
1. Topic. Review your list of topics and choose another to explore. Trust your first instinct and mark your choice.
2. Belief. Identify an important character belief about this topic that is inaccurate within the world of your story. This is a belief that reflects wrong thinking. It might be the result of delusion, ignorance, error in judgment, a lie that someone told, or some other deception or misinformation. Without repeating a previous response, state one of the character's mistaken beliefs.
3. Trigger. Think about how your character came to this conclusion. Describe one experience from any time in the character's life, past or present, that led to this mistaken belief or reinforced it.
4. Emotion. How does this belief make your character feel?
5. Action. What might this mistaken belief motivate your character to do at some time during the story?
* HIDDEN BELIEF
For one reason or another, your character may keep some beliefs hidden from most others in the world of the story.
1. Topic. Review your list of topics and choose another to explore.
2. Belief. Identify a belief about this topic that your character tends to keep secret. From the character's perspective, this hidden belief may be too unusual, too unpopular, too shameful, or too painful to share publicly. Without repeating a previous response, state your character's hidden belief and explain why he or she keeps it secret.
3. Trigger. Think about how your character came to this conclusion. Recount an experience from any time in the character's life, past or present, that led to this hidden belief or reinforced it.
4. Emotion. How does this belief make your character feel?
5. Action. What might this hidden belief motivate your character to do at some time during the story?
* BELIEF THAT WILL CHANGE
Some of your character's beliefs may change as a result of what happens during the dramatic journey.
1. Topic. Review your list of topics and choose another to explore.
2. Belief. Identify a belief that your character has early in the story but not later. State the belief that the character brings into the story.
3. Trigger. Recount an experience from the character's life that led to this early belief or reinforced it.
4. Emotion. How does this belief make your character feel?
5. Action. What might this belief motivate your character to do? This will most likely be an action that your character initiates early in the story.
* NEW BELIEF
Your character is likely to develop many new beliefs as a result of story events.
1. Belief. Think about the belief you explored in the last round and how it might change during the story. State the new belief.
2. Trigger. Think about how your character comes to this new conclusion during the story. Identify the experience that results in this new belief.
3. Emotion. How does this new belief make your character feel?
4. Action. What might this belief motivate your character to do? This will most likely be an action that your character initiates late in the story or after the story ends.
(Continues…)
Excerpted from "Character, Scene, and Story"
by .
Copyright © 2017 Will Dunne.
Excerpted by permission of The University of Chicago Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
About This Guide xiii
Exercises at a Glance xix
Developing Your Character 1
Stage I Fleshing Out the Bones
Charcter Interview 3
Beyond Belief 7
The Emotional Character 12
Meet the Parents 17
Stage 2 Getting to Know the Character Better
Sensing the Character 21
The Imperfect Character 23
Objects of Interest 27
The Invisible Character 30
Side by Side 36
Stage 3 Understanding Who the Character Really Is
Character Fact Sheet 41
Two Views of One Character 47
Nothing but the Truth 52
What Is the Character Doing Now?
Causing a Scene 63
Stage I Making Things Happen
The Real World 65
What's New? What's Still True? 71
The Past Barges In 76
Levels of Desire 82
Mother Conflict 88
Why Did the Character Cross the Road? 94
The Strategics of the Scene 100
The Scenes within the Scene 106
Stage 2 Refining the Action
The Color of Drama 112
The Emotional Onion 117
Why This? Why Now? 123
Relationship Storyboard 128
Classified Information 133
Stage 3 Refining the Dialogue
Phrase Book 138
Better Left Unsaid 143
Anatomy of Speech 147
Building Your Story 153
Stage 1 Triggering the Chain of Events
Facts of Life 155
In the Beginning 160
Character on a Mission 167
Stage 2 Developing the Throughling
Decision Points 171
Living Images 176
What Just Happened? 180
The Dramatic Continuum 184
An End in Sight 189
Stage 3 Seeing the Big Picture
Two Characters in Search of a Story 194
Found in Translation 199
List It 204
Different Sides of the Story 208
Coming Soon to a Theater near You! 212
Fixing That Problem Scene 217
Glossary 231
Acknowledgments 237