Screenwriting : Do you have character? by Maria Restivo Glassner

People are judged 100% by their actions. A persons actions are based on their environment and their history. Once you know these things your characters will be operating more consistently. This constituency will be translated by us humans as their character.

Try answering these four questions about your character. This can be used to figure out their actions on a single issue or at a story level.

What have they seen: What is their knowledge based on experience?

What have they heard: What are people telling them. What is society telling them or the media?

What have they said: What has been their previous views on things like this?

What have they done: what actions have they taken previous that may impact on this current scenario?

I have a video on this if you are interested. But this is it in a nutshell.

I subscribed to your channel so I'll look through to see. Thanks so much!

I use the 90-day Screenplay book by Alan Watt: Not necessarily to write it all in 90 days (usually less) but it has over 150 questions you can ask your characters so you know their background, religious history, views on sex, politics, etc... it may not be relevant to the story but it really makes them feel alive before writing on the page.

Thank you Maria. It is an early video about an “empathy matrix”.

You have put a huge smile on my face. Thank you again.

No problem Craig! Thanks for making the videos, I subscribed under my podcast account in case you check lol. Every time, we get a new subscription we check who it was lol. Just started watching the video!

Hah, your point with Khaleesi is exactly what I am still mad about from GOT. Definitely not what she would do. I will find an Empathy matrix, the advice makes a lot of sense. I tend to get lost in the details of backstory and not know how to apply that to plot. This definitely helped.

Hi Maria - I'm the director of education here at Stage 32. Please allow me to recommend this terrific class on character development and creation that may be helpful to you: https://www.stage32.com/classes/Writing-Memorable-and-Authentic-Characters

Please let me know if I can be of any more help on your Stage 32 education journey. You can always email me at edu@stage32.com

These are the two questions I make all my writers answer about their characters - Why Them? Why Now? Why is this character the right protagonist to drive or tell this story? What is it about them, their backstory, their abilities, flaws, arc, talents, job, dilemmas, etc that makes them the best choice? And Why NOW? Why is this story happening now in their lives, not 6 months ago or 3 years from now. If you can create the right character to match the right story, youre half way there. My OTHER Exercise I make my writers do is list 3 DEALBREAKERS for your protag. things that go against their moral code - stuff theyd NEVER do. Then choose ONE dealbreaker - and Break It at z key moment in the story that forces your character to make a choice (creates a dilemma) in order yo achieve their goal. For example... your soldier protag would never leave a man behind. but, in the third act, to save the world, guess what he has to do... leave a man behind. The key is to choose a dealbreaker that affects the PLOT, forces a dilemma, and affects their arc. Hope that helps. If youre looking for help with your characters or scripts, find me over at No BullScript Consulting!

Thanks again Maria Restivo Glassner

Gotta have a back and ahead, i.e. past and goals...that's the basics, let the situations develop him/her further...

Hey Lucius! How do you live like the characters? Dress and walk like them?

Maria Restivo Glassner in my opinion, Character is Story,

inseparable and unified by the through-line, etc., and I think my approach here (through writing one novel and seven feature scripts as a spec writer) is closely following the method of John Truby's "Anatomy of Story,"

it is that book of all the dozen or so I work with that has brought me into a character web and designing principle for each piece, integrated in unity and almost like a chessboard in its intricacy and power.

Daniel, that sounds amazing! That is exactly the problem I have been running into, every time I change one piece of the puzzle another problem comes up and the overall unity needs to be there for everything to pop. I'll check his book out.

Well Maria, the best character development resource I have found is other people. Have conversations. Spend time with others. Notice their facial ticks, hand motions, speech patterns and physical quirks. All those little things can be added to your characters to differentiate them from one another and make them unique.

Matthew, I’m in luck that way as my previous career was in oriental medicine. Watching people’s idiosyncrasies was my job for diagnosis. However, What gets lost in translation for me is intertwining the character drive with the plot. I always start off alright but one or the other ends up taking a different turn.

What’s the genre? It depends on what story your telling. I write horror so many elements and cliches are used to convey a sense of mystery and uncertainty. The traits should always be known but should also grow as the story develops. Or weaken depending on the perspective.

Into the Woods has a useful chapter on character, I think it’s number 12

I try to test my characters and test their traits in various situations so their actions feel authentic, their needs and wants are underlining everything they do, and that they move toward some change whether positive, or regressive. Even minor characters should have an arch and traits that maintain their reaction consistency whenever they are on screen. Would so and so skydive? Why? It might not be part of the script, but you can dig out their reasons for response within your story. People are layers upon layers.

When I crossed over from writing prose to screenwriting I set out to learn everything I could about the differences in the crafts, and there are quite a few. I've read many great resource books, but after four years of studying, and one full-length feature, and two more in the works, my go to reads still to this day are Screenwriting is Rewriting by Jack Epps, Jr. (Top Gun, Anaconda, to name a few), all Syd Field books, and Story by Robert McKee. One of the things I love about writing is you never stop learning!

I second @TarraKortekaas about McKee's book "Story." He isn't a fan of the OS Narration, but he does talk a lot about the essence of story. Also, add to Save the Cat, which is about plot, but I think it does a good job of recognizing the motivating factor of character in the story, which drives the plot.

David Corbett, "The Art of Character"

Thanks everyone! I’m going to study up on these recommendations and share my progress!

I always ask myself the following questions when building a character: 1) What does s/he want; 2) Why does s/he want it? 3) What can prevent her/him from acquiring her/his want(s), and 4) How does s/he evolve, or devolve, from their experience trying to acquire their want? If you can answer these questions from the outset, you're characters will take on a life of their own. Note: quirks can give further options to the above mentioned questions. Example: Does s/he have a noticeable scar. How does it effect her/his choices?

Character=backstory.

Each Character needs to be different. Not the Writers Voice. Think of who you know that has those character-istics like the backstory.

I don't think there is a formula for developing a character. The story dictates the environment the character is in. How does the character behave under pressure, when things go well? What do they want? What are their limits?

I tried to make my characters, someone you would want to sit down and have a drink with. Someone, if you found yourself in a room with them, who would be interesting to talk to. Now, that may be just my perception but that's what I try to show.

You got this Maria.

Really appreciate that Cornelius!

You're welcome. I always value input on my stories. I never look at them as negative or get upset because I know that I could do better. And that's really what input says to me. You can do better. So yes Maria...You really got this.

Every character that is in a scene has a goal. Even those without lines. The people playing blackjack in the background. One of them lost their job and this is the biggest gamble of their life. The other one is on holiday, cheating on their spouse. You don’t have to go crazy with that stuff, but maybe something that motivated them causes a ripple effect in the scene? From there, what is the character’s goal? What obstacles are in their way? What quirks or hang-ups do they have? How do they feel about other characters in the scene? Each scene (that isn’t just a transition) should have a beginning, middle, and end and…if there is a character in it, what is their goal or what is the scene saying about them? Have characters laugh when others expect tears. We all react to grief differently. Ever know that person who laughs when someone gets hurt? It’s the little quirks twisted in with motivation that helps drive the story and character interactions. Often, memorable characters, when they act, the do so in memorable, captivating ways. Mozart’s laugh, his spend-thrift nature, his drunkenness…mixed with his creativity make for an interesting character.

When you strip everything back from a script, theme and character development are the story. The best resource for this is Joseph Campbell's Hero of a Thousand Faces.

You can't go wrong with Joseph Campbell.

Totally agree on Joseph Campbell. In fact, Stage 32 has a webinar coming up on September 28th on the very subject - Oscar nominated screenwriter Alec Sokolow explores Campbell and The Hero’s Journey in depth. Here’s a link so you can register: https://www.stage32.com/webinars/The-Heros-Journey-Your-Writing-Roadmap

Thanks, Sam Sokolow! I just ordered the webinar. Great job hosting the Executive Hour with Eric Hsaio yesterday!

When writing any character I mine "Inwardly." Economic, environmental, geographical and social status is just the tip of the iceberg. I explore their personality, intellect, goals, strengths and weaknesses. Secondary characters bring love, conflict, woe or competition ETC. As people say above Joseph Campbell is a good read on the topic but there are many others. There are a lot of google links without having to pay for info. EG Scott Myers @GoIntoTheStory.

I'm like you, Debbie. I outline a character's backstory, habits, hobbies, daily routines, relationships, strengths, flaws, fears, story goals, life goals, etc.

There's a webinar about the Hero's Journey coming up: "An Oscar-Nominated Writer Teaches You The Hero's Journey" https://www.stage32.com/webinars/The-Heros-Journey-Your-Writing-Roadmap

I read Joseph Campbell years ago and applied it to my earlier writing, I should probably re-read it. I think I am going to start with the John Truby suggestion, the book just came in hot off the amazon truck!

@Daniel Stuelpnagel, I wanted to thank you again for the John Truby book recommendation! I started working through it and I already discovered something about my main character that clarifies my premise so much and it was right in front of my face this whole time! This book is absolutely fantastic!!

I use the interaction of the characters to bring out more of their character. Does one drink? Does one long for an old flame? Is one a thief? Smoke funny stuff? One religious?

Excellent idea, Eric.

@Maria Thanks for share of John Truby’s book. I forgot to mention him in my last post. @ALL For years he has put free info on the web, small window maybe but crucial advice. I found several writing gurus who offer both paid and free PDFs. EG Scott Myers, Linda Aronson who I met but have downloadable advice available to all.

Once you have the quest your protagonist embarks on, you can create character flaws that would prevent the protagonist from achieving the goal. That's just an example.

When you create a character for your script, you should ask yourself what purpose they serve and what is their mission or goal. Even if it's a simple as delivering a piece of information. Ensure characters have unique voice by crafting excellent dialog for them that's as important as what you provide your primary characters. Every character should be compelling in their own way, rather than appearing as a mere human prop uttering empty words.

Hi Maria!

I found “The Craft of Character” by Mark Botros extremely helpful and comprehensive; there’s an entire character development survey at the end with all sorts of characterization questions to help guide your writing.

Also, putting your character in scenarios outside the constraints of the screenplay is helpful - thinking about how they would react to real-world situations can flesh out their characterization and make them seem more real - e.g. While standing in line at the bank, someone cuts in front of them. How do they react? Do they confront the person? Do they hold onto the rage and explode when they get home? Are they used to this kind of thing and have become passive? If they do confront the person - are they calm and collected? Passive-aggressive? Rude? Or are they not bothered by it? Do they give the person the benefit of the doubt, assuming they had a good reason to cut in line?

Hope this helps :) and best of luck!