Create characters that are believable takes time and discipline. Creating dynamically real individuals and not imposing your own thoughts and impressions about them is not easy to do, and often the difference between a novel or screenplay that sits in the closet and one that finds its way around town and in the hands of the audience. Spend your time building your characters before you enter the world of your story makes the writing process easier and more comfortable ride, and creates a finished product that agents, publishers, producers and readers can truly be excited.
First, you must agree to work from an understanding that the three-dimensionality of your characters do not create magic. Talent same discipline and multiplied by the time you have to practice (daily) art in the development of your characters. As a development executive with the LA Film Lab Entertainment (literary development and production company), I have developed a framework to assist you in creating a rich and complex characters. The complexity that comes through you want to 1) highlight the essence of their desires, 2) highlight their fear essences, 3) getting specific about his past, 4) indicate their behavior, 5) raising its stake, 6) does not interfere in their lives, and 7) allowing them to play. Set provoking questions in accordance with these steps, answer them thoroughly, and then repeating the process, ensures a steady growth of the individual in your characters, which reflects life. Now each step in turn:
1 Label wish essence of each of your main characters: The first key to deepening your work is to find the main motivator in the lives of their characters that drive their actions. We all have a deep desire to drive our choices, our thoughts, our actions and reactions. These needs are what distinguishes us from each other, and we will refer to them as "the essence of Desire." Some examples are the essence of desire: the desire to be intellectually brilliant, the desire to be socially known, the desire to hide from the world, the desire to belong to the group, wants to be loved, the desire to party, wish to die.
2 Label Fear essence of each of your main characters: What is the root of each of your characters a darker side? For every wish they have they should also show the opposite of fear of failure on that request. These fears will match their aspirations for control over their behavior. Labeling and understanding the darker side of their characters, it is imperative to create dimension and imperfect characters who are after. Some examples are the essence of fear: fear of stupid, fear of the ordinary, the fear of social exposure, fear of rejection by the group, fear of hate, fear of boring, fear of having to face life.
3 Get specific with your backstory: human behavior consists of a series of moments and reactions to those moments. character of the current behavior is a struggle between fear and desire and their immediate choices are made based on very specific (even unconscious) experience of the past - experiences that leave traces of such DNA. Though your characters should be unaware of these past experiences that have influenced the writer must create a team to prepare a background story to be fully aware of them. Here is an example of what you will benefit in terms of what you will get specific with backstory:
a bad example of getting specific: Rachel is the pretty girl who thinks she is unattractive. It prefers to live in his books as opposed to being with friends or family. Her father had sexually abuse during their youth. She hates the attention.
a better example of getting specific: On graduation day, the party Her mother is throwing for her, Rachel's father's sexual abuse shows drunk and congratulates her, hugging her too closely, grabbing her rear end with both hands, and calling is far from the room full of her friends and family. She runs away humiliated and hides in his room, hiding in one of her fantasy books. That night she moved out to stay with a friend and not tell her friends where she goes. Two weeks later finds out through another friend that her father was killed in a car accident. He was drunk.
The better example of getting specific, the reader may have a visceral reaction to words. This is due to detail. generality of the bad reaction is logical, but lifeless. The better example is easy to determine what is the essence of our leading ladies may be a desire to hide, maybe even a desire to die, desire to live in her books, the desire to get value for her intellect instead of her body, fear of loneliness, fear of its occurrence, the fear of the opposite sex, fear of losing a loved one, fear of abandoned.
4 Describe your current behavior: Take the essence and the specific examples you have done so far and determine what kind of behavior your characters can be presented as a result. Do not limit yourself with that, but excited with the possibilities.
Simple examples of our leading lady - a woman who: hides her body, avoiding friends from her past, who mistrusts favorable comments about her appearance, she wants to control his / her education and her intellect, avoid alcohol <. P>
5 Raise: Emotions are extreme. Play in the area of this extreme when dealing with the fears and ambitions of his characters. These essences are comprehensive, meaning that we spend our lives with them. Do not cheat your characters that are afraid to raise the stakes as high as you can. Need to find a precious stone to sell art dealer from midnight to increase funding to save your character in his mother's home before the bank that it takes away from her tomorrow is exciting! Look back at your life and think about how seriously you take your essences - essences when they threatened to fight to the utmost to defend them, just as when they met, whether you enjoy some of your greatest moments life? Play in the extreme. Raise. Your essences are life and death for you - let it so that your characters
.6 Do not mix: Of course you might be saying to yourself, "What I do not mix - I'm a writer!" But the true story will grow from your willingness to let your characters make their own decisions based on how they were defined (that is, after these exercises will be in great depth). As a parent, you have to let your children go, to the point where the story really begins. NOT meddle in their lives. Constantly remind yourself - not about you. You only serve the story. Let your characters make their own decisions. If you ever find yourself not knowing what they could make a decision -. question your homework and rework their essences, behaviors, and the stakes until their choice becomes obvious
7 Let your characters play: Once you have developed some signs labeling their essences, getting specific, defining their behavior, and raising the share, you're ready to start having them interact. It was like the first day of the new school, full of possibilities. When properly developed, there is no way to predict how your characters behave in any situation, but they are so full of life and your plans are ready to interact with other characters that have been developed to the same level. If you have done that work in this place - this is where your characters will begin to write
.BEFORE AND AFTER - your characters are underdeveloped
?problem
Research Example: Let's start with the general concept of men and women who have not developed. Our genre will be a romantic drama. We will put these two people in the bookstore is used for initial meeting and write from a general perspective.
Rachel went to the bookstore looking around. She needed a book for her dear friend and although she made this book store a million times, it was never there. She browse around for awhile. She pulled out several books from the shelves trying to find a suitable gift. "Is there anything I can help you?" Said a voice from behind her. She turned around to see an attractive young man in his twenties. "Are you looking for something specific? he asked. "No," was her reply. "You're very beautiful, " said the man. "Thank you," she said, blushing.
Solution
After putting these two characters through the process of labeling their essences, getting specific and raising the share, this is where we stop interfering and let me play:
Rachel went to the bookstore looking around. She tries to avoid the view of other patrons (the desire to hide). She caught her reflection in the mirror, her baggy jeans and a sweatshirt hid her features well. part of the classical literature she stopped in her tracks like a magical window (the desire to live in a different reality). She gently pulled a copy of "Leaves of Grass" from the shelf (the desire to be admired for his intellect). "A woman who enjoys Whitman is hard to find,"said a voice from behind her (the desire for a relationship). It must have leapt three feet from the floor (the fear of the opposite sex). Jeremy was standing a few feet away. "My mother and I used to read Whitman together, " he continued. Rachel stood there feeling awkward. "Why do you read?" he asked her. His view was a powerful (high stakes). "There is something else that I believe in, "she muttered (desire for connection). Her eyes never left the floor (the desire to hide the strong). "Would you like to walk through the pub (to drink)?" She raised her head (a strong desire for a relationship vs. the fear of the opposite sex and a desire to avoid alcohol). "I gotta go now (fear wins)." She ran the bookstore .. Jeremy pulled out some cash from his wallet. "Here", he laid the money near the cash register and took off up the door for her (to merge overrides the fear of rejection ).
exercise
Follow these steps to create richer characters you want to write.
Find Essences:
To find the essence of your characters, you have to look at their history and genetics. Just like real people, your characters' behavior is currently defined by their DNA combined with the experience you have created in the past. We all have fears and ambitions of the basic survival, shelter, and food, so when working on these essences to focus on the ones that really drive each character. Think about ethnicity, religious beliefs, a major life events. Address sex, drugs, music, parents, siblings, education, appearance and intelligence for sure.
Start by writing out eight p.m. WISH essences that feel right for each main character. Then specify a polar opposite of every desire that made twenty FEAR essences. Go back and throw the ones you now feel less attached. Repeat the process until you have improved at least ten each for every character that really excites you.
to get some background story:
to get specific about how your character's essence came to be. Make a definitive moments in your characters' lives that detail when these fears and desires were initiated. Come with five supporting examples of moments in his life when each of these essential oils was tested at the end is justified in the name of fear or in the name of desire. Fear of failure and success vindicates vindicates desire. Write at least half a page of text supports any-Yes it will give you a total of twenty-five pages of the essence. Do not work.
10 Essences (desire and fear for each) x 5 samples = 50 for each description (each half a page)
Label Current Behavior:
using their essences and their specific past, coming up to ten behavioral pattern for each character. A simple example: a character who has a desire to hide the fear that publicly humiliated, a specific incident of the past constantly having their pants pulled down in public by a brother or sister. current behavior - they can always wear a seatbelt, or perhaps always look behind me in a very specific attempt to never be humiliated again
.raise
After looking over your newly created instance, it should be easy to identify some questions that might be happening in their lives in order to increase or reduce their stress. reducing stress generally causes people to take greater chances, while the increase in the stress tends to shorten fuses people.
The list of five possible increases or decreases the stress level of your characters.
do not interfere and let them play:
Now put your two fully developed characters in the same room. Spend two or three increases to stress one character and two or three stress reduction on the other guy and let them bounce from each other. Go to this exercise without any preconceived ideas about what might happen. If you've done your homework, they should affect each other .*
* If you need a jumpstart - add the element to the other and provide a second strong reason not to want to provide what that character should be. Could be material or emotional.
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