Characters Practically Write Themselves

Last month this eFile addressed two components of writing. The first centered on the Protagonist and Antagonist, and their supporting cast. A thumbnail review shows that:

1.  The Protagonist  has a goal and traditionally drives the story in pursuit of that goal.

2. The Antagonist tries to prevent the Protagonist’s successful achievement of the goal.

Each can have a cast of characters supporting their actions. These are:

3. The Thinker who bases decisions and action on reason or a rational course.

4. The Feeler disregards the practical and responds with emotion.

5. The Doubter or Skeptic questions everything and opposes everything.

6. The Sidekick is unfailing in loyalty and support, who believes in whomever it is aligned with.

7. The Guardian acts a teacher or helper aiding the Protagonist’s efforts in the quest to achieve the story goal. The Antagonist could have one, too.

8. The Deflector tempts whomever they are aligned with to take the wrong course or approach thus hindering achievement of their goal, but especially the story goal.

While these cast members can greatly enrich the Protagonist’s journey, a set or partial set can be generated for the Antagonist as well. But these are basically empty shells. To form them into something “real,” each should aspire to a purpose driven by motivation, using different methods to achieve that purpose, and a way to evaluate the effectiveness of their efforts. Failing to take these things into consideration robs the writer, and subsequently the reader, of spending time with unique and memorable characters.

Previously I presented this chart showing the connection between these cast members. A good example of characters in these roles can be seen in any successful move. I’ve used Star Wars-Episode 4.

You will notice a relationship exits among these pairings, what Schechter calls “Unity of Pairs.” Each character in a pair (Sidekick/Believer vs. Skeptic/Doubter for instance) plays off their opposite while feeding their part to the Hero and story.

Once assigned to one of these – think of them as attitudes – they are allowed to stand out, and what they do and say practically writes itself. However, hold on a bit, because it is possible to provide them with even clearer direction on how to perform their part. That’s next.

The information provided here is based on the works of:

1. Jeffrey Schechter, My Story Can Beat Up Your Story: Ten Ways to Toughen Up Your Screenplay from Opening Hook to Knockout Punch (Kindle Edition).

2.  Melanie Anne Phillips & Chris Huntley, Dramatica, A New Theory of Story found at  http://storymind.com/dramatica/