The Dynamics of Characters and Storytelling
Conference in Marseille (8th October, 2015) given by Rob EdwardsÂ
( screenwriter of Treasure Planet and The Princess and the Frog, also worked on The Fresh Prince of Bel-Air, Frozen, Wreck-it Ralph⊠)
I will post here a shortened version of what was said, since Iâm not a super-speedy handwriter and I caught on paper what I could. Here are things about his methods of storytelling, not every screenwriter has the same, this is one among others but this might be useful for some of you !Â
Engaging & dynamic characters
1) define âgreat charactersâ
2) learn how to create them
3) learn what to do with them
Work on the unity of opposite, in many films we can identify four archetypes:
- The protagonist, the innocent ( Luke Skywalker, Neo, Harry Potter⊠)
- The âbeen there, done thatâ character, a true badass ( Han Solo, Trinity, Hermione and Ron [in a different way. Hermioneâs smart and Ronâs been in a family of wizards since he was born]⊠)
- The mentor, the âfairy godmotherâ ( Obi Wan Kenobi, Morpheus, Dumbledore⊠)
- The thing you fear the most ( Dark Vather, Agent Smith, Voldemort⊠)
Note : Using archetypes doesnât mean that the same kind of characters always have the same role. Han Solo and Trinity are both âbeen there, done thatâ characters but they donât have a similar personality. More reasons to get creative !Â
- What does the character want ? (goal)
- Why does he want it ? (motivation)
- How is he trying to get it ?
- Whatâs keeping him from getting it ?
- Ask yourself â Why do I care ? â
- The motivation is going to change mid-point
2 volunteers are asked to come to the front, I volunteer and come to sit on the sofa with a stranger, a 30-something year old man. Rob Edwards asks us to meet, so the stranger and I shake hands and start having horribly boring small talk. We stop.Â
Now, Rob whispers something at his ear and then whispers to me to ask to borrow a hundred dollars from the stranger. He asks us to meet again, and pursue the goals we were told. So I start being super nice and keeping up a conversation and as it goes on, the stranger starts asking me about my classmates, interested. In the end, he wanted me to get him a date so I ask him money in exchange.Â
The talk became instantly more entertaining and interesting as we were â characters with goals â.
Have an internal approach : Who am I ? Who does a specific person think I am ? Who are they to me ? Who do I think they are ? How well do I understand them/their point of view ?Â
The better we understand that, the more truthful the relations between characters will seem, the more dynamic the relations will be.
example : Tiana from The Princess and the Frog has a tangible goal, is hardworking and underappreciated. Her obstacles are more or less solvable [sheâs poor (unsolvable at first), Facilier (solvable) ].Â
Have an external approach : What 2 or 3 actual people do I know well enough to write about for three months ?Â
Think of quirks, mannerisms, anything clearly specific to people that surround you, and also archetypes.Â
example : Prince Naveen needs to marry a rich woman to continue his lifestyle. Trivia, in the original concept, he was a fun dude already but like, more like Borat. Women from the crew were opposed to that and said that if Tiana loved him, then why would they love her. Rob Edwards adapted to them because fair enough, they were more well placed than him to have an internal approach on Tianaâs character.
Why well built characters give you great stories and vice versa
- Is the character aspirational ?
- Do they do something they love when we meet them ?
- Is the opening action connected to the characterâs goal ?
- How much does the character want what they want ?
- Have you set tangible âspoilsâ ?
- Fixable flaws/obstacles are shown.
- Have you sown what will happen if the character doesnât get what they want ?
- Have you illustrated the wrong in your characterâs methods ?
- Have you used â statement of theme â to focus the narrative on your characterâs flaws ?
- Have you teased your Superfreak* (* weâll get to this in a bit)
- Has it targeted the protagonistâs safety zone ?
- Has it suffeciently propelled your character into the action of the story ?Â
- Have you changed your characterâs motivation ?
- Have you changed your characterâs method ?
- Have you flipped your story 180 degrees ?Â
- Is it a âdead dogâ ?
- Is âallâ in all lost the moment the same âallâ that the protagonist is driven toward after the Inciding Incident ?
- If your protagonist doesnât desperately want it there wonât be any emotional impact when they lose it.
- The protagonistâs last attempt to use the Sword. The sword is the hero value, the concrete answer that is obvious from the start.
- It backfires horribly, leaving the protagonist with only one choice : the Elixir. The Elixir is the underdog value, the magic/spirituality, the moral over personal gain.
An actual reference to the movie Little Miss Sunshine : The little girl dances to the song Superfreak and gets terrible feedback so her family comes on stage and dances with her.
- The moment when the protagonist makes the unexpectedly wonderful decision to chose the elixir over the sword, a leap of faith.
- Have you illustrated how difficult this choice is for your protagonist ?
- Is this moment âunexpected and wonderfulâ ?
- If it moves you, itâs because youâve engaged yourself enough into making the characters to make them solid and great.
- Keep a journal of interesting people and what makes them stick out, this will be handy at some point.
- Keep a list of movie moments : A Cry List and A Laugh List.
- Make a list of interesting jobs.
- Donât be afraid of research.