Lessons in Creativity #001 - Making a Good First Impression
All storytelling can be broken down into two basic components, dialogue and narrative. Dialogue, whether in word bubbles or between quotation marks, is how a character expresses themselves to others or themselves in and presented scenario. It is here that unseen elements to your character unfurl and present themselves to your reader/viewer. Narrative is the bulk of almost every story, the establishing of a time and place and your characters actions therein.
Therefore we reach the axiom, ‘actions speak louder than words’ and discuss here what exactly that means.
Check this out.
A single problem with multiple solutions, that’s the single most basic and essential tenet of designing a character encapsulated. In the simple act of entering a room and sitting down, essential elements of their personality are delivered to the viewer at lightspeed. Even three characters who exhibit a sightless familiarity with the space express this in wildly differing ways. Aunt Cass, the restaurant’s owner, goes through the motions of managing the space and taking the time to rue in its emptiness at the close of day. Hiro, ensconced in his work, knows exactly where to find the free space to put himself and his bag to continue working, whereas his brother, Takeshi, seeks out a familiar face out of sight before choosing a table.
Now, for a more active and finished example.
I’ve often said; if Evil Dead is the Three Stooges of Horror, Ghostbusters is the Marx Brothers.
Here we see Egon filtering his experience and actions through measurable and quantifiable aspects using tools to capture data on everything around him. Ray, sharing Egon’s enthusiasm, interacts with the events more directly, yet through the lens of researched events. Peter, the more practical and world savvy individual of the team is casually indifferent to everything around him. Upon the reveal of the actual physical truth of their suppositions and suggestions, the believers fall silent, Egon retreats into analysis and Peter steps up to demand a practical solution to the issue now floating before them.
In deciding how your character would address a situation in comparison to your other characters you begin to develop them into a more complete being and establish aspects of chemistry that may later present themselves in a much broader way.
EXAMPLE
Character A is given a box, they are not told what is in the box, merely that it is important. Then they are told that under no circumstances are they to open the box. Here you can explore why they would or wouldn’t through inner monologue or narration as they study the object in their hands, and how it reflects against what they know about the person who handed it to them. It’s a simple act that can lead to establishing a unique and dynamic personality that makes other choices down the line easier to make.
Are they the sort of person to loyally follow the order not to open the box? Their faith in the order is something to explore and exploit.
Are they willing to keep it shut but constantly curious about the inside? They’re changeable, able to be swayed on taking actions they wouldn’t have at the onset of their story by the will of a stronger character down the line.
Do they open it as soon as no one can see them? They’re brash and conniving, unafraid of consequence and prone to impulsive choices.
Do they open it immediately? This can be a sign of naiveté or anti-authoritarian leanings depending on the angle you want to approach it with.
From the most basic elements one can craft untold detail. The act of turning a light on in a dark room, or choosing to move about the room in darkness is as essential as the long drawn out backstory you’ve so carefully crafted over years of toil because every action we as human beings make is based on experience... and every character you craft, save for the rare story starring a toddler, has lived a life that colors even the simplest of choices we make. It is in exploring what seems like minutiae we can discover the truest depths of our creations.
CHALLENGE
A character, or characters, of your choosing is given a wrapped gift. How do they react to it? Why? Do they care what’s inside or have expectations for what lay within? Do they trust someone who simply hands them something without earning it or gladly accept it? You, as the author, decide.
For the purpose of this project, I have failed. For I started in October of last year and now its November, and I only posted 240 entries. Now, some of it is due to weekends, some of it is due to vacation - but never-the-less I did not achieve what I set out to do. But as the project moved forward it started to take on a purpose of its own. What it does for me more than anything else is show me progress. I have 105 more entries to do, and as I look back on the project, no two entries look the same. I am amazed to have even created this much work, good or bad, in so little time, where I was struggling to create before I began the project. So, the finish line is ahead, but I am in no rush to get there.
