Having my characters come alive on the page is a huge weakness for me. I do the character work behind the scenes by making each characters biography from birth till the start of the script. But for whatever reason I am not translating that to the written page very well.

What are some good tips and examples of how this is successfully done?

Is there any good reading material in regards to character development within a script?

Thanks,
John

When you go to the grocery store, watch people. Try to sum each one of them up in a sentence to yourself. What makes them different? what do you think they do behind closed doors?

I've always felt you have to get out there because characters on film have already been done, those in your head are just a bi'product of yourself.

You can get alot of great ideas this way and make characters come to life. Good writers observe life and are very perceptive...

I perceive another cocktail in me near future...

James

When I first started writing, all my characters sounded alike. A friend suggested that I use the characters from Bugs Bunny cartoons in my stories.  I wouldn't use them literally, but I would base my characters on them.

You can also introduce your characters in their element.  It's never good to introduce you agoraphobic animal-loving circus clown when he's in civilian clothes at the drugstore.


Phil

Quoted from dogglebe You can also introduce your characters in their element.  It's never good to introduce your agoraphobic animal-loving circus clown when he's in civilian clothes at the drugstore. Phil

In other words, like Phil stated,

Begin with them in their element.

Very good advice.

Now,

If you've got a "fish out of water story", you might begin with showing them out of their element, but of course, if they're doing well or not, needs to be shown with interest from both a readability point and the visual representation you imagine.

As always, the advice we give is not always "one size fits all".

What is helpful is when you understand the various ways you can approach your project and later, it becomes clear the road you want to take.

Sandra

Along with these tips, I hope that by watching the RedLetterMedia review of Phantom Menace you get a good idea of how to get your characters to come alive.

Quoted from Sandra Elstree. If you've got a "fish out of water story", you might begin with showing them out of their element, but of course, if they're doing well or not, needs to be shown with interest from both a readability point and the visual representation you imagine.

I have to disagree with this. In the fish out of water, you need to show the character in his element before you take him out of it.

In Kindergarten Cop, you saw Arnold Schwarzenegger (sp) kicking criminal ass; you saw how tough he is. Then he's thrown into the role of a Kindergarten teacher, a scenario that he couldn't shoot his way out of.


Phil

Now this hsould be a lively thread. In my humble.

Ahem.

How do you make these folk live, beathe and operate?

Good question.

Answer is...

Imbue them with characteristics you see around you.

Everyone is different. But some are the same. And you can spot them a mile off. The dodgy beggar. The drunk. The slag. The really dodgy guy looking for a fight.

None are protagonists. Least not in my scripts. Still, important folks in some works.

What I mean is lock em down to real world. Imagine someone you know then twist it.

If I've lost you by now then sorry. Common complain. Either way - good lcuk. To both of us.

L&P

R

I think it's always good to give your characters a quirk.  It doesn't have to be a big one, just one that makes them more human.


Phil

I like to start by modeling them after someone I know or have met. Then I give them a few lines of dialogue and let them evolve organically.

Quoted from dogglebe I think it's always good to give your characters a quirk.  It doesn't have to be a big one, just one that makes them more human.

One of my fave's is Tom Hanks' shaking hands as he leads a platoon in Saving Private Ryan. Stone cold to the men. But soft. Then we find he's a school teacher.

We all have little quirks, They give characters.... Character.

Quoted from dogglebe I have to disagree with this. In the fish out of water, you need to show the character in his element before you take him out of it. Phil

This is what I'm wondering about. Mostly, we'd see the individual in their element first.

Can you think of, or can someone else remember a situation where the individual (the protagonist) struggles outside of their element-- first?

Sandra

I wrote a script, years ago, where a mob boss always had a tennis ball in his hand.  If he wasn't bouncing it, he was squeezing it.

Another script showed that the big bad was a stickler for the rules.  And he wouldn't budge regarding changing any procedure.


Phil

You need a good lightning storm,  lots of copper cable, and some steel bolts in their neck.  

Quoted from dogglebe I wrote a script, years ago, where a mob boss always had a tennis ball in his hand.  If he wasn't bouncing it, he was squeezing it. Another script showed that the big bad was a stickler for the rules.  And he wouldn't budge regarding changing any procedure. Phil

If we connect with whatever the characters are doing, then it will help the context from which we write.

Your example is perfect to show that it's not the action but the reason behind the action.

Thank you. Too bad it's not as easy as that. ...We'll make it look easy though...  

Sandra

Quoted from mcornetto You need a good lightning storm,  lots of copper cable, and some steel bolts in their neck.

MWA-HA-HA-HA-HA...!

You need a some of that, too.


Phil