The Dramatic Writer's Companion
Page 8
ABOUT THE EXERCISE
Get ready to look at one character from three different perspectives: that of the character, that of another character in the story, and that of a more objective observer from outside the story, such as yourself. Among these perspectives, each point of agreement or disagreement is an opportunity to learn more not only about the chosen characters but also about their relationship. Exercise examples are from A Streetcar Named Desire by Tennessee Williams. To begin:
Choose Character i. This will be your focus for the entire exercise. Use a principle character, preferably your main character, and write down his or her name-for example, Blanche.
Choose Character 2. Find someone from the story who knows Character i well-or at least thinks so. This second character might be a friend who tends to see the good in Character I, or a foe who tends to see the bad, or someone in between who is less biased. Identify Character 2's name and relationship-for example, Stanley, her brother-in-law.
Use yourself as the objective outside observer. Remember that you are the final word on what's true and not true in the world of your story.
THREE DIFFERENT VIEWS OF THE SAME CHARACTER
Answer each question three times: first as Character I, then as Character 2, and then as an outside observer. Look for similarities and contrasts in these responses.
i. One word. If Blanche had to describe herself in one word, she might say "genteel." Her brother-in-law Stanley, on the other hand, might say "whore." An outside observer might say "needy." In one word-noun or adjectivehow would your Character i be described from each of the three perspectives?
2. Ttuo words. If a second word were added to the first for greater meaning, Blanche might describe herself as a "genteel aristocrat." Stanley might see her not just as a "whore" but as a "phony whore." An outside observer might see her not just as "needy" but as "desperately needy." From each of the three perspectives describing Character I, add a second word that qualifies and adds significant meaning to the first word.
3. Description. If Blanche could be a little more verbose, she might describe herself as a genteel and misunderstood aristocrat unjustly abandoned in a cold, cruel world. Stanley might see her as a phony, lying, homewrecking whore who must be driven out. An outside observer might see her as a needy lost soul desperate for the love and kindness the world has denied her. From each of the three perspectives, write a brief description of Character i that includes the original two words-or versions of them-in any order.
4. Metaphor. A metaphor is a figure of speech in which a subject is described poetically by suggesting its resemblance to something else-for example, a person might be a sly fox, diamond in the rough, or ray of sunshine. The implied comparison tells us something important about the subject. Blanche might see herself as a lily waiting to bloom. Stanley might see her as a rat running around loose in his cupboard. An outside observer might see her as a streetcar named "Desire." From each of the three perspectives, find an apt metaphor to describe Character I.
5. Positive action. From Blanche's perspective, one of her most positive actions in the story is to try to convince Stella to leave Stanley. Why might Blanche see that as good? Because he is a Neanderthal. From Stanley's point of view, one of Blanche's most positive actions is to allow herself to be institutionalized. Why might he see that as good? Because it finally gets her out of his hair. For an outside observer, one of Blanche's most positive actions might be to woo Mitch. Why? Because she is trying to pick up the pieces of her life and build a new future. From each of the three perspectives, identify a positive action of Character i and explain why it's a good thing.
6. Negative action. From Blanche's point of view, one of her most negative actions in the story is to come to Stella's home in the first place. Why might Blanche see this as bad? Because it's a one-room hovel with no room for her. Stanley might agree that her coming there was a bad thing. Why? Because she is a threat to his marriage. An outside observer might say that one of Blanche's most negative actions is to insult Stanley. Why is this a bad thing? Because she creates an enemy whom she cannot conquer. From each of the three perspectives, identify a negative action of Character i and explain why it's a bad thing.
7. Positive trait. If Blanche had to name one of her greatest assets, she might say it's her cultural refinement. From Stanley's point of view, one of Blanche's assets might be a shapely figure. For an outside observer, one asset might be her ability to wield fragility like a powerful weapon. In your story, from each of the three perspectives, identify an important positive trait of Character I.
8. Negative trait. If Blanche had to name one of her greatest liabilities, she might say that it's the tawdry past she must keep hidden. From Stanley's perspective, one of Blanche's negative traits is her high-and-mighty manner. For an outside observer, one weakness might be her inability to face the truth. In your story, from each of the three perspectives, identify an important negative trait of Character I.
9. Summary. Think about your responses to the exercise questions. What have you learned about Character i? What have you learned about Character 2? What have you learned about the relationship between them? Sum up your key discoveries.
WRAP-UP
Whether they are thinking about themselves, each other, or the world around them, your characters have different views of the dramatic events that are unfolding. Try to stay aware of these individual perceptions, how they compare and contrast, and how they might influence not only what's happening now in the story but also what might happen next.
THE QUICK VERSION
Explore character secrets and their potential impact on your story
BEST TIME FOR THIS
Any time you need to know a character better
THE DRAMA OF SECRETS
Whether they are hiding something good or bad, secret keepers are engaged in dramatic action. They have an objective (to conceal), a problem (the risk of exposure), and a motivation (enough at stake to require privacy). Having secrets implies vulnerability (someone will be affected in an unwanted way if the secret is exposed), inner life (the keeping of a secret is often woven with strong emotion), and power (to keep a secret from others is to limit and control their knowledge in order to achieve a certain end). The dramatic nature of secrets may help explain why so many dramatic characters have them.
To know what characters are hiding is to know them in a more profound way, since their secrets often suggest a lot about what they value and what they fear. What are the secrets of your characters? How might these secrets affect character behavior and story events?
ABOUT THE EXERCISE
Use this exercise to explore the secrets of your characters and find new story ideas. For best results:
Develop two work lists. For A, list the names of your onstage characters. If you have a large cast, limit the list to the six most important characters. For B, list the names of at least three offstage characters from the past or present who may significantly influence the onstage story.
In each round, imagine a certain type of secret and use it to uncover an important truth that at least one of your characters is hiding at any time in your story or backstory. As you choose characters to explore, focus first on the A list and use the B list as a backup. Feel free to choose the same character any number of times. In the end, you may find that some of your characters have many secrets, and others have none.
Focus on each secret two ways. First express it in the character's voice. Then analyze it from an objective third-person point of view. Remember that, if a particular type of secret doesn't fit your story, it could still have an important function in the backstory.
CHARACTER CONFIDENTIAL
I. I've got a secret about who I am. For example, I am Joe in Angels in America. I'm married to Harper and most people think of me as straight, but I am secretly gay.
Which of your characters is concealing important information about his or her identity at any point in your story or backstory? What self-truth is bein
g hidden? Remember to state the secret in your character's voice.
• What values does this secret imply? Secrets tend to suggest certain aspects of the secret keeper's value system. Joe's efforts to hide his sexual identity imply that he considers heterosexuality more desirable than homosexuality. This view reflects his Mormon upbringing and conservative Republican background. Joe's secrecy also implies that he values having a certain image at home, at work, and in public. Think about your character's secret. What values does it suggest?
• What fears does this secret imply? Secrets are often mixed with the worry that something important will be lost if the secret is not properly managed. Joe's secrecy suggests a fear of being rejected by his family, coworkers, and friends as well as a concern about damaging his political career. Justified or not, what fears are implied by your character's secrecy?
• What actions might this secret trigger? Secrets may lead characters to do things they might not otherwise do. Some of these actions can be telling indicators of the character's true nature. Joe's secret leads him to marry someone he doesn't love and to lead a double life of furtive sexual activity with other men. What might your character do as a result of his or her secret? Look for new story possibilities that make sense for your character.
2. I've got a secret about how I am. I am Blanche in A Streetcar Named Desire. When I first arrive in the French Quarter, no one else here knows that I'm penniless and homeless, that I lost my teaching job due to a sex scandal, and that I have been working as a prostitute.
Which of your characters is concealing important information about his or her current situation? State the secret in your character's voice.
Blanche's efforts to hide her dire circumstances suggest that she values her reputation, and fears the shame and isolation that could result from exposure. Her secret leads her to tell lies, drink in private, and use elaborate deceptions to manipulate others into helping her. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
3. I've got a secret about something I did in the past. I am Claudius in Hamlet. I killed Hamlet's father, the king, so I could marry his wife and assume the throne of Denmark.
Which of your characters is covering up a significant deed-good or bad-from the recent or distant past? What did the character do? State the secret in your character's voice.
Claudius's secret suggests that he values power above all else and that he fears the disgrace and punishment that his crime, if discovered, could produce. His secret motivates him to exile the suspicious Hamlet and to plot his death. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
4. I've got a secret about something I am doing now. I am Emma in Betrayal and I am having an affair with my husband's best friend Jerry.
Which of your characters is covering up a current activity? What is the character secretly doing?
Emma's secret suggests that she treasures the freedom to follow her heart's desire, but still values her marriage enough to hide uncomfortable truths that may damage it. Her secrecy also implies a fear of losing her husband's love and respect. The secret leads her down a trail of omissions and lies to a rented flat in another town which she and Jerry use for afternoon trysts. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
5. I've got a secret about something I plan to do in the future. I am Boy Willie at the beginning of The Piano Lesson and I am planning to sell the family piano, even though I only own half of it and I know my sister will refuse to sell the other half. The money will go toward buying some land in Mississippi that my ancestors once worked as slaves.
Which of your characters has a secret plan in the works? What is the plan?
Boy Willie's plan implies that he values the future more than the past: he would sacrifice an important family heirloom and his relationship with his sister in order to gain the social status and income that a landowner can achieve. His plan also implies a fear of ending up on the "bottom of life" if he does nothing to advance himself. The secret has led him to return to his Pittsburgh home after three years with a truck and a friend to get the piano. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
6. I've got a secret about something I desire. I am Sister Aloysius in Doubt. I can't say this openly because of the scandal it could cause, but I want to find out if the new priest Father Flynn is having an inappropriate relationship with one of the students in my school.
Which of your characters has a secret desire? What is it?
Aloysius's secret implies that she values her duties as a school principal and the image of the school and church in her community. Her secret also implies the fear of a child in danger. As a result of her secret, Aloysius puts her staff on high alert for any unusual activity in the school and focuses aggressively on a questionable report about Flynn. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
7. I've got a secret about you and me (something we share). I am George in Who's Afraid of Virginia Woolf? and you are my wife Martha. We have been sharing a secret for years: we have an imaginary son. He is part of a game we love to play.
Which of your characters share a secret about themselves? What is it? George and Martha's secret suggests that they value their relationship and the intimacy that a shared fantasy can nurture. Their secret also suggests fears of reality and separation. The secret leads them to play elaborate and competitive games to keep their fantasy world alive. What values and fears are implied by the secret your characters share? What might they do as a result of this secret?
8. I've got a secret about you (something you don't know). I am Cole in The Sixth Sense and I see dead people. You are my child psychologist Dr. Malcolm Crowe. You don't realize it, but you are a ghost unable to face the fact that you were murdered two years ago by a former patient.
Which of your characters know something about someone else that the other character does not realize? What is the secret?
Cole's secret suggests that he values his personal safety and that he fears what might happen if this unpredictable stranger were to find out the truth about himself. Cole's secret leads him to be cautious, withdrawn, and uncooperative in his meetings with Dr. Crowe. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
9. I've got a secret about my family. I am Dodge in the backstory of Buried Child. Though my wife Hallie and I no longer sleep together, she is now pregnant. This news triggers the revelation that she has had an incestuous relationship with my son Tilden.
Which of your characters has a family secret? What is it?
The desire to hide the incest of his wife and son suggests that Dodge values family and fears the destruction of his home. The secret leads him to drown the unwanted child and bury it in the backyard. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
ro. I've got a secret about something that happened in my community. I am Vicarro in 27 Wagons Full of Cotton (adapted later into the film Baby Doll). I will not report this to the authorities, but I know that my neighbor burned down my cotton gin in order to boost his own cotton business.
Which of your characters has a secret about one or more others in the community? What is the secret?
Vicarro's secrecy suggests that he values both revenge and vigilante justice. His secrecy also implies the fear that an enemy who has hurt him may not only go free, but also prosper. The secret leads Vicarro to exact his revenge by seducing his neighbor's wife. What values and fears are implied by your character's secret? What might your character do as a result of this secret?
WRAP-UP
One key to a fascinating character is a fascinating secret life that drive
s character behavior but is not revealed until it has raised important questions that we in the audience want answered. As you work on your script, continue to look for hidden truths that may help explain why your characters see the world a certain way, or have certain feelings, or do certain things. These truths can not only deepen your understanding of the characters, but also open the door to unexpected story ideas.
THE QUICK VERSION
Add dramatic impact to your story by raising the bar for your main character
BEST TIME FOR THIS
After you have a working sense of who the characters are
CHARACTERS OF GOLD AND SILVER
Great characters tend to be noble in nature. Even if they ultimately reach an unhappy end, such as Ophelia, or succumb to terrible deeds, such as Macbeth, they have a greatness of spirit that makes their flaws ever the more tragic or loathsome. From Didi and Gogo in Waiting for Godot to George and Martha in Who's Afraid of Virginia Woolf?, great characters are full of contradictions, with their noble qualities a sharp contrast to their weaknesses and crimes.
Among dictionary definitions of "noble," one that comes closest to describing great characters is "having eminence, high moral qualities, or ideals." Even if these high qualities and ideals are mixed with petty needs and base traits, their presence elevates the character and adds importance and dimension to the story.
Some great characters remain noble from beginning to end. Some lose their nobility as the dramatic journey unfolds. Some acquire it along the way. Regardless of their journeys, they reveal their nobility to us at some time. It may be expressed as an ongoing approach to life that we see throughout the story, or it may be fleeting, a nobility that rises up only in a single moment of critical importance.