StoryNotesNewsletter

ISSUE #5:


Is your Main Character up to the job?

Discover the Hidden Patterns and Shared Traits that can be seen in
the vast majority of all protagonists!


(Due to its length, this article will be sent in three parts. Thus,
it will comprise Issues 5-7, sent over three days.)

(Assuming you find the information interesting and of value, you
may find it more appealing to cut-and-paste the three e-mail
installments into a word processing document -- Word, WordPerfect,
Works, etc. It should then be an easy job to make the page
breaks come out properly, in case you wish to print it out. I
suggest a left margin of 1.5" or 2.0", depending on the font.)


PART 1 (OF 3):


TIPS FOR DESIGNING


* * * S T R O N G E R M A I N C H A R A C T E R S * * *


KEY TRAITS SHARED BY MOST PROTAGONISTS


Dorothy Gale. Otto Schindler. Forrest Gump. Luke Skywalker.
What do these central characters have in common?

At first glance, not much. They're quite a varied group.
Beyond the fact they're all protagonists in major studio films,
they just don't *have* much in common. Or do they?

If you describe their personalities, their values and
attitudes, their realm of knowledge and skills, and their major
character traits (both positive and negative), the differences you
notice at first glance loom even larger.

CORE CHARACTER TRAITS

And yet, these diverse and dissimilar individuals share a
number of underlying traits. And they are traits that are shared
by the vast majority of movie protagonists.

In examining what these and other characters have in common, we
will discover the hidden qualities that, if missing, may be causing
problems in one of your screenplays.

About two-thirds of all protagonists – who in most respects
are vastly different – can be described as follows. *They are
unlikely and reluctant heroes who are strong-willed but outmatched.
These imperfect and incomplete people struggle mightily against the
odds and undergo a change as a result.*

Even at a glance, looking over the list of dissimilar
characters at the beginning of the article, we can see that this is
true.

But each of these points is worthy of elaboration so that these
points can be absorbed.

UNLIKELY

First: an unlikely hero.

Dorothy is a young farm girl. Not someone likely to trek
across often dangerous terrain to see an inaccessible wizard (and
later confront him), or to kill a powerful and evil witch.
Otto Schindler, especially when viewed at the film's opening, seems
an unlikely person to risk his life and spend a fortune to save
hundreds of people who are essentially strangers. A person who was
an altruist, an idealist, a philanthropist, or a freedom fighter
would seem a more likely choice.

And more obvious. And therefore, less interesting and less
startling. Less room to grow.

SCHINDLER'S LIST is a true story, but part of what makes this
true story potentially rich for dramatization is the fact that the
soon-to-be hero is an unlikely one.

Forrest Gump – a mildly retarded country youth – certainly
seems an unlikely person to be a war hero, a guest of three
presidents, and a wealthy businessman. An ambitious, brainy, goal-
oriented kid from the elite class would be more likely. And less
fascinating.

When first seen, Luke Skywalker is a callow, whiny kid. He's
never been off his sparsely populated backworlds planet. He has no
training as a warrior, no interest in politics or causes, and no
belief that he could help make a difference, or that problems
concerning the Empire are any of his concern. He's rash,
impatient, and judgmental. And yet he becomes a hero who helps
bring down the Empire.

Part of what makes these characters fascinating – even though
they are worlds apart in most respects – is that they *are* so
unlikely. It not only makes the characters more intriguing, but
it's part of what makes the movie as a whole so good.

They aren't obvious choices. They aren't well-suited to their
tasks. Achieving the goal is going to be tough. It's going to
require struggle and perseverance. It's probably going to entail
some growth.

All of that is more interesting than having an obvious person
perform a task well-suited to their experience and personality.

An unlikely choice is often a better one.

RELUCTANT

Next, let's look at how these diverse characters are all
*reluctant* heroes.

Despite her wish to go "Over the Rainbow," Dorothy doesn't *seek*
to go to Oz – in fact, she was returning home after briefly
running away. And once in Oz, she wants to return. She certainly
doesn't *want* to go up against the wicked witch. But due to
circumstances and need, she does.

Schindler was reluctant to start helping people. By
inclination and action he was an opportunist. When he started to
assist others, he did so grudgingly and often angrily. And
certainly he was reluctant to work against the Nazis and their
systems.

Forrest Gump did not seek to become a hero in Vietnam, nor
eagerly hope for or desire it. But when circumstances seemed to
demand it, he did what he thought was right.

Luke was stubbornly reluctant to get involved in someone else's
struggle, and skeptical as to what difference he or any small group
could make. He declines Ben Kenobi's request for Luke to join the
rebellion and to help him get the plans in the R2D2 robot to
Alderaan. It isn't until the farm is destroyed – he has nothing to
stay for now – and his aunt and uncle are killed that he changes
his mind.

So all of these characters – and many more that you could
summon to mind – are both unlikely and at least initially reluctant
heroes.

Why reluctant, at least at first?

For one thing, it adds to the conflict. Circumstances seem to
demand they take action, but they don't want to. Maybe because
they feel they aren't up to it. Maybe because their values aren't
in place. Maybe because they just aren't sufficiently motivated –
yet.

So for a time they resist the call to action. This avoidance
or rejection of the task or goal can generate conflict. And
suspense.

Their reluctance is also more realistic. We can identify with
this. Few of us are so gung-ho that we set difficult goals
readily, or join a near-hopeless and highly risky cause hastily and
without thought.

No. It's more plausible when this person needs to be nudged.
When more motivation must be supplied.

So consider making your character not just unlikely in some way
to be dealing with this situation, problem, task, or conflict, but
also either somewhat or greatly reluctant.

At least at first. Later, when fully motivated and committed,
there will be no holding him or her back.

IRON WILL

Our four diverse examples are also characters who are *strong-
willed.*

By "will," I mean the inner-strength and determination to
follow through with one's intentions and choices. It is akin to
determination, resolve, and desire.

In life, a person with a goal – even if highly motivated –
often lacks the will to engage in conflict or to endure suffering
in order to attain the goal.

But if this person were in a drama, not only would we feel
frustrated at following someone who continually caved in due to
conflict or hardship, but suspense would drain away – we would
assume that this person will *not* achieve the goal or solve the
problem. We'll be deprived of hope and doubt. And if he or she
does succeed, we probably won't believe it, or at any rate respect
it.

Such a character might fit in as a secondary character, but not
as a protagonist. If a main character lacks will, he or she will
fold when the going gets tough. They will give in to opponents who
tell them no.

Not all movies end happily. But to keep our interest, we need
to see a chance for success. We need to be able to hope.

A major character without sufficient will could have a hope for
success only if the goal were easy, or the conflict and struggle
slight. None of which promises for a very good movie. Or,
perhaps, if given massive amounts of help.

But then, we think, why are we focusing on this helpless person
who lacks the inner strength to struggle for what he or she wants
and thinks is important? Maybe we should be watching one of the
helpers!

A person with will does not necessarily mean a confident one.
An insecure person filled with doubts and perhaps even lacking in
self-esteem can still possess sufficient will to engage in conflict
and to stay the course.

Even a shy person can be a willful one.

A main character must have will, or he or she will be a
pushover who would quit early in the struggle.

And now, let's examine our diverse quartet for this trait.

Due to her strong desire to go home and her concern for Aunt
Em, Dorothy has the will to stand up (albeit reluctantly) to the
bullying wizard and to the evil witch.

Schindler, once his compassion and courage have been kindled,
has the inner strength to risk much as he secretly opposes the
Nazis and helps his employees and prisoners who have also
demonstrated courage and commitment.

Forrest's will is strong indeed. He risks gunfire and disobeys
his lieutenant's orders in order to save the man's life. He puts
up with rejection, ridicule, and setbacks to make Bubba's dream
come true, and in his own pursuit of Jenny's love. He is not a
person easily talked out of what he decides to do, especially if he
really wants to do it and/or he thinks it's the right thing to do.

Luke is willfully stubborn in his reluctance in the beginning
of STAR WARS. He will not be persuaded by Obi-Wan. Later, when
fully motivated, neither storm troopers, Han's ridicule about The
Force, nor great danger and difficulties dissuade him from trying
to save the princess, escape with the plans and finally in trying
to destroy the Death Star.

All of these characters – and most main characters – have the
inner strength, the desire, and the determination to persevere even
when the going gets tough. Even when they're scared, depressed, or
in pain. They all have *will*.


(TO BE CONTINUED ...)

(End of Issue 5; see Issue 6)
(To be sent tomorrow)

Copyright Jeff Newman, 2001

Note: Starting at the beginning of the year, I have revised my
screenplay evaluation services. I now offer a $300 evaluation (on-
script notes, a tape recording elaborating on the notes, 10 pages
or more of written evaluation -- 6 pages or more of written
commentary, and a 4-page checklist -- and a phone consultation.

For more information, or for info on my other "deluxe" evaluations,
please see my homepage (www.storynotes.net).

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