British Comedy Guide

Biggest mistakes Page 3

Quote: Martin H @ March 10 2009, 11:01 PM GMT

Differentiating between characters is a problem lots of new writers have. Giving each character a unique voice. There is the old trick of covering up the characters names and still being able to tell each character apart just by their dialogue, but with a lot of new writers the characters often begin to blend in to each other.

I had that problem when I very first started writing. I usually had the main character fleshed out and you could easily tell them apart from everyone else. But the secondary characters often molded in to each other and became too similar with no real defined voice.

It is something I'm much better at now, I like to think I can write a whole host of characters and give each of them enough depth and personal flavour to stand out from one another.

It's also a problem seasoned writers have, not just beginners. To combat it your first instinct is to go for basic personality differences, so you'll have a clever one, a sexy one, a thick one etc. But that often feels too manufactured, so it's difficult to find a happy medium.

And sometimes you do find successful characters with very similar voices that on the page would be hard to differentiate between. Ab Fab's Patsy and Edina spring to mind.

Quote: Lee Henman @ March 11 2009, 12:09 AM GMT

It's also a problem seasoned writers have, not just beginners. To combat it your first instinct is to go for basic personality differences, so you'll have a clever one, a sexy one, a thick one etc. But that often feels too manufactured, so it's difficult to find a happy medium.

And sometimes you do find successful characters with very similar voices that on the page would be hard to differentiate between. Ab Fab's Patsy and Edina spring to mind.

Don't you find it's best to start with broad strokes - funny, stupid, sexy etc and then hone and refine it as you go along?

Quote: Seefacts @ March 11 2009, 12:26 AM GMT

Don't you find it's best to start with broad strokes - funny, stupid, sexy etc and then hone and refine it as you go along?

Yeah, that's the way I do it. Or try to, anyway. I beat myself up about it all the time. But then sometimes I watch a show and think "Those two characters are almost exactly the same. How come nobody told the writer to make THEM different?"

And subtle differences don't seem to please people either.

For instance, in a recent sitcom of mine I had these three principal characters, two of which were sisters. One sister is basically a rough old slapper, and the other is a bit of a toffee nose. But the posh sister's character is written in such a way that she's still a bit rough underneath, but affects a posh demeanour because she married into money and wants to perpetuate the illusion of being a cut above.
But her mask often slips when she's angry or emotional, revealing the true person beneath. I thought that was quite a nice, funny personality trait, but I've been advised to change it and keep the sisters completely different in personality with no crossover. Which makes no sense to me as they were both brought up in the same house and shared the same childhood experiences.

But what do I know? Huh?

My only tip is to base your lead characters on people you REALLY know and then hone them.
My biggest "triumph" in terms of people actually wanting to see the character on screen is Christian Tandy. I invented Christian after having to spend a lot of time in Holiday Inn type of hotels (in one now actually) and overhearing a "Christian" in the bar after he'd been at a sales conference.
It all clicked. I knew where my lead character was and whay makes him funny.

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