Character Exercises Page 2

I always have characteristics for my characters but not most the ones listed in Lee's post. I don't care what eye-colour they have and don't think its worth noting as the actor could change all that. I look at the background and psychology of the characters more as this is what defines how they act and respond to each other.

And that's the point of developing characters: to know how they are going to conflict, act and react with each other and situations. Do whatever you think will get those answers down on paper. I have my own system.

The character CV thing I did for about a year or more, but never found it useful, it just made me not look forward to writing because I knew I had to write a bloody CV before I could start.

I too have realised just how important the characters are before you write any words for them. That's a good format to use Lee, I will look through and take from it what I feel is important for my characters.

I do find it very interesting how different writers use different techniques. I recently had contact with a well known writer/actor/director who is currently filming his latest movie, he told me what techniques him and his writing partner use, they don't do an awful lot, just put their characters in different situations and see how they react whilst also noting what each character wants out of life.

Quote: Jacob Loves Comedy @ July 9 2009, 10:03 AM BST

Marc Blake recommends that among other things you should write Character CV's for your characters before writing for them. I used to do this, but don't anymore as it didn't help me too much.

What exercises do you put your characters through before writing? Do you do it all in your head, or do you write down your character exercises i.e. writing down how your character reacts in certain situations?

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I never do any of these so called exercises. I plan, and I write and re-write who I think the characters are, but I never do any of that 'they're trapped in a lift, get them talking' guff. If it works for anyone else though, then that's peachy.

Quote: Griff @ July 9 2009, 10:34 AM BST

A good place to plug some good writing books I read recently:

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Rib??? Really???

Dan

A whole book on writing dialogue? WHat does he say?

Like Lee I just know the characters in my head. They're usually based on real people, or aspects of real people, and myself so I know what they would do and say and feel in every circumstance.

I agree with what's been said. CV's and backstoires are pretty pointless. Maybe it helps to know the backgorund but it's most improtant to know their [persoanlity traits. Last year I devoted a week to writing the character backstory and although I think I did cover breakfast cereal and how the characters choices of breakfast cereal changed over the years I realised that the characters were total cliches with only one characterstic each. One excercise I have created for myself is to list four personality characteristics and I know if I do that then the character will be full rounded.

Quote: Sebastian Orange-News @ July 9 2009, 11:06 AM BST

One excercise I have created for myself is to list four personality characteristics and I know if I do that then the character will be full rounded.

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This is the closest you need to come to writing anything about your character down before hand. I think a character should pitchable(?) in one-four lines max.

I find practical exercises useful for later scripts. You should tailor them to the needs of your sitcom. So if you have, say, two main characters who share a flat, write a scene where they're watching telly together. If you've got a couple in a relationship, write a scene where they're in bed together. Your sitcom will have at least one scene per episode like this anyway (eg Peep Show, My Family) so you may even end up with some good gags and a new plot.

A good one for a single character I was told was 'stick them in a shop and get them to buy a newspaper.' Don't know why but it always seems to work.

My favourite is from Ken Levene's brilliant blog. (Ken co-wrote dozens of episodes of 'Cheers', 'M*A*S*H' and 'Frasier', among countless others.):
'X' comes home and finds a prostitute in his bed.

I think, far from trying to pin your characters down at such an early stage, it's good to stay flexible.

I used to do a lot of that 'back-story' hoo-ha, until I realised it was just one more displacement activity that stopped you actually starting the bloody thing.

Quote: Dolly Dagger @ July 9 2009, 10:59 AM BST

Like Lee I just know the characters in my head.

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How does Lee know the characters in your head?

I do too though and feel it's not the end of the world in a sitcom if a character contradicts himself in a later episode or series. It's onlt those sad anoraks who notice things like this anyway.

So, how long do you spend, between actually getting the idea, and then writing it?

Mine is usually a while because I don't want to just jump into it.

Rather than trying to pin my characters down with particular "back-story" experiences and traits, I wander around for a few weeks before writing a word, just getting their voices and images in my head. I find a particularly good time to do this is when lying in bed at night, or first thing in the morning (though not whilst masturbating). Try and spend a period of time just becoming familiar with your characters in your imagination - then try writing about them. (I am aware this may sound a tad wanky and pretentious, but it works for me.)

That's a matter of opinion.

I've heard of a few different exercises, how good they are I don't know however.

1. The things that they carry - list the first ten things that enter your head, then look for contradictions etc that may indicate some characteristic i.e. you list matches but no cigarettes? etc etc.

2. Another is to read the 'real-life' stories in glossy magazines but instead of the happy ending that they usually end with you dramatise it, or in this case add a comic twist.