Recurring Sketch Characters Page 2

Quote: Griff @ August 10 2008, 6:47 PM BST

Ha! I heard someone else talking about that technique once who reckoned one of the unfortunate character combinations that came out of the hat was "The Angry Rapist". Not sure what they were doing putting "Rapist" in the hat in the first place, to be honest.

NB I cannot stand the sort of characterisation exercises where people list what kinds of breakfast cereal their characters would like, and what colour trousers they would wear. I can't imagine anything less productive in trying to visualise a character.

Sooty what the f**k is your new avatar ?

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I'm not sure there is any other type of rapist, he could've saved himself the trouble.

I'm guessing it's laundry being sick.

After an autopsy on one of those comfort fabric softener puppets?

Quote: Griff @ August 10 2008, 6:47 PM BST

NB I cannot stand the sort of characterisation exercises where people list what kinds of breakfast cereal their characters would like, and what colour trousers they would wear. I can't imagine anything less productive in trying to visualise a character.

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Unless the sketch character is recurring, I'd agree. To do that sort of analysis for a one-off disposable sketch is too much. But to take your example, the man who eats porridge is different from the man who chooses Coco Pops or Full English. I don't often go into that sort of detail (unless it's a sitcom / film / novel project) but when I do, I find that the type of character you're working on often predetermines the answers in any case. It's not a case of characters telling me (I hate that concept), I tell them and they bloody listen. And that's the only time people listen to me.

Quote: SlagA @ August 11 2008, 10:13 AM BST

Unless the sketch character is recurring, I'd agree. To do that sort of analysis for a one-off disposable sketch is too much. But to take your example, the man who eats porridge is different from the man who chooses Coco Pops or Full English. I don't often go into that sort of detail (unless it's a sitcom / film / novel project) but when I do, I find that the type of character you're working on often predetermines the answers in any case. It's not a case of characters telling me (I hate that concept), I tell them and they bloody listen. And that's the only time people listen to me.

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When I started out writing I gave characters biogs with what bands they liked, their clothing style - but I just found it incredibly pompous.

I prefer to find out about them as I go along. Slag A you say you hate the concept of the characters telling you, but have you never written something, looked at it and gone 'Oh, X seems not to like Y' and that's only come out in the way you written it, unintentionally?

I LOVE finding out about the characters as I go along. In my current script it was supposed to be an ensemble, but for someone reason one character stood out as a lead. Don't know why, wasn't intended to be that way. But one had more depth than the others. His jokes seemed to add more to do him compared to others, and I think that's the kind of brilliant subconscious stuff that throws itself up that negates the need to write down what his favourite biscuit is.

Quote: Griff @ August 11 2008, 10:17 AM BST

Yes, this shows whether they are gluttonous or health-conscious or childish or traditionalist or whatever - but really, do you need to ask these kinds of artificial questions to get to know your characters ? I guess what I'm complaining about is the "checklist" of questions to ask about your characters which you often see in writing books or on courses.

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I'd agree.

I start with just a name, a look and a vague set of personality traits. I let the rest come out in writing.

Monty Python used the Pepper Pots, bossy Civil servant, and the Gumps over and over, and it was partly the familiarity that was ace.

They also did one offs like Nudge nudge wink wink, I could watch Armstrong and Millers airman for years.

The avatar is my new spiritual guru the flying spaghetti monster, here seen in person.

http://www.venganza.org/

It's two different approaches to writing. Personally in film / novels I have a plot that has to be followed from A to Z. To execute that plot demands a certain type of character so I tend to find my plot predetermines the characters. For example, place a nerd or an action hero in a burning building and you end up with two different stories. So for me plot is the determining factor. Only once did a character suggest a hidden thead that gets revealed at the finale and that involved a rewrite for all his appearances to telegraph gently.

I do also see your point. I think in sitcoms the rules about character seem more flexible. Occasionaly Homer and Flanders are best mates, occasionaly characters break beyond their personality boundaries for a gag. In comedy, the audience is much more willing to suspend belief, if it makes them laugh. Plus in drama, people talk about consistency in character but if so, they are the only consistent characters in the world. Real people always surprise and are rarely reliably consistent.

I find I do the learning about character in the brainstorming sessions with SlagB, before any writing begins. We throw all ideas in and then strike out inconsistencies or overlaps. I am terrified of starting a project without knowing 'what happens to who and when'. In fact, since I enforced that, it helped solve bouts of block. I knew the next scene, what was happening, what was to be relayed, so writing it up is then easier for me.

Sometimes the way a writer writes is as varied and indicative of personality as their output. The two methods you and I favour are at the opposite ends of a broad spectrum of approaches and I guess if it works for an individual it can't be the 'wrong' one.

Quote: SlagA @ August 11 2008, 10:57 AM BST

I guess if it works for an individual it can't be the 'wrong' one.

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It can be the wrong one. Your way is.

The 'characters telling you' is just your subconscious telling your conscious, which is fine by me. I quite like it.