Building Character

It has been an action-packed few weeks since the last post. I taught two playwriting and drama workshops for teachers – one at my alma mater and one at the annual NJEA Convention in Atlantic City this past weekend. These were great experiences and I learned a lot while running the workshops and look forward to hearing from these teachers about how they may implement playwriting and drama into their curriculum. Thank you to all who participated.

Now, back to playwriting…

Making a CHARACTER a PERSON
Characters should function in the world of your play as a real person, or being, inside that world. They have certain ways of moving, thinking, and interaction with other people or beings, just as we all do in “reality.” Giving a character a name is a simple way to begin fleshing them out.

At the Atlantic City convention, the participants completed a Self-Questionnaire similar to the one in the previous blog post. After that, I asked everyone to take their own name and recreate themselves as a new character by changing at least their last name… some changed both. (I learned this activity during a workshop run by the Director of Education from Young Playwrights, Inc., an organization that runs an excellent national contest for young playwrights. A few former NJ Young Playwrights winners have also been recognized in the Young Playwrights contest. Check them out at http://www.youngplaywrights.org/.) If you are stuck for a character idea, or a character name at least, this is a simple way to get started. Some of the names the Atlantic City group came up with are:

Jean Mercedes
Nicole Moodie
Fran Active
Fresca Visions
Calliope Sky

Do you have an idea of what some of these characters might be like? How old are each of these characters? What do they do for fun? Do they work? What kind of work might they do? What does each character want in life?

Another way to get deeper into a character is to use a Character Biography Sheet. In his book The Playwrights Process, Buzz McLaughlin provides samples of mini-form and long-form biographies. At Playwrights Theatre, we use an adaptation of his Mini-form biography that asks a playwright to consider the character's dreams, secrets, fears, and conflicts. These are all great places that might spark an interesting story idea.

I’ve often found that when I can envision my character I have an easier time writing for him or her. Then I write a description, or even a short (very short) story, to place that person in a location and to get a sense of how they move, think, and interact with others. This doesn’t need to be something that becomes part of the play, but just something that I can use to get a clearer sense of who the story is about and how they function. Once that is set, its time to give them something to want and a problem to face. More about that in a few days.

Happy writing!