There are a dozen methods to method character creation. This could clearly be extra than simply how a personality seems and speaks, though that is vital, too.
As a author, you need to dive deeper. What drives your character? How is your character’s journey thematically tied to the story you are telling? What feelings underpin all their actions?
In his video sequence on character growth, screenwriter James A. Hurst explores two layers in his framework for constructing character: “misbelief” and “the wound.” (The opposite layers are “the purpose,” “the present,” and “the flaw,” if you would like to examine these out.)
The misbelief is a lie that your character believes about themselves, different folks, or the world.
The wound is the origin behind that misbelief. What led to their worldview?
Watch Hurst’s video under, then dive into the main points with us.
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The Misbelief
Generally you’ll be able to body this as a narrative query. What’s the factor that your protagonist believes that persistently challenges them all through a narrative?
A misbelief must be one thing that feels true to them, although it is main them down the fallacious path. It is the inner logic they comply with, even when it hurts them.
Author Craig Mazin poses this identical thought barely in another way, however as an thought of theme. In his view, the theme of a screenplay must be one thing you’ll be able to argue about (very similar to a misbelief).
Discovering Nemo is the instance I at all times consider due to Mazin’s perception. Mazin says that the true thematic query that the film argues is how, regardless of how a lot you like somebody, you might need to allow them to go.
However the principle character, Marlin, desperately desires to do the other. He is protecting and stifling of his solely baby. He does not wish to let go in any respect.
Your inciting incident ought to problem the character’s misbelief, particularly. Marlin thinks he can hold Nemo protected by worrying over him consistently—however he nonetheless will get taken. That is a contradiction of his misbelief.
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The Wound
Each damaging perception has an origin story. That is the “wound.”
Discovering Nemo begins with Marlin and Coral of their new house on the sting of the reef, discussing the long run and naming their eggs. Then a barracuda assaults. Marlin is unable to guard Coral and the eggs. He is left with one surviving baby, Nemo.
This sort of trauma is simple to grasp. It is the wound that causes Marlin to be too cautious and overprotective.
Hurst factors out that in Get Out, Chris’ misbelief that he cannot belief himself to behave when it issues got here from a selected night time. (It was the night time his mom died, and he did not do something to assist.)
The character’s wound does not need to be melodramatic. It is only a painful previous occasion that impacts who your character is.
In psychological phrases, it is referred to as the “unfavourable core perception,” which is conceptually virtually similar to the thought of a personality wound. Because the Centre for Medical Interventions defines it, “Your unfavourable core beliefs replicate the unfavourable, broad, and generalized judgements you have got made about your self, based mostly on some unfavourable experiences you might need had throughout your earlier years (eg, ‘I’m a failure,’ or ‘I’m no good’).”
Three Inquiries to Construct Higher Characters
Hurst says you need to ask your self this stuff as you are creating characters.
- Can I draw a straight line from wound to misbelief? If the wound does not logically bear that lie, it is simply melodrama.
- Does their misbelief manifest as a flaw? If the misbelief is not inflicting your character issues, steering them within the fallacious route, creating obstacles they’ve to beat, then it is not sturdy sufficient.
- Does your story nook them with the reality? A terrific story forces the character to confront the lie they reside by and make a alternative.
As screenwriter Lizzie Finn writes, “Characters should study to beat their fucked-up pasts (in any other case often called their childhood wounds, misbeliefs, and deadly flaws) to allow them to defeat their darkish demons (inside and outer) and obtain their joyful endings.”
For extra on character growth, try our complete information to character arcs and our character growth worksheet.
The Writers Serving to Writers’ Emotional Wound Thesaurus affords in depth assets for exploring several types of wounds and the misbeliefs they will create.
