Are you aware the saying, “You by no means get a second probability to make a primary impression?” Effectively, that applies to characters as nicely. Their first look in a script typically units the tone for the way we’ll understand them. It’s the second that reveals who they’re, what drives them, and why the viewers ought to care, root for them, or stay cautious. There are completely different approaches to writing character introductions. Right here, we’ll check out some curious ones and attempt to distill how they work and what makes them particular.
Take into consideration your favourite movie characters. You most likely keep in mind not simply what they did, but additionally how they entered the story. Typically it’s daring and sudden, different occasions – quiet and loaded with thriller. Writing a fascinating entrance will not be at all times simple, but it surely’s undoubtedly value it. Let’s discover why.
Principle bits on character growth
Earlier than we soar into the varied world of character introductions, let’s speak about the place to search out your characters within the first place. To make somebody’s look thrilling, they need to be dwelling, respiratory beings, and also you, as a author, ought to know their traits, powers, and flaws inside out.
The three issues that matter most in a narrative are characters, characters, and characters.
a quote by famend screenwriter Bob Gale, recited within the MZed course
Within the course, “Writing 201” on MZed, director and author Seth Worley suggests beginning with your self. Give your character your personal beliefs, instincts, and emotional baggage. It’d sound like a shortcut, but it surely isn’t – many writers consider {that a} piece of us exists in each character we create. The hot button is to be sincere and keen to open up, to make your self weak. With out that, you’ll by no means attain true emotional depth.
Seth additionally suggests attempting the alternative method: write somebody who’s nothing such as you – somebody who, for those who met them in actual life, would problem every part you consider in. I keep in mind vividly what director Alberto Mielgo as soon as stated to his completely gorgeous animated quick “Jibaro” from the Love, Demise & Robots sequence. He talked about that he’s extra eager about losers than in heroes. He finds an excellent loser rather more attention-grabbing for the tales he needs to inform.
A movie nonetheless from “Jibaro” by Alberto Mielgo, 2022
These are only a few tricks to start with. We are able to speak about character growth for much longer in a future article. Let’s assume you have already got a compelling instance. What are the methods to introduce them?
Recommendations on character introductions from fictional writing
In literature, a personality’s first look in a narrative is commonly referred to as their entrée, or just, their entrance. There are not any strict guidelines about what this could embrace. Typically, the character is launched regularly, and we solely hear about her or him from others earlier than the character really seems on the web page. For example, a rumor round Mr. Bingley’s arrival, shared by Mrs. Bennet from “Satisfaction and Prejudice” by Jane Austen:
“– Why, my expensive, it’s essential to know, Mrs. Lengthy says that Netherfield is taken by a younger man of huge fortune from the north of England; that he got here down on Monday in a chaise and 4 to see the place, and was a lot delighted with it, that he agreed with Mr. Morris instantly; that he’s to take possession earlier than Michaelmas, and a few of his servants are to be in the home by the top of subsequent week. What’s his identify?”
– Bingley.
– Is he married or single?
– Oh! Single, my expensive, to make certain! A single man of huge fortune, 4 or 5 thousand a yr. What a high-quality factor for our women!”
Different occasions, we see the character immediately in a scene stuffed with motion. One writing tip is to place them immediately into an uncomfortable state of affairs. This may present some attention-grabbing private traits proper off the bat. How do they deal with a battle? What are their largest fears? How do they work together with the world surrounding them? The outdated however golden precept: “Present, don’t inform” works right here at its finest.
However, nothing speaks in opposition to introducing the character alone, in a quiet house. Possibly even by a prolonged monologue. It really works particularly if this character can be the narrator of the story. On this case, it’s essential to outline the artwork of how a personality speaks – the phrases they select, the size of their sentences, the grammar patterns they depend on, whether or not they make errors or communicate in a refined, overly formal method. All of this shapes the reader’s impression of who they’re, even earlier than we see them in motion.
Character introductions: in the midst of the motion
The following pointers come from the world of writing, however what have they got to do with filmmaking? Loads, really. Each one in all these narrative methods could be immediately utilized to screenwriting. The grasp, Steven Spielberg, for example, is thought for introducing his characters in the midst of doing one thing, which defines them higher than every other introduction may.
Keep in mind this scene from Saving Personal Ryan? (Right here is the script for those who’d wish to learn it.) That is the primary time we encounter a number of vital characters. They don’t seem to be within the battle but, however they’re near it. Spielberg makes use of this tense second to introduce the troopers by a sequence of small, revealing actions: Captain John Miller’s trembling hand, Mike Horvath’s calm chewing, Mellish’s movement illness and anxiousness, and Jackson kissing his cross necklace. It’s the primary time we see them, but inside a minute, earlier than a single bullet flies, we already perceive who they’re.
The scene will not be solely intense, but it surely’s visceral, violent, scary. It grabs our consideration and we are able to’t flip away. It exhibits the stakes for the characters straightaway, and the way can we not really feel for them afterward?
Search for one thing bizarre or catchy
In fact, there are other ways to pique the viewer’s curiosity and draw them into a personality’s story. It doesn’t at all times should be intense or horrifying. Typically, an uncommon or sudden scene does the trick – one which makes the viewers go: “What is going on, and the way did this character find yourself right here?” Just like the legendary Walter White’s introduction within the Breaking Dangerous pilot:
Is there any probability that you just gained’t wish to know what occurred to him earlier than seeing him velocity by the desert in a gasoline masks and his underwear? I doubt it.
One other instance is from the Birdman script. Let’s re-read it:
How is that for a personality introduction? Need to learn additional? I wager.
By the way in which, introducing a personality by an odd or sudden second isn’t reserved for protagonists. Consider Harvey, the TV community director from The Substance; he solely seems in a handful of scenes, but that first encounter tells us every part we have to know. Isn’t that the proper option to set up his character?
That is HARVEY, the TV community director. Mid-50s, massive stomach and sporting a free swimsuit, he comes to face proper in entrance of the digicam underneath which we guess is an out of body urinal. His cellphone wedged between his ear and shoulder he continues his logorrhoea whereas unbuttoning his pants to take a piss:
From the script of The Substance by Coralie Fargeat
Give us some hanging particulars within the character introduction
When writing a script, you normally take into consideration the viewers who will ultimately expertise the story. However first, it has to cross by the palms of administrators, producers, cinematographers, and actors, and for them, character introductions are very important. They should see and perceive who these persons are to be able to convey them to life. That’s why the introduction is likely one of the few locations in a screenplay the place you possibly can, and will, embrace non-visual particulars. Some seasoned filmmakers would possibly disagree, however I consider that limiting a personality’s intro to a reputation, age, and a few adjectives strips away the possibility to convey a transparent, memorable persona. Typically a single, hanging element could make all of the distinction.
An excerpt from the script to The Social Community by Aaron Sorkin
If you happen to have been Jesse Eisenberg, who performed Mark Zuckerberg in The Social Community, what would you make of this type of description? In simply 4 strains, we already sense who the character is—how he appears, speaks, strikes, and what’s happening beneath the floor. That’s a strong basis, isn’t it? Much more insightful than one thing like, “Mark Zuckerberg, 19, non-athletic, merely dressed.”
A good shorter instance is from Whiplash:
A cavernous house. Sound-proofed partitions. And within the heart, a DRUM SET. Seated at it, in a sweat-marked white T, eyes zeroed on his single-stroke roll, is ANDREW NEIMAN. He’s 19, slight, honors-student-skinny — apart from his arms, which have been constructed from years and years of drumming.
From the script of “Whiplash” by Damien Chazelle
Please notice how rigorously Damien chooses the phrases for this description. They don’t take up a lot house on the web page, however every selection means one thing. Eyes ZEROED on… What does this one verb inform us about Andrew? A lot!
Introducing a personality by their environment
An alternate concept that we also needs to discover is introducing a personality by their setting. Each manufacturing designer would let you know that set design is a necessary storytelling software. Why not write a few of its bits into the script, in order that they work for character-building even earlier than the manufacturing begins? Right here’s an instance from Blade Runner 2049. Watch this scene beginning at 04:00:
An excerpt from the script of “Blade Runner 2049” by Hampton Fancher and Michael Inexperienced
I like this specific instance as a result of it additionally performs with the viewers’s expectations. Whereas Ok explores the farmhouse, it feels so easy, cozy, human. It belongs to somebody who likes classical music and who cares sufficient to maintain the home clear. Then an enormous, rough-edged farmer with a damaged nostril walks in – and he’s nothing like we anticipated. But by that time, we already really feel linked to him, as if we all know one thing important about who he’s. The plot of the movie exhibits that our first impression, created by his setting, was proper.
How about this quick, however on-point character intro from The Matrix?
It’s a studio house that appears overgrown with expertise. Weed-like cables coil in every single place, duct-taped into thickets that wind up and across the legs of a number of desks. Tabletops are stuffed with cannibalized tools that lay open like an autopsied corpse. On the heart of this technological rat-nest is NEO, a person who is aware of extra about dwelling inside a pc than outdoors one.
From the script of “The Matrix” by the Wachowskis
Nice, isn’t it? No particulars about Neo’s age, look, or perspective. But we instantly perceive the character by his world.
Conclusion: Observe your creative voice
It’s widespread data that scripts are speculated to include solely what we are able to see and listen to on display. (Nonetheless, there are completely different opinions on this, and you may learn one different perspective right here.) But once we speak about character introductions, there’s absolutely room for an inventive voice. I hope that the examples we mentioned above will encourage you to search out and observe yours, and create compelling characters on web page and display.
Full disclosure: MZed is owned by CineD.
Be part of MZed Professional now and begin watching right this moment!
Function picture supply: movie stills from “Saving Personal Ryan” by Steven Spielberg, 1998; “Birdman” by Alejandro G. Iñárritu, 2014; “Whiplash” by Damien Chazelle, 2014; and “The Matrix” by Lilly and Lana Wachowski, 1999.
What do you concentrate on character introductions? Ought to they be temporary and dry, or curious and fascinating? Do you’ve gotten any extra examples from scripts that you just loved? Please, depart a remark and share with us!
