INKWELL NEWSWATCH 
Monthly Online eZine  
News And Views For Working Writers

INdex 
 
 INside Scoop
 
 ON THE COVER
 
 INside AUTHORS
 
 COLUMNS
 IN Her Own Write
 INscribe
 Pen IN Hand
 Write On!
 INstruction
 
 WRITER'S LIFE
 Fiction
 Nonfiction
 Screen & Stage
 Poetry
 
 TOOL KIT
 Top 10 Resources
 Advice/Q&A
 Features
 Book Reviews
 Items Of INterest
 Global Offerings
 INside Services
 
 INside CHUCKLES
 Bill The Bard
 The Writer At Work
 Games & Puzzles
 
 FREEdom STUFF
 Classifieds
 Syndication
 Classic eTexts
 Free Software
 IN Banners
 
 ABOUT IN
 Who's IN
 What's IN
 Submissions
 Editorial Calendar
 Advertising
 Join IN's Team
 Contacting IN

IN Front Cover




Search

Learn To Be A Better Journalist

Buy Classic Literature Collections

Acclaimed Screenplay Writing Software

Books On How To Write Fiction

Become A Well Paid Travel Writer



Vote daily and raise our ranking!


WRITER'S LIFE
Screen & Stage
January, 2008


Larry Brody TV Writer.com

Clear Characterization Is Your Ticket - Part I
The crown jewels of the teleplay
By  Larry Brody

"As soon as the viewers identify with the leads in a series, they're hooked."
T
he key to a successful television series is presenting characters the audience will repeatedly return to see. They have to be interesting and realistic. Many writers - and most development executives - think this means the characters have to be likeable, but television history belies this assumption. Andy Sippowitz may be everyone's favourite fascist cop, but is he likeable? And what about Archie Bunker?

The best way to devise series leads that penetrate the skin of the audience isn't necessarily to make them likeable, but rather to ensure they're sympathetic. Your heroes must have recognizable attitudes. The audience may not agree with the leads' beliefs, but viewers can understand them, especially if they are caught up in situations that engender feelings of powerlessness - an experience we all have at one time or another.

As soon as the viewers identify with the leads in a series, they're hooked. Then the audience will tune in weekly to see how people they either love or love to hate are coping with the same kind of events that cause great anxiety and stress in their own lives - whether the characters are doctors, lawyers, cops, or starship commanders.

No matter what genre you're working in, give your characters the same troubles the rest of us have. Then sit back and watch the sweat rise on not only your leads but also your audience.

Once you have established personas with which we can sympathize, your next job is to give these new people some [ital] tsuris [/ital] which is Yiddish for trouble with a capital T. As Aristotle pointed out, effective writing comes from building up to a climax. Once you've established your characters' basic situations - the needs that must be fulfilled - create tension by starting out small, with only one unmanageable stress. And then, even as they start to dig out of their crisis, ratchet up the pressure.

That's right; your job is to turn the screws, to pile more and more crap on your characters' heads - especially those of the hero or heroes. It's not bad enough that the daughter of the lead has been kidnapped; his wife has to leave him as well. And then his dog gets run over, and his boss lets him know that if he doesn't make it to the next PTA meeting and bring the cookies, he's fired. Now we're talking stress - real interest.

Given the right set of troubles, the audience will feel for even the most deplorable lead. Remember The Player? Tim Robbins' character kills a writer who doesn't deserve it in any way. But Tim's life gets so tough afterward that even we writers rooted for him all the way.

As writers we're always playing God. Give your characters something to suffer over and the audience will embrace them.

Stay tuned to see the second part of this article next month.

IN Icon


Larry Brody - As a producer, Larry Brody has been responsible for thousands of hours of network television programming. As a writer, he has authored over five hundred different television episodes and movies of the week, serving as head writer, creator and/or producer of The Huntress, Star Trek: Voyager, Diagnosis Murder, Walker Texas Ranger and Star Trek: The Next Generation, to name only a few. He is also the author of the best-selling how-to book Television Writing from the Inside Out and Creative Director of the non-profit Cloud Creek Institute For The Arts, where he supervises http://www.tvwriter.com, internationally known as the top television writing site on the Web, and http://www.writesafe.com, the Web's fastest-growing registry of intellectual property.


Sign Up and Use Our New Forums! Voice Your Opinion! Discuss Our Content! Ask for Writing Assistance. Post Your Successes, Queries or Information Requests. Collaborate with Other Writers.

© Freelance Writing Organization - International 1999-2049

Screen & Stage
IN This Issue
Novel To Screenplay: Adaptation 101
Learning The Lingo
Elevator Exposure
Who Profits?
On The (Back) Lot
Lingua Scriptus
Part II: The Script's Key Plot Points
Part I: The Script's Key Plot Points
Origin Of The Screenplay
Scriptspeak: Writing Dialogue

Support IN
Receive Free Gifts
$20.00 Voluntary Contribution
$35.00 Voluntary Contribution
$50.00 Voluntary Contribution

New Novelist Software


Effectively Manage Your List


Writers Digest 101 Site Award






Your Ad Here

Traffic Swarm For Writers


Hottest Books This Month!

Whose Books Are Turning Into Movies?
Bald Ego
Mouse Over To Pause

Writerís Block
The path to inspiration starts
Upon the trails weíve known;
Each writerís block is not a rock,
But just a stepping stone.

Poetry Is Not
Penned to the page
Waiting for us to admire.
It is only a lonely thought
Caught by tears on fire.

Silent Echoes
A quiet rhyme upon a page
Is what a poet gives;
Some gentle words whispered in trust
To see if memory lives.

Bard From Deadlines
What makes a poem finally work
Is not the time it takes;
Itís how the poet used the muse
To prophet from mistakes.

Be Mused
The art and craft of poetry
Are not so far apart;
The craft comes from the cunning,
The rest comes from the heart.

Fine Vintage
Donít plant your poem on the page
As though youíre hanging drapes;
Itís shape and flow should come and grow
Like wild summer grapes.

Getting It Write
Writers write what they know best,
Their passions, fears, and dreams;
Writers rarely write about
What other call their ďthemes.Ē

Double Vision
A writerís life is paradox,
Itís more than what it seems;
We write of our reality,
The one inside our dreams.

Poetry
The echo of a promise,
The thunder of a sigh,
The music of a memory,
A child asking why.

Letter Perfect
Twenty six symbols arranged on a page
Can send a soul to heaven or torment it with rage,
Can free a fragile world or hold it in its net--
The power and the magic of the mighty alphabet.

The Write of Passage
The jump from writing just for fun
To getting paid for it
Begins when you first realize
You know youíll never quit.

Pegasus
It is not the magic of his wings
That sets us free from our bond.
It is the muse within ourselves
That lets our words lift us beyond.

Photo Poet
Consider your mind the darkroom,
Consider your life the lens,
Consider your eye the camera
On whose focus the poem depends.

Rising Moon
A poem is a rising moon
Shining on the sea,
An afterglow of all we know,
Of all we hope to be.

Star Light
Writing a poem,
Reaching a star,
In making good art
We find who we are.

Spider Web
A poem is a spider web
Spun with words of wonder,
Woven lace held in place
By whispers made of thunder.

Re-Verse
The final draft upon the screen,
At last my poemís through;
A verse of only four short lines--
I rewrote twenty-two!

Read All Of Charles Ghigna's Poetry at FatherGoose.com


Our Own Banner Rotator System
Any banner seen below is either our own or one of our members.
Support the cause - click a banner.


Want Your 468x60 Banner Above? It's FREE For Newly Published Books

© Freelance Writing Organization - International 1999-2049
All Rights Reserved. Copying in any way strictly forbidden.
Our Disclaimer Is Based Upon McIntyre's First Law: "Under the right circumstances, anything I tell you may be wrong."