If you ever want to learn how to make a character become a real, fleshed-out person, audition for a play. Become a character.
A few weeks ago, I auditioned for The Crucible on the spur of the moment and learned the following day that I had been cast as Giles
Corey, a combative 87-year-old man whose wife is arrested as a witch. He storms the courts in an attempt to save her life.
Never having acted in a play before, there was much to learn. But what I really wanted to figure out was how to make a character come to life. Set in Puritan times, we could not convey the characters as modern people, yet had to be relate-able to modern people. This created an interesting conflict.
Who is Giles Corey?
In the script, he’s almost daft, certainly crazy. I was an old man, yet I was 17. How could I act older, appear older? What might I think differently, being much, much older?
But what does he care about? BECOMING a character forces you to ask more questions. Therefore, even a minor character in a story has great internal conflicts. Giles is fiercely loyal and for that reason, dies by the end of the play. Yet he is frightened by death, angered by those who permit innocents to die.
When writing a novel, use some of these same questions to help make your characters more real. If it works for actors, it works for writers too.
1.) Understand the many facets of your character
Even if your character does something horrendous, perhaps he or she does it for a good reason. Even “evil” characters have qausi-good intentions at times. At one point during the play, I lunged at another man, screaming, “I’ll cut your throat, Putman! I’ll kill you yet!” While seemingly a deadly promise, consider that I scream this line at the man who just damned me to die. It’s understandable.
In your story, make sure to understand everything your character does and make sure it’s “in character.” Even if you don’t reveal these reasons in your story, you need to know them to keep your character consistent.
2.) Know your relationships
If you’re character is a cruel guy, maybe he’s not cruel to everyone. Nice people are not nice to everyone. Know how each character feels for the others. Are they jealous or respectful or resentful? Especially if characters are relation, figure out their family dynamic. Again, there’s no need to overtly explain this, but it’s safe to know how each character might react.
3.) Know what your character owns
This may sound weird, but it’s important to know what a character owns. His clothes. His possessions. Does he have a wallet or a money clip? Does he wear bowler caps or cowboy hats? What do these things say about him?
Know what sort of car he or she drives. Know how your character might decorate his or her bedroom/apartment. Know whether or not your character owns pets. Again, you don’t need to describe all of this, but know it.
One great trick I learned is to pick a single object of great importance to your character. Make the character own the possession. Whatever it is, this is distinctly this character’s possession. In The Crucible, Giles walks with a cane. The cane became a very important part of my character. I could use it in so many different ways to help show my emotion.
I might shake it at someone because I’m angry. I might rub the top nervously. I might spin it in my hands.
All of these visual cues can be translated into a story to represent what your character is feeling. After a number of times, the reader will understands that, “Giles stroked the cane, spinning it in his fingers” means “Giles was nervous.”
These are all the pieces of advice I have at the moment, but take them into consideration to help your characters breathe. We justfinished the first weekend of performances. The last 3 start on this Friday. I have learned so much from acting in this play and will definitely blog about it later on in the week, because the people I’ve met are amazing. It has taught me a lot about character development and a lot about people.