Horror Films list.

Adios, Strunk, and White 3 Critical Thought and Research.

 

3. Critical Thought & Research. Cracking Humpty Dumpty

A Peel: Seeking meaning
1. Inductive analysis
2. Deductive analysis
3. Claim cast

B. Filter: Expressing meaning
1. Verb connection
2. Metaphoric connection
3. Structural connection

C. Press: Testing meaning
1. Research
2. Fallacies
3. Eclipses

 

Adios, Strunk, and White 2 Form

 

Adios, Strunk, and White  2 Form
11/16/2016 6:49 PM
Adam Bein

Adios Strunk White writing 2 Form pdf

 

Types of essay formats:
1. Narrate
2. Define
3. Divide
4. Disarm

2. Form. Making Humpty Dumpty
A. Time warping: Ways to Narrate
1. Splitting the second
2. Flashback
3. Strip tease
4. Raising the dead
B. Encircling: Ways to define
1. Talking words
2. Blood flow
3. Animation
C. Layering: Ways to Divide
1. Sliced pie
2. Double Exposure
3. 13 ways
D. Bursting: Ways to Disarm
1. Devil’s advice
2. Mocking with mass media
3. Trojan horse
4. Sincerely Yours

A. Time warping: Ways to Narrate
Narrating describes a sequence of actions (personal, scientific, business, political, historical). You are story telling. exaggerating, details to enhance, details to clarify, edit out details to open the flow of the narration. To intensify, blur the line between fact and fiction.
1. Splitting the second. Use this to slow down time.
2. Flashback. Focus on poignant events to show step-by-step events.
3. Strip tease. Ea. time step is a revelation & resets itself in a mini-climax.
4. Raising the dead. Incorporate imagination.

1. Splitting the second. Problem: The speed of an event blurs the details. Solution: Use the writing version of a stroboscope. Slice the action into separate, smaller segments. Use this to slow down time.
a) Splitting. Break down each moment of action, get the subtle details, carefully select details, and use style to fragment them & have them flow.
b) Toning. Use detailed verbs to establish reality and create an overall mood or attitude (choose specific verbs and specific synonyms of those to set a mood or attitude).
c) Fusing. Use metaphors, similies, and other sensory details (diversions, subconscious meanderings, kinesthetic details).

Carefully show the details rather than ell the reader what to think about reality. Stay away from subjective descriptions, stick w/objective. Use moods. Incorporate flow & pause, break-ups and line-up metaphors. Write as if it was someone famous or a specific artist or famous figure.

 

 

2. Flashback

 

 

3. Strip tease

 

 

4. Raising the dead

 

 

 

 

Adios, Strunk, and White 1 Style

Adios, Strunk, and White
1 Style
11/16/2016 6:49 PM
Adam Bein

This is in a .pdf download by clicking this link:
Adios Strunk White writing 1 Style pdf

1. Style. Style before organization. Style is the soul of an essay. Style creates the Writer’s voice. Writing style depends on 5 major writing activities: Flow, Pause, Fusion, Opt, and Scrub. Combine the 5 to make the unique voice of the particular writer.
A. Flow: Ways to Speed & Smooth
1. Freighting
2. Telescoping
3. Netting
B. Pause Ways to Slow and Emphasize
1. Very short sentences
2. Melted together words
3. Hieroglyphics
4. Super literalism
C. Fusion: Ways to Spark & Compress
1. Recyclables
2. Line ups
3. Break ups
4. Mix masters
D. Opt: Ways to Wield POV
1. Personalizing lens.
2. Humbling lens
3. Distancing lens
E. Scrub: Ways to Purge Pretense
1. Facial packs
2. Metal mask
3. War paint

 
A. Flow: Ways to Speed & Smooth
1. Freighting
2. Telescoping
3. Netting
Freighting, Telescoping, Netting These three speed, smooth the flow, & create different voices. One must look at the reality of the sentence & decide what other details belong in the sentence’s flow.

1. Freighting Think of each element of the sentence as a flat-bed freight car. Then, pile material similar on top of each flat-bed.
ie: Bill chewed a red apple. Bill is one, chewed is 2, red is 3, apple is 4.
Choice 1. Bill gets added by: Gina, Timmy, and Rover.
Bonus freighting: Additionally you can add a phrase for ea. person. ie: Bill, Gina the Firefighter, Timmy the one-eyed helium Salesman.
Choice 2: Chewed is supplemented with: Sucked, gobbled, and ripped into.
Bonus: Add a phrase. ie: Bill chewed, sucked the life out of and gobbled like a starved dog, a red apple.
Choice 3: Red is loaded with: Hard, juicy, tangy.
Bonus: Add a phrase not just a word.
Choice 4: Apple is supplemented with: Cookie, peach, and Kit-Kat.
Bonus: Add a phrase, not just a word.
Problem:
Forgetting which freight car you’re stacking onto.

Bonus: Move the entire freight car to another track and bolted to/hooked up to the train on THAT track by utilizing:
where, when, why (relative adverb clause)
who, whose, whom that, which (relative pronoun clause)
eating _______ (particle phrase)
in, under, above (prepositional phrase)
after (adverbial clause)
where, when, because (a subordinating conjuction [adverbial in this case] )
And, but, so (coordinating conjunction)
or, besides

Problem: Long, complicated, and dazzling.

2. Telescoping. A flow technique. Good for examining a visual scene. Unlike Freighting there is no vertical piling up. Instead, the period at the end of the sentence is changed to a comma. Then, any of the items in what was the initial sentence are zoomed in on/detailed.
Bonus: Remove the period on the 1st zoom and put in a comma and then zoom into something in that 1st zoom.

Problem: Don’t use this more than 1 or 2x.

Bonus: Panning. Pan over/pull back and go over to another detail and make a compound sentence.
Problem: Comma splices.

3. Netting Lists. Occurs inside a Freighting or Telescoping sentence or on its own. Basically a grouped lists inside a paragraph.
Problem: Sizing. Don’t just list, swap sizes of ea. sub-list.
Bonus: Juxtaposing.
B. Pause Ways to Slow and Emphasize
1. Very short sentences
2. Melted together words
3. Hieroglyphics
4. Super literalism

1. Very short sentences
Makes the Reader stop, it stops the flow, it creates pause in order to emphasize or dramatize special thoughts. Occurs during or after the middle of flow. It can be climactic, create finality, or give emphasis to a previously mentioned item, create expectation, sarcasm, certitude, hopefulness ,reversals, edginess, shock, sting, underscore material that is fast, terse, or tense.

2. Melted together words
ie: Blue, Green. Blue-Green is different. Join words never before joined together. The Reader enjoys the wit, so this may be good when used in dialog between characters. Use a dash, don’t use quotes.

3. Hieroglyphics
Commas slow down the Reader. Periods stop the Reader. Colon, semi-colon, single dash, multiple dashes.
Semi-colon use: Use them to replace connecting words (but, or, yet, so, for, and ,nor ‘BOYS FAN’). Adds a specific tone, voice, or attitude. Also use them when freighting & u have a long list loaded w/modifying info set apart by commas. You need a complete sentence on the other side of the semi-colon.

Colon and single dash: Used to indicate an example, restatement, summation, elaboration. Goes where a period would go & then a list of examples or a restatement follows. Gives a fresh emphasis. Replaces “such as” & “for example”. Things after them can be read like you’re doing a roll call. Colons are more formal and give polish, dashes are more casual and make writing more conversational.

4. Super literalism
This is a powerful stunning tool. Reduce the item to characteristics we all take for granted. Change this: Grapes, oranges, and apples. into Grapes, oranges, shiny red seed pods. This is NOT a metaphor, it’s a reduction. It shakes complacency and thus is conscious raising. Always a shock. Reminds ppl we are vulnerable, animalistic, manufactured, reality orienting. A good response to abstract, intellectual, sophisticated. How Indians spoke in old Westerns. Allows playful scrutiny, honesty, clarity, irony.

C. Fusion: Ways to Spark & Compress
1. Recyclables
2. Line ups
3. Break ups
4. Mix masters

How to make metaphors. There are 2 types of language systems we all use: Literal & metaphoric. Metaphors have the ability to depict complexities and subtleties of reality. They excite the reader’s interest, they capture the writer’s attitude towards the subject, compresses attitudes/descriptions. You can define the nature of something, they work quickly, the reader has an emotional & intellectual reaction. Writers need to know how to generate metaphors.

1. Recyclables Use slang.
1. Simile reforming. Substituting a part of an object for the entire object is called ‘synecdoche’. Basically, write a simile and get rid of the ‘like’ or ‘as’.
2. Antiquing. Combine Greek or Latin prefixes, suffixes, stems, French, Spanish, ect with something existing. Spanglish. Verbalrrhea.
3. Soldering. Make sniglets. Combine a synonyms. Melt 2 words together (portmanteau). Java-junky.
4. Culturing. Use a cultural reference point & add an ending like ‘esque’, ‘ism’, ‘ian’ (metonymy).

How to make metaphors. Line ups & break ups.

2. Line ups. Assign an adjective that would be use to describe an animate object with an inanimate one. A jealous coffee. The coffee is jealous. U can also turn nouns in adjectives. “Sergio is tangy”.

3. Break ups. Assign an animate object an adjective that’d describe an inanimate object. “An icy woman”. Take an item you already know (usually a noun) and break it up into its smaller parts and associations (also nouns). Then all the nouns get turned into metaphoric verbs & nouns using Object Force of Verb Force.

1. Object force: Ask yourself “What image captures the mood of my subject but seems very unlike my subject?”.

 

4. Mix Masters. This is a game-like way to create inventive metaphors. Get 30 interesting words (nouns). Pick 3 words and write a sentence with them making sense metaphorically (it can’t be make literal sense). Rules:
1. You can change the forms of the words.
2. You can use as many a, an, & the’s that u need.
3. U can use 1 preposition.
4. U can andd 1 other word.
This game forces u to turns nouns into verbs, create unusual adjectives, invent unheard of similies,.
Unraveling these sentences is a 3 part process.
1. Write out the sentence.
2. Decide which words are the metaphors.
3. Take the metaphors and write down all the universal associations most ppl have hen they hear or read that word when it’s used literally.

 

D. Opt: Ways to Wield POV
1. Personalizing lens. (1st person)
2. Humbling lens (2nd person)
3. Distancing lens (3rd person)

1. Personalizing lens.
Write in 1st person singular (‘ I ‘).
Write in 1st person singular as a fly on the wall as if you were going back in time in history.
Write in 1st person as an object. Write from the POV of other objects in the same scene.
Writing in 1st person plural gives a piece sincere clout when backed by real people.

Let the reader know immed. if you are one of the characters. Include details you would actually encounter if you were a witness. Writing in 1st person new realities get emphasis and the scene comes alive.

2. Humbling lens. 2nd person. Use ‘you’. This allows the reader & writer to look in from the outside & to plea & to figuratively finger-point. This pulls the Reader into the writing. It also forces the Reader to take responsibility for their actions, or even to have compassion, or to try on the character’s clothes, making the Reader feel sympathetic.
Prophets and preachers make more philosophical commands w/implied 2nd person pov.

Bonus: Switch back & forth from 1st person to 2nd person to yank the reader in by the collar.

3. Distancing lens. 3rd person.
Don’t let the reader know who ‘he’ is at first.
3rd person allows the Reader & Writer to look in from outside.
You can net & build a cartoon version of the person.

 
E. Scrub: Ways to Purge Pretense
1. Facial packs
2. Metal mask
3. War paint
This is about using euphemisms.

1. Facial packs. Harmless attempts to make unimportant, normal-but-unappetizing realities pleasing or more important or more pleasing than they really are. It makes the fault seem to be a virtue. ie: Instead of ‘toilet’, ‘bathroom’. Then instead of ‘bathroom’, ‘little boys room’ or ‘the john’. ‘Used’ car becomes ‘pre-owned’ car.
This distorts reality.

2. Metal mask. Same thing as a ‘Facial Pack’ but with official biz, academic, gov’t, social, professional truths & experiences. Jargon, buzzwords, offical laberls. The purpose is to sterilize & protect the reader from something more complex requiring more thought or explanation. ‘Poor’ becomes ‘underpriviledged’.
An animal is not ‘captured’, it is ‘acquired’. Numb the reader/listener, replaces the details, political correctness, mitigate the stigma, soften.

3. War paint. Flat-out distortion. Metal mask with more confusion, impressive, or intimidating. Use multiple syllables to avoid responsibility. Car recalls use ‘deficiency’ and ‘adversely affect vehicle ctrl’ in lieu of ‘poorly manufactured’ & ‘the car could crash & kill you’. How to do it: Change all the simple words to more complicated ones. Take simple actions and break them into smaller unnecessary to talk about parts & use more words to describe these.

 

‘Write Your Novel Step By Step’. Fill in worksheet.

 

‘Write Your Novel Step By Step’.  Fill in worksheet.

What Melanie Said The Quick Guide to Melanie Anne Phillips awesome book

Write Your Novel Step by Step Part 1

Write Your Novel Step By Step fill in worksheet form

Write Your Novel Step By Step Part 1 Inspiration to Exposition

This accompanies Adam Bein’s notes/checklist from Melanie Anne Phillips’ book.  ISBN#:  9781491032763

Sunday, January 17, 2016.   Sunday, April 17, 2016.  
Part 1:

1. Inspiration Stage
2. Development Stage
3. Exposition Stage

 

1. Inspiration Stage. Part One:  Plot

 

1. Get inspired.

               

2. Write down your central concept, ideas, fragments, and transient inspirations

 

3. Make a ‘log line’. What is the central vision?  What is it that YOU want?

 

4. Come up with a boatload of data.

 

5. The “Tell your friend about your story idea and include the juicy details.” step.

 

6. Step back and look for holes and inconsistencies.

 

7. Fill in the holes and inconsistencies.

 

8. Making a revised synopsis.

 

9. Make an new all-inclusive, enriched synopsis.

 

10. Smooth out the bumps.

 

 

1. Inspiration Stage. Part Two:  Characters

 

11. (11-15) Make a list of all the characters.

 

16. Give each character a name or a moniker.

 

17. Give each character a gender.

 

18. Give each character an age.

 

19. Give each character attributes.

 

20. Swap the traits.

 

21. Cast Autobiography.

 

22. The character’s POV of the story.

 

23. Give your character some person issues/problems.

 

24. Clarify your cast.

 

25. The MC/Protagonist or the MC and the Protagonist.

 

26. Revised synopsis.

 

Inspiration.  Part Three:  Theme

 

27. Locate and refine the theme Or, come up with a theme.

 

28. Create specific story instance.

 

29. Thematic Message.

 

30. Specific events and situations that illustrate the thematic message.

 

31. Go back and revise the synopsis.

 

Part 4:  Genre

 

32 and 33.  Pick the genre.   

 

34. Consider blending genres.

 

35. Genre component clarification.

 

36. Look for holes in your story.

 

37. Fill the holes.

 

38. Go back and rewrite the synopsis AGAIN and plug in the answers.

 

39. Rewrite and smoothen.

 

 

 

Development.  Part One:  Plot

 

40. Story goal.

 

41. Personal Goals.

 

42. Requirements.

 

43. Consequences.

 

44. Success or failure.

 

45. Get an overview of your plot.

 

46. Write a new story synopsis..

 

 

Development.  Part Two:  Characters

 

47. Refine the Protagonist.

 

48. The Antagonist.

 

49. Protagonist, Personal.

 

50. Antagonist, Personal.

 

51. Main Character View.

 

52. Tie-in and Integrate.

 

53. Structural Roles.

 

54. Situational Relationships.

 

55. Emotional Relationships.

 

56. Relationship Synopsis.

 

57. Revised Story Synopsis.

 

 

 

 

Development.  Part 3:  Theme

 

58. Counterpoint.

 

59. Counterpoint Illustrations.

 

60. Thematic Conclusion.

 

61. Revised synopsis.

 

 

Development.  Part 4:  Genre

 

62. Genre and Plot.

 

63. Genre and Characters.

 

64. Genre and Theme.

 

65. Revised synopsis.

 

 

 

Exposition.  Part 1:  Plot
Step 66.  Goal.

 

Step 67.  Personal Goals.

.

 

Step 68.  Requirements. 

 

Step 69.  Consequences

 

Step 70.  Success or failure.

 

Step 71.  Revised synopsis. 

 

 

 

 

 

 

 

Exposition.  Part 2:  Characters

 

Step 72.   Protagonist. 

 

Step 73.  Antagonist. 

 

Step 74.  Protagonist Personal

 

Step 75.  Antagonist Personal

 

Step 76.  Main Character View. 

 

Step 77.  Structural Roles. 

 

Step 78.  Structural Relationships. 

 

Step 79.  Situational Relationships. 

 

Step 80.  Emotional Relationships. 

 

Step 81.  Revise the synopsis. 

 

Exposition.  Part 3:  Theme

 

Step 82.  Thematic Conflict.  (independent illustration of ea. side). 

 

Step 83.  Revised Synopsis. 

 

Exposition.  Part 4:  Genre

 

Step 84.  Genre Atmosphere. 

 

Step 85.  Revise the synopsis now.

 

This concludes my notes on steps 1-85 of ‘Write Your Novel Step By Step‘.   The next facet of creating a story is “Storytelling.  Part One:  Plot“.  See that document for those steps.

 

Adam Bein

Friday, April 15, 2016

adambein@hotmail.com

 

 

 

Write your Novel Step by Step-abbreviated version

 

 

What Melanie Said: The Quick Guide to Melanie Anne Phillips’ awesome book ‘Write Your Novel Step By Step’. (Part 1. Inspiration to Exposition).

Downloadable, original/better formatted Pdf version here:
What Melanie Said The Quick Guide to Melanie Anne Phillips awesome book Write Your Novel Step by Step Part 1

To fill in a form with your data as you read along here and generate info, go to this blog post, copy the entire post/page, and paste it into Word and type away!:  

Melanie Anne Phillips will go down in history as being THE Instructor of story assembly & story architecture. She’s. a. genius. I have devoured her book ‘Write Your Novel Step-by-Step’ (ISBN#: 9781491032763) and the notes from that book, and from a few other sources, I’ve placed here, for you, the amateur story-maker. My hope for you, the Reader, is that you can use my guide quicker when assembling a story by referring to this abbreviated version-once one has a fundamental understanding of Melanie’s awesome book of course, than simply by going by her book solely. But, buy Melanie Anne Phillip’s book (‘Write Your Novel Step-by-Step’) first though, and once you’ve read that and need a fast, abbreviate version, use my quick guide to assist you as you assemble your story.

Adam Bein
June 17, 2016

Part 1:
A. Inspiration Stage
B. Development Stage
C. Exposition Stage
Part 2:
D. Storytelling Stage (this is on another document)

A. Inspiration Stage. Part One: Plot

1. Get inspired.
A. Come up with an idea.
1. A concept.
2. A plot twist.
3. A thematic topic.
4. A character study.
5. A line of dialog.
6. A title.
7. Anything else that seems like it’d make for a good story.

B. Come up with some ideas for/about it.
1. Specific characters
2. Specific events in the plot

C. Development (plug leaks, put on a fresh coat of paint).
A. Look for big holes
B. Look for disconnections
C. Look for logic breaks
D. Look for false/wrong characters, unresolved conflicts, un-needed emotions being expressed.
E. Look for inconsistencies (in theme, etc.).

D. Exposition. How do you reveal the totality of the story?
A. Where do you begin?
B. Do you use flashbacks or flash forwards?
C. Do you mislead the reader?
D. Do you keep something a mystery?
E. Do you spell things out all at once or drop clues along the way?

 
2. Write down your central concept, ideas, fragments, and transient inspirations. Clarify what you know so that you can clarify what you don’t know. Remove what’s in your head and put it on paper. Put down any and all ideas, fragments, and story concepts onto paper. The purpose of this is that it makes it so that you can look at your story objectively, externally, it will facilitate other ideas. It’ll clarify what you want to create & make room to organize by topic, category, sequence, structural elements, etc. Write down all the fragments. Don’t try to make a full-fledged story or try to connect ideas (cuz then you stop coming up with ideas).

3. Make a ‘log line’. What is the central vision? What is it that YOU want?
A. Write down a single sentence (a ‘log line’) of what the story is about.
B. What excites you about the subject matter? It is a:
1. Character?
2. Genre?
3. Theme?
4. Topic?
5. Message?
6. Plot line?
7. Setting?
8. Timeframe?
C. If you don’t have enough information, just describe the idea that has you excited.
D. If you have too much information, write several different sentences (log lines), each of which will touch on one aspect of what you see in step 2 and help you focus on a different part of your story.

4. Come up with a boatload of data. To do this, ask questions, get answers. Ask questions pertaining to those answers, answer those questions. Ask questions pertaining to THOSE answers, answer THOSE questions. The whole goal is to come up with a wealth of ideas that your brain can naturally provide.
A. Using the log line from the previous step and the previous ideas, ask questions like:
1. Character age, gender, ht, wt, characteristics, personality, faults, etc.
2. Location, time, situation.
3. Equipment, problems, etc.
B. Answer those questions.
You’re going to end up with a mess but that’s okay. From there you can pick & choose & perhaps even come up with ideas for other stories/branch out from that story.

5. The “Tell your friend about your story idea and include the juicy details.” step.
Organize your answers into Characters, Plot, Theme, Genre, etc. We’re going to create a comprehensive description of what the story’s about.
A. We’re going to come up with a synopsis (like a map).
B. This synopsis/map will give us landmarks of where to visit and important things that happen at them.
C. A synopsis/map can be a paragraph long or a page or two long.
D. Describe the interesting ppl, events, topics, that you’ll include in your story as if you were talking about your story to a friend.
E. Who is in this story, where, what is happening, the whole story world.

 
6. Step back and look for holes and inconsistencies.
A. Don’t look at your story as an/the author, look at the story as a reader/audience.
B. If something doesn’t make sense, make a note of it-in the form of a question. Ask questions about everything that bothers you about your story. What is missing or
doesn’t make sense?
C. Don’t try to solve the problems at this point. Later.
D. Don’t ask ppl what they THINK of the story, ask them what questions were not answered by the synopsis, anything that isn’t understood, anything that’s confusing.
E. Separate step 5 synopsis into short sections.
F. Come up with lots of questions about each section.

7. Fill in the holes and inconsistencies. Answer the questions came up with in #6.
1. Come up with as many potential answers as you can.
2. Invent new concepts if you need to.
3. Even ridiculous answers that make no sense can spur an idea or inspiration.
4. The more unusual the answer, the more original and intriguing.
5. If add’l material comes to mind when answering a question, include that material in the answer.

8. Making a revised synopsis. Putting it all back together.
A. It is now time to make some hard choices.
B. You will get a good feel for all the potential directions your story can go depending on your choices.
C. Choice:
1. If you are married to your story, go back thru the questions and answers and eliminate the ones that are not compatible with your initial concept.
2. If some of the new potentials are exciting, go back thru your Q & A and figure out what you want to include. Then prioritize them. Now you have a list of
very best and most interesting creative concepts. Problem: They diverge. Time to make hard choices. Some won’t be compatible with the story, some with ea.
other.
D. Find what can co-exist. Find what benefits your story the most.

9. Make an new all-inclusive, enriched synopsis.
A. Locate the best place in your synopsis to put your best idea from above and insert it so it will seamlessly integrate.
B. Check the rest of the synopsis to make sure the change conflicts with anything. Resolve the conflicts with alterations.
C. Repeat this.
D. Don’t be too wordy.
E. If something doesn’t fit, don’t include it.

10. Smooth out the bumps. Reread the synopsis. See if you can come up with a more interesting way to express the same thing.

 
A. Inspiration Stage. Part Two: Characters

11. (11-15) Make a list of all the characters:
1. That are explicitly called for by your story (such as roles like: Cop, Daughter of Russian President, Daughter of U.S. President, Boat Captain, City Councilperson, Tour Guide, Supportive Sidekick guy who supplies the firearms, group of ppl who make a concerted effort to help by flying drones in to drop off supplies and weapons, TV News Reporter woman, Teacher, etc.). It is ok if the character doesn’t have name but instead, is identified by their role.
2. That one would expect to be there (implied characters).
3. That would not surprise you if they made an appearance.
4. That are unusual characters.
5. That are outlandish characters.

16. Give each character a name or a moniker.

17. Give each character a gender.

18. Give each character an age.

19. Give each character attributes. These traits can be used to your advantage in the story.

20. Swap the traits. Switch the traits that you assigned to 16-19 (or, leave them as they are but they’ll be stereotypes). This makes characters more interesting and memorable. Swap jobs, genders, ages, and additional attributes.

21. Cast Autobiography. Have each potential cast member write a short paragraph about themselves, their attitudes, their outlook on life. Incorporate all the tasks you’ve assigned to them. Write these paragraphs in the unique voice of each character and from their pov. Have them write about themselves, don’t you write about them. The goal is to have you experience what it is like to see the world thru each character’s eyes. This lets you understand their motivations. This lets readers step into the shoes of each character.

22. The character’s POV of the story. Have each character write a paragraph from their pov describing the basic plot of the story as it appears to them. This makes the story more realistic by helping you understand and describe how each character sees and feels about the events unfolding around them. Include how each character sees their role in the events and whether or not they see themselves as being just an observer or bystander or if they see themselves as being a part of the plot and to have the character outline the nature of their participation s they see it. Don’t go into great detail. Lets you figure out how to employ each character.

23. Give your character some person issues/problems. Look over each character and figure out what logical personal problems that they might have.

24. Clarify your cast. Keep some, get rid of others, make a pile of ‘not sure’ ones, weed out redundancy. If you get rid of any characters, clarify their attributes and pass those on to other characters as needed.

 
25. The MC/Protagonist or the MC and the Protagonist. This person or these people: Has some aspect of their belief system come under attack, is grappling with some dilemma or personal issue. If you have two ppl, one can drive the plot, the other can carry the message. If you have one person, put these two qualities into one character.

26. Revised synopsis. Go back to step 10. Put your characters into the story where they’d enrich the story. Draw on each characters dossier (what each character wrote), for material that can become part of the plot, the basis for character relationships, for theme, for a moral, for a message.

Inspiration. Part Three: Theme

27. Locate and refine the theme Or, come up with a theme. “How do you come up with a theme?” is a very good question to ask at this point.
Themes in literature are often varied and hidden. Sometimes you can get through an entire book and not realize what the author meant. Some books have multiple themes. Below is a good basic list of themes. Read thru your synopsis and see if there’s any overarching topics addressed in it. List them. If none are apparent, look for mentions of it in topical subject matter that is of personal interest to either you as an author or to one of the characters. Or, take into account the events in the story/plot and the kinds of characters in the story and ask this: Which of the topics are most likely to be covered in the course of the characters engaging in their plot activities. Or, with a theme in mind, pick some and put them in. Or, pick a theme that is commonly used in similar stories.
A theme has 2 parts:
1. The topic of the story. 2. The moral or message of the story.

List of Themes
Beauty of simplicity
Capitalism – effect on the individual
Change of power – necessity
Change versus tradition
Chaos and order
Character – destruction, building up
Circle of life
Coming of age
Communication – verbal and nonverbal
Companionship as salvation
Convention and rebellion
Dangers of ignorance
Darkness and light
Death – inevitable or tragedy
Desire to escape
Destruction of beauty
Disillusionment and dreams
Displacement
Empowerment
Emptiness of attaining false dream
Everlasting love
Evils of racism
Facing darkness
Facing reality Fading beauty
Faith versus doubt
Family – blessing or curse
Fate and free will
Fear of failure
Female roles
Fulfillment
Good versus bad
Greed as downfall
Growing up – pain or pleasure
Hazards of passing judgment
Heartbreak of betrayal
Heroism – real and perceived
Hierarchy in nature
Identity crisis
Illusion of power
Immortality
Individual versus society
Inner versus outer strength
Injustice
Isolation
Isolationism – hazards
Knowledge versus ignorance
Loneliness as destructive force Losing hope
Loss of innocence
Lost honor
Lost love
Love and sacrifice
Man against nature
Manipulation
Materialism as downfall
Motherhood
Names – power and significance
Nationalism – complications
Nature as beauty
Necessity of work
Oppression of women
Optimism – power or folly
Overcoming – fear, weakness, vice
Patriotism – positive side or complications
Power and corruption
Power of silence, tradition, wealth, words
Pride and downfall
Progress – real or illusion Quest for discovery
Quest for power
Rebirth
Reunion
Role of men or women
Role of Religion – virtue or hypocrisy
Self – inner and outer
Self-awareness
Self-preservation
Self-reliance
Social mobility
Technology in society – good or bad
Temporary nature of physical beauty
Temptation and destruction
Totalitarianism
Vanity as downfall
Vulnerability of the meek
Vulnerability of the strong
War – glory, necessity, pain, tragedy
Will to survive
Wisdom of experience
Working class struggles
Youth and beauty

Movies generally have one or two themes, but not many more & are often said outright instead of hinted. Some of the popular themes from movies include:
Abuse of power
Arrogance
Art
Autonomy
Beating the odds
Beauty
Beliefs
Betrayal
Bible
Bravery
Celebration
Chance
Change
Chaos and order
Children
Circle of life
Coming of age
Common sense
Conservation
Conspiracy
Creation
Crime
Courage
Darkness and lightness
Death
Dedication
Democracy
Desire to escape
Despair
Disillusionment
Economics
Effects from the past
Empowerment
Everlasting love
Evils by humanity
Facing reality
Failure
Family
Fate
Fear
Feminism
Freedom
Friendship
Future
God
Good vs Evil
Government
Greed
Growing Up
Happiness
Hate
Heritage
Hero
Heroism
Hope
Humor
Human Nature
Identity
Ideology
Ignorance
Illusion of power
Individuality
Inner peace
Innocence
Isolation
Jealousy
Justice
Kindness
Knowledge
Law
Leadership
Liberty
Life
Logic
Losing hope
Loss of innocence
Lost love
Love and sacrifice
Loyalty
Man vs nature
Man vs man
Man vs self
Man vs machine
Mankind
Maturity
Medicine
Mercy
Morality
Nationalism
Nature
Necessity
Optimism
Neglect
Normality
Opportunity
Optimism
Overcoming
Passion
Patience
Patriotism
Peace
Perfection
Peer pressure
Perseverance
Power and corruption
Prejudice
Pride
Progress
Purpose
Quests
Race
Reality
Redemption
Regret
Religion
Resistance
Reunion
Revolution
Revenge
Sanity
Secrecy
Segregation
Self-awareness
Self-discipline
Simplicity
Society
Social Construct
Solitude
Soul
Suicide
Survival
Technology
Temptation
Time
Tolerance
Travel
Trust
Truth
Universe
Unselfishness
Valor
Vices
Violence
Virtue
War
Waste
Wealth
Wisdom
Willpower
Winning and losing
Xenophobia
Youth

28. Create specific story instance. Use these instances to illustrate and explore your thematic topic. List a primary/central example of the theme/thematic topic (either from your synopsis or newly created with a mind to your plot and characters). Then list subordinate examples.

29. Thematic Message. The MC is the focus of and explores the thematic message. Describe the human quality at the heart of the MCs dilemma. Expand on this description so that quality becomes the subject matter of the story’s overall message.

30. Specific events and situations that illustrate the thematic message. You have to convince readers that the message is true. Do so with a # of instances/examples. The MC and the other characters too can be used to illustrate that, but make sure the strongest examples revolve around the MC. Make self-contained little moments (scenes) that encapsulate an instance of the message. Design many of these instances.

31. Go back and revise the synopsis. Add in the all the thematic material you came up with and the example illustrations.

Part 4: Genre

32 and 33. Pick the genre. Go to Wikipedia and other sources on the internet and research genres and the essential elements of each. Make a list of essential and non-essential elements of each genre.

34. Consider blending genres.

35. Genre component clarification. Spell out how each specific component of the genre you chose will be used in your story. Then put them in your story in a newly revised synopsis.

36. Look for holes in your story. Go back to the ‘Creativity Two Step’ method and make a list of all the questions you have based soley on what you wrote.

37. Fill the holes. Come up with the answers to the questions you came up with for step 36. Either fill the hole, remove the material around the hole so the questions never come up in the first place, leave the damn hole and forget about it.

38. Go back and rewrite the synopsis AGAIN and plug in the answers.

39. Rewrite and smoothen. Rewrite the synopsis again and smooth the edges until it feels as if the whole story idea was thought of in its entirety. Look for the rough spots. Ask other ppl if they see any rough spots.

Development. Part One: Plot

40. Story goal. The central unifying goal gives purpose to all the other events that are taking place & is the core of the story. Find the common purpose in which all of the characters share a critical interest. What is a goal in which all the characters are involved? If u don’t have one, consider the subject matter and consider the activities in which all your characters engage: What singular achievement would affect them all for better or worse?

41. Personal Goals. These are the motivating reasons the characters care about and/or participate in the effort to achieve or prevent the overall goal. The reader is going to wonder why each character is motivated & what is driving ea. character. Describe what ea. character has/might have for a personal goal that causes them to participate in the effort to achieve the central story goal. If you can figure out someone’s goal, go to #43 and figure out the consequences.

42. Requirements. List the requirements that must be met in order for the story’s overall goal to be achieved.

43. Consequences. If the goal is not achieved, there are consequences. What are they? Describe them. Describe the consequences that will occur if the characters fail to achieve the story’s goal. Consequences are either ended or avoided. Also, consequences can serve to find a character’s motivation (from #41).

44. Success or failure. State whether or not your story ends in success or failure and how that is measured.

45. Get an overview of your plot. Write a short (plot ?) synopsis describe how the plot elements (40-45) work together in the plot.

46. Write a new story synopsis that incorporates the plot synopsis, blending the plot enhancements into the overall story.

 

Development. Part Two: Characters

47. Refine the Protagonist. Confirm that the Protagonist that you chose is the correct character for the job. The Protagonist should be the one with the most initiative toward reaching the goal. The Main Character however, is the one who represents the reader/reader’s position in the story (James Bond is the MC, an evil guy is the Protagonist). Write a short description of how the Protagonist is crucially involved in your plot as its prime mover.

48. The Antagonist. Pick one of your existing characters to be the Antagonist. Describe how the Antagonist is focused on preventing the Protagonist from achieving the story goal. If none of your characters can do this, create a new character to fulfill this task. The Antagonist thwarts the Protagonist’s effort by either: 1. Preventing the achievement, 2. Achieve the effort himself. (cl?)

49. Protagonist, Personal. What personal qualities or previous experiences or motivations have led the Protagonist to become the Protagonist in this story, the prime moved in the effort to achieve the goal? Write a brief description of the Protagonist’s overall nature.

50. Antagonist, Personal. Write a brief description of your Antagonist’s overall nature.

51. Main Character View. The MC represents the reader position in the story. If the MC is neither the Protagonist or Antagonist, describe how this character feels about the 2 opponents grappling over the goal.

52. Tie-in and Integrate. The Protagonist, Antagonist, and MC need to be tied-in/integrated in with the overall plot (to personalize the plot).

 
53. Structural Roles. Review your characters and select an archetypal role for each character and how that role pertains to the character’s actions in the plot. A list of stock archetypes:

Character Type Description Examples
A
Absent-minded professor
An absent-minded scientific genius Professor Calculus, Emmett Brown
Action hero
A film hero protagonist with unrealistic physical resistance and fighting capabilities John McClane, Indiana Jones, John Rambo, Jason Bourne
Air pirate
A pirate who operates in the air and travels by aircraft (also known as a “sky pirate”) Don Karnage, Vaan, Balthier, Quintinius Verginix, Twig, Nathan Zachary in Crimson Skies
Alien invaders
Extraterrestrials who mount an invasion against Earth War of the Worlds, Invasion of the Body Snatchers, Independence Day
Angry black woman
An assertive, opinionated, loud, and “sassy” African-American woman with a sharp tongue, often depicted as nagging and emasculating a male character Sapphire in Amos ‘n’ Andy, Wilhelmina Slater in Ugly Betty,[5] Aunt Esther in Sanford and Son.
Angry white male
A person typically known as having a traditional conservative viewpoint, especially in the context of U.S. politics, characterized by opposition to racial quotas, political correctness, affirmative action, and other liberal policies William Foster in Falling Down, Archie Bunker, Vernon Dursley
Anti-hero
A cowardly, antisocial or honorless protagonist Faust, Falstaff, Walter White
Archimime
A jester in Ancient Rome who imitated manners, gestures and speech of living and deceased famous people.
B
Bad boy
A roguish macho Charlie Harper, Jim Stark in Rebel Without A Cause
Battle-axe
A domineering, brash and brazen woman Xena, Agnes Skinner
Bimbo
A dumb, pretty girl Karen Smith (Mean Girls)
Black brute
An inherently violent black man Jules Winnfield, John Shaft; Gus in Birth of a Nation
Blackface
A black person played by a white person Tropic Thunder, Birth of a Nation, Soul Man
Black knight
Evil fighter antagonist Darth Vader, Mordred
Blind seer Blind or blinded fortune teller or prophet Tiresias, Mother Abagail in Stephen King’s The Stand
Blonde stereotype
A pretty, but stupid blonde Blonde and Blonder, White Chicks
Boy next door
Average and nice guy George Gibbs in Our Town
Breeches role
A role in which an actress appears in male clothing Shakespeare in Love
Bug-eyed monster
Staple evil alien;[2]
Formics
Byronic hero
A proud, moody and cynical man, yet capable of deep and strong affection Childe Harold, Eugene Onegin, Mr. Rochester
C
Cat lady
Old woman overly concerned with her cats Arabella Figg, Crazy Cat Lady
Conanesque
Character inspired by Conan the Barbarian
Claw the Unconquered, Thongor of Lemuria
Contender
A competitive underdog Rocky Balboa, Terry Malloy
Crone
Malicious old woman, often occult or witch-like Baba Yaga, Wicked Witch of the West, Bellatrix Lestrange in Harry Potter (film series)
D
Damsel in distress
A noble Lady in need of rescue, traditionally from dragons Princess Peach, Princess Buttercup, Princess and dragon
Dark Lady
A dark, malicious, or doomed woman Lady Macbeth, Agatha Trunchbull, Annie Wilkes
Holmesian detective A private or police detective who solves crimes by using logical deduction Sherlock Holmes, Columbo, Hercule Poirot, Virgil Tibbs
Hardboiled detective
A gruff, tough and streetwise, but generally honest detective Sam Spade, John Hartigan, Philip Marlowe
E
Elderly martial arts master
A wise, powerful man teaching his powerful craft to a young student. Often needs to be avenged Keisuke Miyagi, Snake in the Eagle’s Shadow, Pai Mei
Esper
A telepathic human Lincoln Powell in The Demolished Man by Alfred Bester, Akira
Essex girl
A promiscuous and stupid female (originally from Essex)
Amy Childs, Gemma Collins
Everyman
An ordinary individual Everyman
Evil clown
An evil and chaotic clown Pennywise, The Joker
F
Fall guy
A scapegoat
Farmer’s daughter
A desirable and naive young woman. She is also described as being an “open-air type” and “public-spirited”.
Femme fatale
A beautiful, but mischievous and traitorous woman Ruth Wonderly, Poison Ivy
Feral child
A child who has lived from a young age without human contact Mowgli, Tarzan
Final girl
A “last girl standing” in a horror film Laurie Strode, Sally Hardesty, Lila Crane
Fop
A foolish man overly concerned with his appearance and clothes Max Downing
G
Gentle giant A physically imposing but kind-hearted character. Rubeus Hagrid, Fezzik, Hodor
Gentleman thief
A sophisticated and well-mannered thief Arsène Lupin, A.J. Raffles, Simon Templar
Geek
A generally not athletic fan of super heroes, science fiction and fantasy, especially of Video Games, Comic Books, Films and Roleplaying Games. Sheldon Cooper, Steve Smith
Girl next door
An average girl with a wholesome conduct Winnie Cooper, Betty Cooper
Grande dame French for “great lady”. A flamboyant woman, prone to extravagant and eccentric fashion. Usually a stereotype of an elderly high society socialite.
Constance in Gosford Park, Princess Dragomiroff in Murder on the Orient Express; Lady Bracknell in The Importance of Being Earnest
H
Hag
A wizened old woman, often a malicious witch witch in Hansel and Gretel, Baba Yaga
Harlequin
A clown or professional fool Till Eulenspiegel
Hawksian woman
A tough-talking woman, originally in a film by Howard Hawks
To Have and Have Not (film)
Hero
A powerful and morally integer protagonist, often on a quest.
Luke Skywalker, Neo (The Matrix), Harry Potter
Herr Pastor
An authoritarian pastor in an Ethnic German congregation
Hooker with a heart of gold
A prostitute with heart and intrinsic morality Nancy (Oliver Twist), Fantine, Inara Serra
Hotshot
A reckless character known for taking risks. Martin Riggs, Pete Mitchell (Top Gun)
I
Ingenue
A young woman who is endearingly innocent and wholesome Ophelia, Cosette, Snow White
J
Jester
A prankster or fool, originally one employed by a king (court jester) Puck
Jewish-American princess stereotype
Materialistic and selfish Jewish girl with a pampered or wealthy background Fran Fine, Princess Vespa in Spaceballs
Jewish lawyer stereotype
A Jewish lawyer that is clever, greedy, exploitative, and dishonest Maurice Levy (The Wire), David Kleinfeld in Carlito’s Way, Saul Goodman in Breaking Bad
Jewish mother stereotype
A nagging, overprotective, controlling, smothering, and overbearing mother or wife Sheila Broflovski, Mrs. Wolowitz.
Jock (athlete)
A male athlete, often muscular, but not very smart Luke Ward
K
Killbot Usually large, menacing machines created to perpetrate murder Sentinel (comics), Terminator
Knight-errant
A noble Knight on a Quest
Galahad, Sir Gawain, Percival
L
Legacy Hero
A hero who inherits or adopts the name and attributes of an already or previously existing hero The Phantom, Green Lantern, Robin (comics)
Lipstick lesbian
Lesbian and bisexual women who exhibit extremely feminine gender attributes The L Word
Little Green Men
Little humanoid extraterrestrials with green skin and antennae on their heads; known familiarly in science fiction fandom as LGM The Great Gazoo; Martians in Martians, Go Home.
Loathly lady
A woman who appears to be hideous, often cursed The Wife of Bath’s Tale
Lone Vigilante Loner who becomes a vigilante for Justice Batman, Charles Bronson’s Death Wish Movies, Dirty Harry
Lovers
Main characters who deeply and truly fall romantically in love, despite the blocking effect of other characters. Often moonstruck, star-crossed lovers that are strongly fraternizing with the enemy. Romeo & Juliet
Tony and Maria (West Side Story)
M
Mad scientist
An insane or highly eccentric scientist, often villainous or amoral. Dr. Victor Frankenstein, Dr. Moreau, Rotwang, Davros
Magical Negro
A black man with special insight or mystical powers coming to the aid of the white protagonist Bagger Vance, John Coffey in Green Mile, Dick Hallorann The Shining
Mammy archetype
A rotund, homely, and matronly black woman Aunt Jemima, Mammy in Gone with the Wind, Aunt Chloe in Uncle Tom’s Cabin, Louise in Forrest Gump, Calpurnia in To Kill a Mockingbird, Mammy Two Shoes in the Tom and Jerry series
Manic Pixie Dream Girl
Usually static characters who have eccentric personality quirks and are unabashedly girlish Garden State, (500) Days of Summer
Marianismo
A female Hispanic American folk character celebrating feminine virtues like purity and moral strength
Martian
Dwellers on Mars. Often prone to invade earth.
Barsoom, H. G. Wells’ The War of the Worlds, Mars Attacks
Mary Sue
A youthful but one-dimensional character with overly idealized and hackneyed mannerisms, often considered a stand-in for the author Wesley Crusher, Bella Swan
Miles Gloriosus
A boastful soldier from the comic theatre of ancient Rome Volstagg
Monster
A generic feral antagonist; sometimes portrayed as misunderstood
Godzilla, Frankenstein’s monster, King Kong
Mother’s boy
A man who is excessively attached to his mother Private Frank Pike, Howard Wolowitz in The Big Bang Theory, Eddie Kaspbrak in Stephen King’s It
N
Nerd
A socially-impaired, obsessive, or overly-intellectual person. Often interested in doing well in school (academically and in terms of behavior) as well as reading books. Martin Prince, Steve Urkel, Sheldon Cooper
Nice Jewish boy stereotype
A studious, gentle and sensitive Jewish boy.
Noble savage
An idealized indigene or otherwise wild outsider with noble characteristics. Chingachgook, Tarzan, Winnetou
O
Outlaw (stock character)
A romanticized, often charismatic or social bandit. Robin Hood, Billy the Kid, Man with No Name
Occult detective
Traditional detective who investigates supernatural mysteries. John Constantine, Hellboy
P
Paladin
A holy knight, a paragon of virtue and goodness. Huma Dragonbane, Sturm Brightblade, Knights of the Round Table
Pantomime dame
A pantomime portrayal of female characters by male actors in drag. Widow Twankey
Pet Negro A beloved Black person that a particular white person often pampers and parades as a special and distinct from other Black people. Arnold Jackson, “Stephen” in “Django Unchained”
Petrushka
A Russian kind of jester.
Princesse lointaine
A romantic love interest and beloved sweetheart and girlfriend for a Knight-errant.
Dulcinea.
Professor
A common generic name for fictional characters who fill the role of doctors, scientists, or mad scientists. Emmett Brown, The Professor (Gilligan’s Island)
R
Rake
A man habituated to immoral conduct. Francis Charteris (rake), Lord Byron.
Redshirt
An expendable character who dies soon after being introduced; this refers to characters from the original Star Trek television series, often from the security or engineering departments of the starship, who wore the red variation of the Starfleet uniform and whose purpose in the narrative was to serve as cannon fodder
Star Trek.
Reluctant hero
A person who doesn’t seek adventure or the opportunity to do good, and often doubts his or her abilities to rise to heroism. However, circumstances result in the character’s becoming a true hero. Bilbo Baggins, Frodo Baggins, Alex Rogen from The Last Starfighter.
S
School diva
A well-liked or worshipped female student, who sees herself as an alpha female. Her male analogue is the Big Man on Campus (BMOC) Blair Waldorf from the Gossip Girl TV and novel series, Regina George in Mean Girls, Angela Hayes in American Beauty
Secret identity
An alias a character may take so that he or she may act in secrecy. Superman’s alias Clark Kent, Spider-Man’s alias Peter Parker, and Batman’s alias Bruce Wayne.
Senex iratus
A father figure and comic archetype who belongs to the alazon or impostor group in theater, manifesting himself through his rages and threats, his obsessions and his gullibility. Pantalone in Commedia dell’arte; Frank Costanza (Seinfeld)
Shoulder angel
A small angel representing conscience, in contrast to the shoulder devil representing temptation Jiminy Cricket
Shrew
A woman given to violent, scolding, particularly nagging treatment Kate (The Taming of the Shrew) Lois (Malcolm in the Middle)
Sidekick
A plucky but generally subordinate close companion of the protagonist Robin, Dr. Watson, Sancho Panza, Little John
Sinnekins
Pairs of devilish characters who exert their perfidious influence on the main character Flotsam and Jetsam, Hotep and Huy in The Prince of Egypt
Soubrette
A character who is vain and girlish, mischievous, lighthearted, coquettish and gossipy Susanna
Southern belle
A young woman of the American Old South’s upper class Blanche Dubois, Scarlett O’Hara, Blanche Maxwell in Mandingo (film), Lara Lee Candie-Fitzwilly in Django Unchained, Mistress Epps in 12 Years a Slave
Space Nazis
Nazi-like antagonists in science fiction works Patterns of Force, Iron Sky, Galactic Empire (Star Wars)
Space pirate
Pirates in outer space who travel by spacecraft Captain Harlock Sabalom Glitz
Spear carrier
A minor character who appears in several scenes, but mostly in the background Momo (Avatar: The Last Airbender)
Spinster
An older, childless woman who has never been married Miss Havisham
Spoiled child
A child who exhibits behavioral problems from overindulgence by his or her parents Veruca Salt, Veronica Lodge, Dudley Dursley
Strawman
A symbol for people regarded as lacking needed qualities Old Major and Benjamin in Animal Farm
Stupid superior A superior who misuses his or her power – with or without an own agenda – and therefore endangers subordinates Admiral Marcus (Star Trek Into Darkness), Dwayne T. Robinson in Die Hard
Superhero
An unrealistically powerful hero dedicated to protecting the public Superman, Spider-Man, Batman, Avengers, X-Men
Übermensch
A (often only seemingly) perfect human being, esp. the DC Comics character Superman
Superman, Captain America
Supersoldier
A soldier who operates beyond human limits or abilities Captain America; Soldier (1998 American film), Master Chief (Halo)
Supervillain
Antithesis to the Superhero Lex Luthor, The Joker, Dr. Doom
Swamp monster
Humanoid creatures similar to fish or resembling living piles of swamp mire Heap (comics), Man-Thing, Swamp Thing
Swashbuckler
A joyful, noisy and boastful renaissance era swordsman or pirate
The Crimson Pirate, Dread Pirate Roberts, Zorro
T
Tarzanesque protagonist or Tarzanide A character raised in the wilds, often by animals, akin to Tarzan
Bomba, the Jungle Boy, Cave Girl, George of the Jungle, Ka-Zar (comics), Korak, Mowgli, Nyoka the Jungle Girl, Rulah, Shanna the She-Devil, Sheena, Queen of the Jungle
Tomboy
A girl with boyish and/or manly behavior. Arya Stark, Juno MacGuff, George (Famous Five)
Tortured artist
A character who is in constant torment due to frustrations with art and other people. Brian Topp
Town bully A bully oppressing meeker residents of a town. Biff Tannen, Nelson Muntz, Henry Bowers in It (1990 film)
Town drunk
A male in a small town who is drunk more often than sober. Barney Gumble, Haymitch Abernathy, Otis Campbell
Tragic anti-hero An anti-hero who (merely accidentally than intentionally) destroys his own happiness, and therefore often turns back to fighting the evil Elric of Melniboné, Anakin Skywalker, Severus Snape
Tragic hero
A hero with a major flaw that leads to his or her eventual death and downfall. Sigurd, Boromir, Orpheus
Tragic mulatto
A mulatto who is sad or suicidal because he or she fails to fit in with white or black people Judy Kovacs in the episode Are You Now or Have You Ever Been in the television series Angel, Eliza, Cassy, and Emmeline in Uncle Tom’s Cabin
Travesti
Portrayal of a character in an opera, play, or ballet by a performer of the opposite sex Edna Turnblad
Treasure guardian A character who guards a valued treasure Frodo Baggins
Tycoon
A person who wields considerable economic power, often acting at the expense of the less fortunate Montgomery Burns, Scrooge McDuck, Ebeneezer Scrooge
V
Valley girl
Affluent women or teenagers characterized by speaking Valspeak and a vapid materialism Gretchen Wieners in Mean Girls
Vice
An allegorical evil part in medieval morality plays.
Village idiot
A person known locally for ignorance or stupidity. Often turns out to be very brave and good, and sometimes, underestimated (see Wise fool)
Neville Longbottom
Villain
An evil character in a story Snidely Whiplash, Fu Manchu, The Master, Lord Voldemort,Palpatine, Professor Moriarty
W
Whisky priest
A priest or ordained minister who shows clear signs of moral weakness, while at the same time teaching a higher standard Father Callahan, Elmer Gantry, Samuel Parris
Whiteface
A performance in which a black person wears theatrical makeup to make themselves look like a white character White Chicks, Watermelon Man, Miles Pope in True Identity, Bosola in The Duchess of Malfi, The Blacks (play)
White hunter
White big-game hunters in Africa Allan Quatermain
Wise fool
A fool with an attribute of wisdom Shakespearean fool, such as in King Lear, Stańczyk
Wise old man
An elderly character who provides wisdom to the protagonist. Obi-Wan Kenobi, Albus Dumbledore, Yoda, Gandalf, Keisuke Miyagi
Y
Yokel
An unsophisticated country person Rose Nylund, Cletus Spuckler
Youxia
A Chinese type of the Knight-errant
Li Mu-Bai, Fong Sai-yuk
Z
Zombie
Animated corpses prone to eating humans and thus spreading their condition. Often caused by Voodoo practices or viral agents.
Dawn of the Dead, The Walking Dead, 28 Days Later, Inferi

 
This is a list of stock characters that are used in military fiction.
The Arrogant Pilot (aka Flyboy): This char. arrives on base after the premise of the story has been established. He & his distinguished training & combat record are gossiped about before he appears. Disliked by fellow military due to his overconfidence and initially not trusted by fellow pilots. Traces of this stock character are apparent throughout the “Area 88,” and the Tom Cruise and Val Kilmer characters in Top Gun, parodied in the comedy Hot Shots! by Charlie Sheen & Cary Elwes. Panther Caroso of the Star Fox series can also be considered an Arrogant Pilot. Parodied by Squadron Commander Flashheart in Blackadder Goes Forth, & alluded to by Lord Flashheart in Blackadder the Second.
The Bitter War Veteran: A man who fought as a soldier during a war; he usually leaves home a naïve young man, experiences the horrors of war, and returns home embittered and deranged. He often has flashbacks and nightmares about the war. Examples include John Rambo, of First Blood and its sequels, Cliff Hudson of Dead Rising, Lieutenant Dan Taylor from Forrest Gump and Travis Bickle from Taxi Driver.
The Captain is a mercenary or retired soldier (whose rank is often self-bestowed). He constantly extolls his bravery and strength with impossible stories that even he doesn’t believe. Ronald Speirs fromBand of Brothers is the real-life example of this stock character.
The Crazy General: a high-ranking general who goes crazy and starts a war, or worse, such as General Jack D. Ripper does in Dr. Strangelove. This includes most of the generals depicted in M*A*S*H; Colonel Maddox in 1941; General Melchett in Blackadder Goes Forth; and General Shepherd in Call of Duty: Modern Warfare 2.
The Drill Sergeant: Harsh, bitter and sarcastic, this character will either be loved or hated (or in some cases killed) for his iron will. Often his constant ordering and rigorous training might turn out to be for the good; an example of this is Career Sergeant Zim from Starship Troopers, or it can be done intentionally, such as Gunnery Sergeant Hartman from Full Metal Jacket. A real life example of this character type is Herbert Sobel from Band of Brothers.
The Major (or Jolly War Veteran): lovable, awkward, and more than a bit daft. He is usually a veteran of one of the World Wars, and frequently sings old military songs (melancholy or dance-tune are typical). Military aphorisms and lingo pepper his speech. A comedic streak of alcoholism sometimes adds tragic charm to the Major. Examples include the Major from Soap or Fawlty Towers, and almost every hare in Redwall, although they tend to have more active and serious military roles. A “drunken major” features prominently in Vile Bodies by Evelyn Waugh.
The Military Man: Typically career military (although there are retired variations). Harsh, unforgiving, authoritarian, and usually associated with the negative aspects of the military, e.g., Major Frank Burns of M*A*S*H or Sarge of Red vs. Blue.
The Idealistic Lieutenant: More seasoned than the Raw Recruit, the Lieutenant is nonetheless fairly young. He has to learn that what worked in Officer’s Training School isn’t necessarily going to fly in the field, and that lesson costs a couple of defeats that nearly break his faith in himself as a leader. A good example is Lt. Nate Fick from Generation Kill, Matthew Baker from the Brothers in Arms series or Lt. Myron Goldman from the TV series Tour of Duty A comic example is George St.Barleigh in Blackadder Goes Forth.
The Pompous War Colonel: more shown in comedy, this kind of character is very nostalgic about his war days (often overlaps The Major). In fact, even if there is no war at all, he still treats everyone as if they were all in his military and makes them do silly war things. The British version, best exemplified by David Ley’s Colonel Blimp, often served in a Colonial unit and has little or no military education. Examples include Colonel Hathi of The Jungle Book and Fowler of Chicken Run.
The Incompetent Enlisted Man: An enlisted soldier who is good-hearted and likeable, but cannot do anything right. Often ends up performing undesirable menial tasks. He often earns the audience’s sympathy, but fails to advance himself in the army. Examples include Lou Costello in some Abbott and Costello films; Corporal Upham in Saving Private Ryan; and the title character of Private Benjamin. And Beetle Bailey, naturally.
The Incompetent Officer: Usually from a wealthy background, the incompetent officer is usually senior to the hero and an antagonist. Normally has an inflated view of his own abilities, leading his men into numerous disasters, e.g., Sir Henry Simmerson and numerous others in the Sharpe series of novels. A real-life example is Norman Dike, who was portrayed in Band of Brothers.

The Raw Recruit: Young, naive and impressionable, the Raw Recruit has to learn how to live with military discipline and understand the reasons behind the way the military works. He often ends up in a position of leadership (as an Idealistic Lieutenant) by the end of the story. Juan Rico of Starship Troopers is such a character. They may have a “tragic” death towards the end of the movie, particularly if they show the protagonist a picture of a fiancée or wife they “have back home”. A parody of this character is Dead Meat from the comedy Hot Shots!, whose obviously impending doom is played for laughs. “Soap” MacTavish from Call of Duty 4: Modern Warfare also fits this category, becoming a Captain in the sequel.

The Solid Noncom: Almost always a sergeant; takes the Raw Recruit under his wing while advising the Idealistic Lieutenant through his moments of self-doubt. He often comes from Brooklyn or the Great Plains (if American) or Scotland (if British), e.g., Joe “Red” Hartsock from the Brothers in Arms series or SGT Zeke Anderson from Tour of Duty

The Rough Sergeant is basically the stereotypical sergeant seen in many movies, but this can apply to any soldier with this attitude. The rough soldiers usually are still in action but are liked by many of the troops they are with, but usually die by the end. When these soldiers die, it is usually put in a very dramatic form. Examples of this character are Kat in All Quiet on the Western Front or SGT Elias and SSG Barnes in Platoon or Gaz in Call of Duty 4: Modern Warfare.
54. Situational Relationships. How characters interact in their environment. Not essential, but it does and a layer of complexity to the characters and plot. Write a brief description for ea. character of all the situational relationships they have with other characters.

55. Emotional Relationships. Characters may have feelings about one another. Describe any emotional relationships they each character has in common, if any, with each of the other characters.

56. Relationship Synopsis. Incorporate the character’s structural roles, structural relationships, situational relationships, and emotional relationships into the synopsis. Incorporate 53, 54, & 55 into an overall synopsis describing all of the relationships among the chars.

57. Revised Story Synopsis. Incorporate 56 into the existing story synopsis.

 

Development. Part 3: Theme

58. Counterpoint. Based on the message (theme) that you chose, what is its counterpoint and write a brief description of how it is opposite to the message/theme.

59. Counterpoint Illustrations. The Main Char. only exhibits the thematic topic because the story’s message revolves around whether the MC changes his ways or not. Now it is time to equally represent the counterpoint. This is done thru other characters. The back and forth holds the interest of the reader. List many scenarios in which other characters employ the counterpoint.

60. Thematic Conclusion. Devise an event or situation for the end of the story which confirms one side of the thematic conflict.

61. Revised synopsis. Revise the synopsis to incorporate 58, 59, & 60.

 

Development. Part 4: Genre

It is now time to research genres and their elements, and sub-genres and their elements. The list is too big to post here. One must go onto the internet and do a search there.

62. Genre and Plot. Incorporate into your plot as many of the elements of the genre you’ve chosen. Consider which elements might have an impact on the events, and impact on the progression of the plot. Write how they will impact.

63. Genre and Characters. Describe how specific genre elements affect the characters.

64. Genre and Theme. Describe how specific genre elements affect the theme.

65. Revised synopsis. Revise the synopsis to incorporate 62, 63, & 64.
 

Exposition. Part 1: Plot

Step 66. Goal At this time, one must figure out how the information gathered prior to this step will be revealed to the reader. One must have an exposition plan (you cannot simply just try to tell the story). Also, all the essential info is conveyed to the Reader.
We must start with the story’s goal.
1. Describe how you will reveal the goal to the Reader.
2. Describe as many other scenarios where goal impacts, influences, or affects other story points (this reinforces the goal to the Reader).
3. How does your story goal exemplify or affect the moral or message of you story as part of the them?
4. When you see theme mentioned in the synopsis, try to add a reference to the goal. When you see a story goal mentioned in the synopsis, try to incorporate aspects of theme.
5. Each character sees the overall goal as a step in helping them accomplish their personal goal.
6. Figure out how each character reveals/describes their personal goal.
7. Is the goal revealed immediately/spelled out right at the start, slowly, hidden behind another goal, or not nearly as important as the chase, inside info, or the thematic atmosphere (thus, every story point does not have to be elevated to the same level).

Step 67. Personal Goals. Describe how you let the Reader learn the nature of ea. character’s personal goal.
Once they’ve been revealed, write down any add’l instances when a character’s personal goals come into play.
Create scenarios in which you can fold other story points into the same event, moment, or conversation.

Step 68. Requirements. Characters go from requirement/goal to requirement/goal (reveal a requirement/goal, meet the requirement/goal). Make sure the Reader is clear on exactly what the requirements/goals are of the characters. You can make sub-requirements.
Describe the requirements/goals that need to be revealed.
Describe how you’ll reveal what the requirements/goals are.
Describe how these will be met in conjunction with other story points.
The more requirements/goals, the more dramatic tension.
There are 2 categories of requirements: 1) A series of steps (that must occur in a specific order), 2) A list. (items, clues).
Overcoming a requirement has a cost: effort, resources, physical/emotional hardship, money.
Consider thinking about a consequence when coming up with a requirement, or to generate an idea for a requirement.
Prerequisites apply to a requirement, preconditions can be too.

Step 69. Consequences
Sometimes, consequences are what happens if the requirements/goals are not achieved.
Sometimes, consequences already exist and will continue to be suffered unless/until the requirements/goal is met.
Ensure the Reader is clear on what will happen if the requirements/goals are met with failure.
Characters can be driven by either the requirements/goals or the consequences.
Describe how you’ll reveal the consequences to the Reader.
List the ways in which the consequences might affect the course of the story.
List the ways in which the consequences might affect the actions and decisions of the characters.
 
Step 70. Success or failure
Describe how you’ll reveal to the Reader success or failure.
Describe whether it will be partial or complete success or failure.
List all the ways that success or failure would impact the characters and situations of the story.
Consider the moral or message, the impact on the characters, how the outcome affects the genre.

Step 71. Revised synopsis. Rework the above into the existing synopsis.

Exposition. Part 2: Characters

Step 72. Protagonist. Reveal the protagonist by function in the story. The protagonist is the person leading the charge, accepts the quest, has the primary responsibility to achieve the story goal. Revealing the protagonist may be straight-forward or progressive. Consider how the protagonist might interact with other story points (make a list of story points). Describe how you will reveal the protagonist is the protagonist. List other scenarios in which being the protagonist impacts and is impacted by other story points.

Step 73. Antagonist. This person is opposed to the protagonist revealing their goal. Reveal the antagonist in relationship to the goal. Describe how you’ll reveal the antagonist and other scenarios in which the antagonist influences and is influenced by other story points.

Step 74. Protagonist Personal
Research Meyers-Briggs personality types.
Explore how this chars. function as the protagonist is influenced by his personality and vice versa Describe how you’ll reveal the impact of his own personality on himself and his function and how his function and himself impacts his personality. Come up with specific instances, scenes, & dialogs of how the personality of the character responds to, moderates, is impacted by story points and other characters.

Step 75. Antagonist Personal
Research Meyers-Briggs personality types.
Explore how this chars. function as the antagonist is influenced by its personality and vice versa. This can be helped by describing scenarios of interaction between the antagonist’s personality with other chars and story points. Describe how you’ll reveal the impact of the chars personality on his function.

Step 76. Main Character View. This view the person has of himself and his conflict with the other char. over the goal. You MUST work out a way for the MC to express their view to the aud. Describe the specific moments by which you’ll reveal to the Reader the MC’s overall view of the Protag., Antag., & the conflict between them.

Step 77. Structural Roles. Describe how you’ll reveal the structural role of ea. char., how you’ll show to the audience the role ea. char. plays. Use specific examples, scenes, dialog, built around story points. Show how they respond by role and affect story points with their role (this integrates their actions into the story).

Step 78. Structural Relationships. You want to inform the Reader what the structural relationships are between characters. List & describe the scenes and moments you’ll use to reveal the structural/archetypal relationships between characters. ie: Argument, conversation over something, answering machine message.

Step 79. Situational Relationships. The Reader needs to know who is related to who, in what way, under what obligation, etc. Who works for who, serves who, obligated to who, contractually obligated to who, etc. List specific scenes & moments.

Step 80. Emotional Relationships. These start with a baseline and then grow. At the beginning of the story, establish how ea. char. feels about ea. other-or at least highlight the important ones. List specific scenes & moments how you’ll reveal to the Reader the emotional relationships that exist among the characters.

Step 81. Revise the synopsis. Revise the existing synopsis.

Exposition. Part 3: Theme

Step 82. Thematic Conflict. (independent illustration of ea. side). Explore (without comparing both directly) the message issue and the counterpoint separately to see how ea. fares on its own. The Reader tallys up the value of each & at the end, arrives at an emotional conclusion. Independently illustrate benefits/detriments of ea side of the thematic argument. You can even make one work fine once, then not work, then have a disastrous outcome the 3rd time. Or +, ++, +. Or -, +, +++. Etc.

Step 83. Revised Synopsis. Revise the synopsis now.

Exposition. Part 4: Genre

Step 84. Genre Atmosphere. The goal is to create a sense of the genre without ‘hitting all the marks’. Group genre elements together. CLARIFY THIS.

Step 85. Revise the synopsis now.

This concludes my notes on steps 1-85 of ‘Write Your Novel Step By Step’. The next facet of creating a story is “Storytelling. Part One: Plot”.

 

Character Types Commonly found in Sitcoms and Their Traits

 

Character Types Commonly found in Sitcoms & Their Traits.  A brief Summary of Scott Sedita’s “The Eight Characters of Comedy” Saturday, May 05, 2007 Sunday, June 21, 2009   8/19/09  adambein@hotmail.com

 

1. The “Logical Smart” type.
2. The “Loveable Loser” type. Sub type:  Ex _________, now a Loveable Loser.
3. The “Neurotic” person.
4. The “Dumb” person.
5. The “Bitch” or “Bastard” type.
6. The “Womanizer” or “Manizer” type.
7. The “Materialistic” person.
8. The “In Their Own Universe” type.
9. ??? What other types are there??? Naïve One.

 

Examples of each of the Character Types:

 

1)  The “Logical Smart” type of character.   Carol Brady-The Brady Bunch George Burns-Burns and Allen. Roseanne Conner-Roseanne Clair Huxtable-The Cosby Show Louise Jefferson-The Jeffersons Hawkeye Pierce-MASH Donna Pinciotti-That ’70’s Show Ricky Ricardo-I Love Lucy Andy Taylor-The Andy Griffith Show Will Truman-Will and Grace Jill Taylor-Home Improvement	2)  The “Loveable Loser” type.   Kevin Arnold-The Wonder Years Chandler Bing-Friends Jan Brady-The Brady Bunch Al Bundy-Marry with Children Drew Carey-The Drew Carey Show Richie Cunningham-Happy Days Laverne & Shirley-Laverne & Shirley John Dorian-Scrubs Eric Forman-That ’70’s Show Gilligan-Gilligan’s Island Cliff Huxtable-The Cosby Show Lucille Ball-I Love Lucy Tim Taylor-Home Improvement Jack Tripper-Three’s Company
3)  The “Neurotic” person.   Steve Urkel-Family Matters Sarah Jessica Parker-Square Pegs Sarah Jessica Parker-Sex and the City Skippy-Family Ties Alex P. Keaton-Family Ties Josh-The Wonder Years Screech-Saved by the Bell Tracy Gold-Growing Pains Grace-Will and Grace Frasier-Cheers Frasier & Niles-Frasier Don Knotts-The Andy Griffith Show Monica & Ross-Friends Jackie-Roseanne Monk-Monk Les Nessman-WKRP Radar-MASH Felix-The Odd Couple	4)  The “Dumb” person.   Gracie-Burns & Allen Jethro-The Beverly Hillbillies Woody-Cheers Kelly Bundy-Married with Children Frank Burns-MASH Ashton Kutcher-That ’70’s Show Tony Danza-Who’s the Boss Betty White-The Golden Girls Coach-Cheers                  Gomer & Goober-The Andy Griffith Show Sgt. Schultz-Hogan’s Heroes Homer Simpson-The Simpsons Maxwell Smart-Get Smart Suzanne Somers-Three’s Company Joey-Friends/Joey
5)  The “Bitch” or “Bastard” type.   Wayne-The Wonder Years Ted Danson-Becker Darlene-Roseanne David Spade-Just Shoot Me. Red-That ’70’s Show Margaret Houlihan-MASH Carla-Cheers Fred-I Love Lucy Rosario-Will & Grace	6)  The “Womanizer” or “Manizer” type.   Bruce Willis-Moonlighting Larry-Three’s Company John Larroquette-Night Court The Fonz-Happy Days Ginger-Gilligan’s Island Charlie Sheen-2.5 Men Ted Danson-Cheers Kirk Cameron-Growing Pains Mario-Saved by the Bell
7)  The “Materialistic” person.   Marcia Brady-The Brady Bunch Peg Bundy-Married with Children Jackie-That ’70’s Show Shelly Long-Cheers Jefferson-Married with Children Eva Gabor-Green Acres Fran Drescher-The Nanny Jennifer Aniston-Friends Cybill Shepherd-Moonlighting Kirstie Alley-Cheers Mr. & Mrs. Howell-Gilligan’s Island Nina Van Horn-Just Shoot Me	8)  The “In Their Own Universe” type.   Bronson Pinchot-Perfect Strangers Lisa Kudrow-Friends Fez-That ’70’s Show Latka-Taxi                          Jeannie-I dream of Jeannie Klinger-MASH Lenny & Squiggy-Laverne & Shirley Sean Hayes-Will and Grace Mork-Mork & Mindy Karen Walker-Will & Grace

 

Essential Characteristics of Each of the Characters

 

(Characteristics of a Loveable Loser)

All sitcom characters, whether they be a loveable loser or not, must possess some of these following characteristics, but the loveable loser must contain all of them.

 

Charming	Childlike in nature	Consciously oblivious	Desperate
Determined	Dreamers	Endearing	Faith
Good hearted	Has an agenda	Hopeful	Impulsive
Kind	Loveable	Narrow-minded	Needy
Nice	Not easily deterred	Optimistic	Pathetic
Pitiful	Sarcastic	Self-depreciating	Short-sighted
Sweet	Vulnerable	Wanting

 

Then, each character type has their own specific characteristics:

 

 

1)  The “Logical Smart” type of character. Grounded Maternal or Paternal Patient Sarcastic Understanding	2)  The “Loveable Loser” type. Charming Consciously oblivious Desperate Determined Hopeful Self deprecating Vulnerable
3)  The “Neurotic” person. Anxious Insecure Intellectual	4)  The “Dumb” person. Enthusiastic Genuine Sincere Honest
5)  The “Bitch” or “Bastard” type. Cynical Dry sense of humor Mean spirited Pessimistic Wise	6)  The “Womanizer” or “Manizer” type. Aggressive Confident Horny Well put together
7)  The “Materialistic” person. Above it all Judgemental Materialistic Sense of entitlements Shallow	8)  The “In Their Own Universe” type. Wonderment Unpredictable Shameless Opinionated Illogical logic In awe

 

1)  The “Logical Smart” type of character. This person is the connecting character.  He connects the audience (Sketch comedy writing 101). This character must be sarcastic-his comedy comes from sarcasm. This character often deals with ridiculous schemes of others, overzealousness of others, etc. They bring the others back into reality. They are honest-brutally if need be. They are patient-but up to a point. They are the caretakers of the other types. They can slip into another character type @ times, but @ the end they return to being the “Logical Smart” type. Their goals are to:  Educate, reason, reassure, set straight, slap back into reality, enlighten… They can be the “set up” person (straight guy?). Uses sarcasm to prove a point.	2)  The “Loveable Loser” type. Full of hair-brained ideas. He is why we watch the sitcom. They mess up everything. They appear ridiculous. They constantly make mistakes. They never learn from their mistakes. They go about getting what they want in the wrong manner. Team him up with the Logical Smart type and you’ve got a sitcom. Most are males. This character dreams of something-success, etc… They use sarcasm, & on themselves too. They are smart enough to know their idea might not work, but they’ll go ahead and try it anyway. Character arc:  “This idea has to work this time.” Then…”I’m a failure!  Nothing ever works for me!” then…”This idea has to work this time!”. He fails over and over and over again. Make the audience cheer for him. Charming.  Impulsive. The Loveable Loser has a want and tries to accomplish his goal in some ridiculous manner and the Logical Smart one tries to talk some sense into his thick skull.
3)  The “Neurotic” person. They act abnormal under normal circumstances. They get frustrated when not understood. They tell you what they are thinking as they are thinking it. They have a rulebook, follow it, & expect everyone else to. They talk and talk and talk and talk, think and think and think and think, worry x 4. This is a funny, deep, complex character. It’s funny when things don’t go their way. They showcase their neurosis. The most open role because the Neurotic has many faces. Has always been different from others & so is deeply insecure. Nerdy as kids.  Geeky. Worriers.  They worry about everything.  They grew up fearful cuz they were picked on for years. Went to college where geek became chic.  Smart became sexy. Slow to develop social skills. Cultured. Opera, art galleries, museums, fine dining. They lack street smarts.  They struggle in coping with day to day things that come easily for the rest of us. Always look good.  Stylish.  Not afraid to unleash their sarcastic wit. Challenge their control issues, pick on them, question their rulebook-see what happens. They know when people are less intelligent and knowledgeable then they. They get the girl/guy, but it never works out cuz they’re neurotic. Over analytical. Difficult time making decisions. Second guess everything. Concerned	4)  The “Dumb” person. Can’t know they are the dumb one. Only a truly committed actor can pull this off. Very imaginative as kids. Do not understand greed, jealousy, mean spiritedness. They want to be happy and make you happy. Wide eyes, open face, huge smile. Do not develop common sense. Childlike. They always mean well. Characteristics of a small child. Positive. Childlike innocence. Don’t get angry-pout instead. Disappointed-not resentment. Joy, enthusiasm. Oblivious to what’s happening around them. No falseness about them. Always tell the truth. They don’t lie or cheat unless it’s for a very very good reason, but they are not good @ it. Always discovered. Say something offensive w/o knowing it’s offensive. Easy to like. Easily forgotten if they get mad. Works well w/the Neurotic, Logical Smart One, but not with the Bitch/Bastard. Doesn’t change into other characters. NEVER SARCASTIC. Doesn’t work in single camera shoots unless actor < facial expressions, intentions, thoughts, etc. The Loveable Loser is consciously oblivious but the dumb one isn’t aware in the least that it’s a bad idea-he is just oblivious. Perpetual childhood.
5)  The “Bitch” or “Bastard” type. They are the ones who bring spunk/edginess to the sitcom. They are the connecting character for the audience. Sets people straight. Puts people in their place. Reflection of the audiences pessimistic and cynical side. Don’t take crap & call people on their crap. One lines & wise cracks. Exit lines, exit lines, exit lines. His humor comes from social or economic oppression. Lots of support “staff”: Maids, butlers, secretaries, assistants. Can be pessimistic, naggy, crabby. Able to say anything and everything they want to anyone. Biting, scalding humor. Angry at the world.  Puts people in their place. Lack of compassion and sense of decency. They make the viewer gasp. They don’t mind being mean. This person is born this way. Tough background, tough exterior. Keen eye for the shortcomings and vulnerabilities of others. Often older characters. Have disdain. Pessimistic about the present and the future. They have nothing but feel a sense of entitlement. They are convinced that they are smarter than others. Deep down they are insecure. They are protecting themselves from getting hurt & from being disappointed yet again. They beat people to the punch. This character may have something very sad that happened to them a while back. To play this character well you must explore & understand their background & history. Sarcasm-Used as a weapon to be mean and biting. Often has a dry sense of humor. Not outwardly expressive. Let the humor come from the nasty words. Delight in seeing the reactions of others from your words. No patience with fools or idiots. High and mighty. Only care about themselves. They are willing to do anything to get what they want no matter who gets hurt cuz they feel they deserve what they want. They do not apologize. Almost a mean spirited version of the Logical Smart character. Works well opposite:  Lovable Loser. Might have been a Loveable Loser year ago, dreams were shattered, and now they are mean and nasty and bitter. We like to see them get their just desserts. Doesn’t work well opposite the Dumb One. Physicality is an important trait for this character. Tap into your mean streak. Enjoy playing this character.	6)  The “Womanizer” or “Manizer” type. Constant flirt. Endless quest for sex. The “idol” of the other characters. Casanova, Venus. Seduction. Never turn down an opportunity to flirt or jump into bed. Hedonistic lifestyle & damn proud of it. Great deal of insecurity. Need for attention from the opposite gender. They are empty inside. Vain. Well put together. Confident in the dating world. Smooth & self assured. Cocky. Arrogance. Sarcasm. Shallow & superficial. Can show kinks in their armor.  (Vulnerable, insecure). Sometimes you can see something more to this character. They want to fill a void with sex.
7)  The “Materialistic” person. Extremely pampered, waited on, no care in the world. Clothes, cars, jewelry. No solid grasp of values, responsibility, what it’s like to live in the real world. Shallow but with depth.  ?! Most sporadically appearing character (historically) in sitcoms. Socialites. Still mostly seen as a supporting character. Females most often.  Or males (Metrosexuals-straight men who possess narcissistic traits). “What’s in it for me?” mentality. Born with a silver spoon. They want to fill a void with gifts-a void as a result of lost affection & insecurity.  They want to feel loved. They want to replace Mom or Dad’s affection w/items. Deep need for attention. Miss Popularity. It’s all about her, her, her. Often this character is the popular kid/person (handsome jocks, pretty cheerleader, rich, trendy, county club type, etc.). Define themselves thru material items. Wish List of the Material One: $, clothes, new car, mansion, date w/Rock Star, popular friends, Chihuahua in a hand bag, career as long as they don’t have to work, $. In vogue.  Designer labels. Can whine & pout until they get their way. Can come from an un-wealthy background (Peg Bundy). Imperialistic (?). Some snobbiness @ a minimum. Money DOES buy happiness. Full of themselves. Oblivious to the less fortunate. Can show the insecurity of the Neurotic One, the vulnerability of the Loveable Loser, the pain of the Bitch/Bastard. Needs acceptance and approval.	8)  The “In Their Own Universe” type. Perhaps different looking. Gives fuel to others for sarcastic comments. Eccentric (yet organic).  Wacky. Odd.  Unusual.  Unpredictable. They have an unedited stream of consciousness. Primary used as a supporting character. Supplies instant comedic relief. They introduce a new plot line or give a break from an existing plot line. They become “break out” characters (in popularity w/public). From:  Another universe, another time, another dimension, far off unspecific land, cloud 9 (from nearby, but just “out there”). Clash with society. They are a fish out of water. We can’t wait to see what he’ll say or do or what idea he’ll come up with next. Staple in new shows. Not much of a background/history for this character. In their own little dream world as kids/adults. March to the beat of their own drum. Employ “illogical logic”. They are stunned when others don’t believe their truth, point of view, logic. Logic in, illogic logic out. Skewed train of thought.  One step ahead, behind, or removed. IE:  Words…#1 <thought #2, #3> Word #3 ! First thing in the story:  H can obsess about something Focused on the task @ hand. Very opinionated & speak the truth-but not in a mean spirited way like the Bitch/Bastard. Acceptable of others.  “Live and let live.” No internal sensor-so they are shameless. Lead unorthodox lives. Chalk up things to life experiences & don’t regret things. They serve the same purpose as the Dumb One, but the Dumb One is oblivious and the ITOU is smart. Jack and Karen from Will and Grace are extremely complex characters & are ITOU’s. Tends to adopt characteristics of the other 8 characters but puts their own spin on them.

 

 

 

 

 

 

 

 

 

When reading a sitcom script, hear the rhythm and perform the rhythm as it is intended.

A callback is a reference to a joke that happens early in the show.

A blow/a button is the last joke in the scene.

Don’t change a word.

Don’t add a “handle”.  Ie:  “Look, listen, like, well, I mean, so, you know, etc.”.

Consonants are big in comedy.  B, P, C, T, K.

 

The Turnaround

A line is said with strong intention and then “turned around” and say something completely opposite-and unexpected-with equally strong intention.  There are 2 elements to a Turnaround:  The Conviction and The Contraviction.

“I like your shirt.”    “But not on you.”

The contraviction goes against/contrary to what you just said. 

I like your shirt is positive, but not on you is negative.

Turnarounds can be written positive first then negative, or negative first and then positive.

It’s funny because we expect you to continue your thought pattern-by following the initial positive line of dialog with another positive line of dialog (or vice versa).

You can silently say the word “then” between the two halves.

A turnaround can also be longer, broken up by another piece of dialog. 

 

Triplets

Classic triplet:   Set up, set up, joke.

Extended triplet:  Set up, set up, set up (then) joke.

Over-extended triplet:  Set up, set up, joke, (then) bigger joke.

 

Classic ie:                 “What does the yellow light mean?”

                                “Slower.”

                                “What…does…the…yellow…light…mean?”

Extended triplet:       “Where you a virgin when you got married?”                                                         Set up.

                                “Yes!”                                                                                                                                     Set up.

                                “Really?”                                                                                                                 Set up.

                                “Yup, still am.”                                                                                                                        Joke

Over extended triplet:             

No one can stand playing poker with you.  You’re bad.                                                                          Set up.

You get taco sauce all over the cards.                                                                                                      Set up.

and at this point you’re down so much you’re paying ppl in turquoise jewelry.                                      Punch.

And except for Larry, none of us want it.                                                                                                                Punch.

 

 

4 types of inflection to use:

 

 

Set up.  (higher) set up.  (even higher) joke.

 

 

Set up.  (lower) set up.  (even lower) Joke.

 

 

Set up.  (lower) set up.  (even higher) Joke.

 

Set up.  Set up.  Joke.   [this is called ‘Deadpan’]

 

 

 

• Never move when a joke is in play.  You can move if there’s stage directions but you should not move, adjust, scratch, or anything.

 

• Don’t make funny faces, roll your eyes, make big eyes/big faces during/after the joke.  Don’t put characterization on your face.

 

• Your character should not be a caricature (for sitcom acting). For improv it’s ok. 

 

You MUST watch sitcoms.

 

Your comedy toolbox.  In it are the following tools:

Sarcasm.    Ridicule, mock.  Used to injure the self respect of the person to whom it was addressed, usually by drawing attention to one of his weaknesses and often associated with irony.  To put people in their place.

Verbal jokes.

The spit take.

The double take.

The slow burn.  When a character hears another character saying something ridiculous and sloooowly turns their head, ending with an incredulous look.

Prat fall.

Sight gag.

 

 

 

 

WOFAIM

Want

Obstacle

Feeling

As if

Intentions

Moment Before

 

Want:  What does your character want (or, what is your characters objective)?

Obstacle:  What’s in the way of your character from getting what your character wants?

Feeling: What emotions/feelings does your character explore in the scene?

As if:  If it was YOU, how would YOU behave?  Can you personally identify with this situation?

Intentions:  What are your active intentions and tactics your character uses to get what your character wants?

Moment before:  What’s the logical moment before and after this scene-include the emotional state, the physical state, and geographical state-all of these, in which your character was.

Finally:  Add in these two elements:

Stakes:  Add in the stakes, are the stakes high, medium, or low for your character to get what your character wants?

Thoughts:  Add in your silent thoughts.

 

How to analyze the script/scene:  You want to ask yourself the following:

What is the time and the place?

Who are the other characters in the scene?

How does the scene begin?

Who are you?

What’s your history and what are your current circumstances?

What is the arc of your character and the arc of the scene?

How does the scene end?

 

 

Damage control:

Refocus and finish.

 

The 4 C’s of comedy:

Conflict:  W/o, there’s no comedy.  Comedy stems from drama, drama has pain.  Ya’ need two opposing sides, 2 opposing personalities, 2 opposing philosophies, 2 opposing cultures.

 

??? Explore these (the above).

 

Comedic Technique:  The triplets, etc.

 

Commitment:  As an actor, one needs to be 100% committed to the dialogue, the physical actions, the jokes, and the character/characters-just like with drama.

 

Character:  Pick one.  Be it.

 

 

The Logical Smart one:

 

1)  The “Logical Smart” type of character.

Grounded

Maternal or Paternal

Patient

Sarcastic

Understanding

 

1)  The “Logical Smart” type of character.

This person is the connecting character.  He connects the audience (Sketch comedy writing 101).

This character must be sarcastic-his comedy comes from sarcasm.

This character often deals with ridiculous schemes of others, overzealousness of others, etc.

They bring the others back into reality.

They are honest-brutally if need be.

They are patient-but up to a point.

They are the caretakers of the other types.

They can slip into another character type @ times, but @ the end they return to being the “Logical Smart” type.

Their goals are to:  Educate, reason, reassure, set straight, slap back into reality, enlighten…

They can be the “set up” person (straight guy?).

Uses sarcasm to prove a point.

 

Expanded notes:

 

Traits	Intentions of the Logical Smart One
Articulate Balanced Brutally honest Calm Caring Compassionate Grounded Has common sense Intelligent Knowledgeable Logical Maternal or paternal Patient Quick-witted Rational Reasonable Responsible Sarcastic Sensible Smart Stable Straightforward Tolerant Understanding Well-educated Well-spoken	To reason. To pacify. To educate. To compromise. To nurture. To enlighten. To comfort. To reassure. To ease. To set straight. To slap back into reality.

 

 

The logical smart one is opposite of the loveable loser. 

Has probably always had an abundance of common sense.

They are the smart one’s in school-not nerds though.

They know right from wrong.

They balance studies with extracurricular activities.

They avoid “bad” decisions.

They learn @ a young age the value of being knowledgeable.

They learn @ a young age the value of working hard.

They learn how to take care of themselves.

They learn how to take care of others.

They get people out of their bad or messy situations.

The logical smart ones are often influenced by their family or at least a family member who is intelligent, either that or they grow up in a household full of misfits and they are forced to learn basic logic and reasoning skills thru other means.

They have diplomacy.

They can handle most situations.

They learn quickly from their mistakes.

They are the ones everybody looks to for advice throughout their lives because they’ve always been responsible and reasonable.

They are the voice of reason.

They are a reflection of the audience so they need to know more than the other characters.

They are aware of what is happening so they need to tap into the knowledgeable and reasonable side of the actor.

It is often the job of this character to explain the message in a sitcom and to teach the main charaterss the lessons that all of us already know and could see from the beginning.

 

??? Get a list of lessons to learn and incorporate them into a presentation.

 

They comment on absurdities.

They deal with overzealous people.

They never mug of face act.  They internalize their thoughts as they listen to their partner calmly and attentively.  Then, after a beat, they speak their thought and unleash the sarcasm.

There are different degrees of sarcasm, from a gentle reminder to the biting retort.  The actor must learn to practice the skill of sarcasm, finding the correct timing, tone, and intention.

An idiot needs this character opposite them.

They know better than to go along with the wacky ideas the main characters have.

It is often their responsibility to try and talk some sense into the main character and then show them the foolishness of their actions.

They are the pillar of reason.

They must be sensible.

They can be two ways with one character (calm and non-judgmental) and two ways with a different character (patient and understanding).

They have an appropriate profession.

When their back is up against the wall or the idiot factor is more than they can take they slap the other characters back into reality.

They are straightforward and speak the truth.

They can be brutally honest.

Although they are almost always patient, they do have their moments of frustration and sometimes they let it out in a very articulate, intelligent, and sometimes vicious way.

They are often mothers or fathers.

They are often mother like or father like to their overgrown, childlike friends/spouses.

They are never ever mean spirited (or else they become the Bitch/Bastard character).

They are tolerant.

They can be calm, caring, willing, firm, receptive, understanding, compassionate, accepting, loving, beautiful, etc.

They have infinite patience-when that runs out, they can slip into becoming another character type for a moment but then they must return to being the Logical Smart One before the show’s over.

Just about every pivotal scene needs a logical smart one.  This helps create the conflict.  Therefore, sometimes other characters will slip into Logical Smart One mode for a moment, then revert back into their own personality for the final joke.

 

 

They are the caretakers.  They need to take care of people, and there is a part of them that enjoys doing it.

People go to them for answers.

They talk people out of doing something crazy.

 

They have an occasional role as the setup man-vital to bringing balance to the show.

If they are surrounded by funny characters it is their job to never try to be funny.  Their job is to stay in the middle and make the stories believable.  When they DO have a funny moment it’s very funny.

 

 

 

 

2)  The “Loveable Loser” type.

Charming

Consciously oblivious

Desperate

Determined

Hopeful

Self deprecating

Vulnerable

 

2)  The “Loveable Loser” type.

Full of hair-brained ideas.

He is why we watch the sitcom.

They mess up everything.

They appear ridiculous.

They constantly make mistakes.

They never learn from their mistakes.

They go about getting what they want in the wrong manner.

Team him up with the Logical Smart type and you’ve got a sitcom.

Most are males.

This character dreams of something-success, etc…

They use sarcasm, & on themselves too.

They are smart enough to know their idea might not work, but they’ll go ahead and try it anyway.

Character arc:  “This idea has to work this time.” Then…”I’m a failure!  Nothing ever works for me!” then…”This idea has to work this time!”.

He fails over and over and over again.

Make the audience cheer for him.

Charming.  Impulsive.

The Loveable Loser has a want and tries to accomplish his goal in some ridiculous manner and the Logical Smart one tries to talk some sense into his thick skull.

 

Can think of himself as being a hero and saving the moment.

Says things with pride and confidence, as he strolls around.

Has a never ending search for a better life.

A bottomless pool of get rich quick schemes and money making gimmicks (invented diet pizza).

Can be very desperate in their pursuit that they’ll take risks and try just about anything, including the impossible.

Unabashed enthusiasm.

He is sometimes pitiful, sometimes pathetic, but always endearing.

Childlike enthusiasm when he gets a new idea.

Narrow-minded impulsiveness.

Never-ending ability to screw everything up.

Determination to never give up his dream.

Loveable.

 

They bring the funny.

Hair-brained ideas.

Ability to mess up just about everything.

Desperate attempts to get just about everything they want no matter how ridiculous they appear.

Constantly making mistakes.

The never learn from their mistakes.

They go about getting what they want in the wrong way.

 

The Loveable Loser is an essential ingredient to a successful sitcom.   The loveable loser is often why one watches the show every week.  Team the Loveable Loser up with the Logical Smart One and you have a sitcom.

 

Good intentions, bad ideas.

Has a supportive sidekick character (wife, husband, etc.).

Committed to their goals.

Focused on obtaining their goals.

 

All sitcom characters, whether they be a loveable loser or not, must possess some of these characteristics, but the loveable loser must contain all of them.

 

Characteristics of a Loveable Loser
Charming	Childlike in nature	Consciously oblivious	Desperate
Determined	Dreamers	Endearing	Faith
Good hearted	Has an agenda	Hopeful	Impulsive
Kind	Loveable	Narrow-minded	Needy
Nice	Not easily deterred	Optimistic	Pathetic
Pitiful	Sarcastic	Self-depreciating	Short-sighted
Sweet	Vulnerable	Wanting

 

 

Childlike in nature.

They believe that they can do anything.

They are dreamers and they’ll never outgrow it.

They used to want to possess super powers or be a star athlete or to meet a knight in shining armour.

As adults they go on quests-to find greatness, fame, fortune, the perfect mate, other things, better things, a more exciting life, etc.

They dream more than any other character.

They can’t see why their dreams lead to trouble.

They believe that their dreams will come true.

They are eternal dreamers.

They are vulnerable.

They have an “I believe” attitude.

They are needy, but needy characters aren’t fun to watch, so be careful how u play this.

They are desperate.

They are never truly happy with what they have.

They have faith that everything will turn out alright.

They can want to return to the old glory days (like Al Bundy, Married w/kids).  He is another type of Loveable Loser

 

Loveable Loser type II:  Perhaps an (ie: Ex Logical Smart One) turned into a Loveable Loser

 

Al Bundy.  Ex football jock, successful, accomplished their dreams without screwing up, had all the things they were dreaming about, and now they’re losers.

 

The root of the comedy stems from desperation.

They make us feel better about our own hopes, dreams, and failures.

We wait until they get another big idea.

They get big ideas.

They don’t hide their vulnerabilities.

Sarcasm.

Uses sarcasm to defend their dreams, ideas, and philosophies or for mocking someone elses.

Uses sarcasm on themselves.

They have a sense of humor about themselves.

Self-deprecating sense of humor.

Aware of what a loser he is and jokes about it, and with a snappy, sarcastic wit.

Aware of how unlucky they are.

Sarcasm helps to establish the loser quality of the character and is a constant reminder of who that person is and how unlucky they are and makes them more humble and endearing.

They see the silver lining in everything.

Determined to beat the odds and get what they want.

Can appear defeated at times.

Always a spark of hope.

Optimistic.

Doesn’t know how to give the best advice.

Determined, hopeful.

 

They are consciously oblivious:

Important:  The Loveable Loser is smart enough to know that something’s a crazy idea but will still go along with it even though it might not work.  The Dumb One character will not have any idea or concern as to why the idea isn’t working.

 

Train of thought:

First:  “This idea HAS to work.  THIS time I’ll get rich!  THIS time I’ll succeed!”.

Then…”I’m a failure!  Nothing EVER works for me!  I’m such a loser!”.

…and then:  ““This idea HAS to work.  THIS time I’ll get rich!  THIS time I’ll succeed!”.

 

The Loveable Loser fails over and over again.

Each week they try again, facing a new venture, and with optimistic enthusiasm, blocking out the lessons they should have learned from past failures.

Short sighted, narrow minded.

Sweet, kind, charming, good hearted, endearing, nice- every loveable loser needs to have these qualities.

Openly care for people.

Ability to make people smile.

Zest for life.

Do whatever it is you do that makes you charming and loveable.

Impulsive-jumps at the first opportunity or new idea that comes their way, often without thinking it through.

Results:  Mishaps & chaos.

There is really nothing they won’t do if they think it can get them what they want.

Good hearted and won’t hurt anybody along the way.

Team up the LL with the LSO

Sometimes there will be a plot twist and the LSO will become the LL, brought on by something that touches the LSO’s nerves, sending them into a panic, clouding their judgment and making them act irrationally.  Then they become the LL.  Then the LL gets to step in as the LSO and take over.  However, each falls back into their respective roles @ the end.

 

The LL will try something crazy to get their goals.

 

Possible intentions for the Loveable Loser

 

To dream	To charm	To persuade
To endear	To pursue	To cajole
To convince	To coax	To wheedle

 

Once the LL gets what they want the show is over.

 

 

 

 

3)  The “Neurotic” person.

They act abnormal under normal circumstances.

They get frustrated when not understood.

They tell you what they are thinking as they are thinking it.

They have a rulebook, follow it, & expect everyone else to.

They talk and talk and talk and talk, think and think and think and think, worry x 4.

This is a funny, deep, complex character.

It’s funny when things don’t go their way.

They showcase their neurosis.

The most open role because the Neurotic has many faces.

Has always been different from others & so is deeply insecure.

Nerdy as kids.  Geeky.

Worriers.  They worry about everything.  They grew up fearful cuz they were picked on for years.

Went to college where geek became chic.  Smart became sexy.

Slow to develop social skills.

Cultured. Opera, art galleries, museums, fine dining.

They lack street smarts.  They struggle in coping with day to day things that come easily for the rest of us.

Always look good.  Stylish. 

Not afraid to unleash their sarcastic wit.

Challenge their control issues, pick on them, question their rulebook-see what happens.

They know when people are less intelligent and knowledgeable then they.

They get the girl/guy, but it never works out cuz they’re neurotic.

Over analytical.

Difficult time making decisions.

Second guess everything.

Concerned

 

We roll our eyes @ Neurotics.

They flaunt their intelligence.

They flaunt their cultured demeanor.

They analyze the world around them.

They lose their grasp of it all.

High strung.

Sometimes nerdy.

The most theatrical of all the characters.

They act abnormal under normal circumstances.

The talk about the most obscure things.

They get frustrated when nobody understands them.

They will tell you what they are thinking as they are thinking it.

They always expect things to turn out a certain way and the get upset when they don’t.

They have a rulebook that they assume everyone will follow.

They have a set of rules that helps them make sense of things.

They talk and talk and talk.

This is a funny, deep, character.  (? How do you make a character ‘deep’?).

We love watching when things don’t go their way.

We love it when other characters confront them on when things don’t go their way.

The Neurotic Character used to never be the main character, however that has changed with Monk and Frasier.

Dust free apt., makes lists, thinks they have a rare disease, obsess and think.

 

Characteristics of the Neurotic Character
Anal retentive	Analytical	Ankious	Awkward	Controlling
Cultured	Dorky	Endearing	Fearful	Follows their own life rulebook
Fussy	Highbrow	High-strung	Hypochondriac	Inflexible
Insecure	Intellectual	Internalizes every thought	Introspective	Meticulous
Neat	Nerdy	Nervous	Obsessive-compulsive	Over-analytical
Over-achieving	Perfectionist	Persnickety	Refined	Sarcastic
Sense of bravado	worried

 

The role of the Neurotic person is more open to interpretation than that of other characters as the Neurotic has many faces, neuroses come in many shapes and sizes and types and manifestations.

At heart though is a deep insecurity.

They were nerdy little kids and they are neurotic adults.

First a nerd, then a neurotic.

They have always been different and will therefore always be insecure.

Understand their insecurity.

They lack social skills.

In high school they were in band, study groups, computer clubs.

Over achieving.

The Neurotic can be nerdy.

Shy.

Awkward.

They worry.  They are the warriors of worrying.

They grow up to be fearful.

They were picked on for years and years.

They are interested in things that are slightly out of the norm.

They feel insecure about themselves and what others think.

In college, geek becomes chic. There they are embraced for being intellectual.

Smart becomes sexy.  They begin learning social skills there.

They are so slow in developing social skills and they have leftover nerdiness.

They lack street smarts.

Refined, proper.

Neat but not fashionable as kids.

Forthcoming and witty.

Not afraid to unleash their sarcastic wit.

They use sarcasm when somebody is picking on them, questioning their rulebook, challenging their control issues.

The Neurotic almost always gets the girl or guy in the sitcom world.  It doesn’t work out tho’.

They know that they are neurotic.

They are analytical.

They become introspective.

Difficult time making decisions.

They plan out everything in their heads.

They weigh all options.

They check all sides before acting.

They obsess about every scenario even before the problem occurs.

They try to be prepared.

They internalize every thought-u can see the wheels turning in their head.

Sometimes their thoughts become voice overs.

They are always worried about something.

They say things like “Maybe I should go, maybe I shouldn’t.  Do they want me to go?  Yes they do!  No they don’t!  Etc.”.

You have to practice the art of talking to yourself.

They come up with plans for every possible scenario.

They can be inflexible.

They can be controlling.

Control issues.

Their rules give them a sense of structure, balance, security.

They really don’t want to lose control.  Focus your acting on playing the fear of losing control.

Rigid.

Inflexible.

Anal retentive, meticulous, fussy.

Other ppl ridicule them for their behavior.

They always have something mulling about in their brain.

They think incessantly and the audience can see it when they react to things and in their eyes.

They blow up quicker than other characters.

They are wound pretty tightly.

They don’t understand how someone could disagree with them or ignore their rulebook.

The masters of subtle nuances.

They have little idiosyncrasies.

They walk a certain way.

They dress a certain way.

They talk a certain way.

Phobias.

Irrational fears.

High strung.

Like to think of themselves as heroes from time to time.

They’ve worked out the best solution to any and every problem.

Typically the screw things up before the solution occurs.

They work well in a scene with the Logical Smart One.

Sometimes the Neurotic takes on traits of the Loveable Loser and vice versa.

Sometimes the Neurotic takes on traits of The Bitch/Bastard.

When ppl aren’t following their rulebook or they are not being understood they can become cranky and even mean spirited.

They can be abrasive, curt, and even manipulative, but it backfires on them.

 

Possible intentions of the Neurotic:

To convince.

To perfect.

To nit-pick

To enlighten.

To control.

To fuss.

To organize

To clarify.

To analyze.

To rationalize.

 

 

 

As the actor, you must get excited about what you’re talking about or obsessing about.

They are not that confident.

They think about things even if those things are none of their business.

They never live in the moment.

They are never really satisfied.

 

 

4)  The “Dumb” person.

Can’t know they are the dumb one.

Only a truly committed actor can pull this off.

Very imaginative as kids.

Do not understand greed, jealousy, mean spiritedness.

They want to be happy and make you happy.

Wide eyes, open face, huge smile.

Do not develop common sense.

Childlike.

They always mean well.

Characteristics of a small child.

Positive.

Childlike innocence.

Don’t get angry-pout instead.

Disappointed-not resentment.

Joy, enthusiasm.

Oblivious to what’s happening around them.

No falseness about them.

Always tell the truth.

They don’t lie or cheat unless it’s for a very very good reason, but they are not good @ it. Always discovered.

Say something offensive w/o knowing it’s offensive.

Easy to like.

Easily forgotten if they get mad.

Works well w/the Neurotic, Logical Smart One, but not with the Bitch/Bastard.

Doesn’t change into other characters.

NEVER SARCASTIC.

Doesn’t work in single camera shoots unless actor < facial expressions, intentions, thoughts, etc.

The Loveable Loser is consciously oblivious but the dumb one isn’t aware in the least that it’s a bad idea-he is just oblivious.

Perpetual childhood.

 

Sweet.

Naïve

Hasn’t got a clue.

Sincere

Positive

Childlike

Really believes what they say.

Dumb jock.

Comedic relief

Part of an ensemble, rarely given their own show.

There are a lot of easy traps into which one can fall when playing this char.

There are only a few shows in history which have had the dumb one as lead.  Shazam, Gomer Pyle, Gilligan maybe, Get Smart, The Munsters.

Adorable.

 

 

Characteristics of the Dumb One.
Affable	Childlike	Content	Direct
Endearing	Enthusiastic	Excited	Friendly
Genuine	Good-natured	Gullible	Happy
Honest	Imaginative	Innocent	Naïve
No ulterior motive	Oblivious	Positive	Sincere
Sweet	Unselfish	Warm	No agenda

 

This guy sleeps good.

Imaginative

Can entertain themselves.

Happy and content to sit, eat lucky charms, and watch Bugs Bunny.

Play well with others.

Don’t understand greed, jealousy, or mean-spiritedness.

Friendly.

Happy and want to make you happy too.

Wide eyes, open face, huge smile.

Youngest child often.

Cushioned from the hard realities of life sometimes.

Mean well.

Never really develop common sense.

Excited about stuff.

Enthusiastic.

Very positive.

Be childlike, don’t be dumb.

Get excited over small things.

Don’t get angry, pout.

Find the disappointment not the resentment when things don’t go your way.

Other characters talk to the Dumb One when something is bothering them.  Others confide in him because of his sunny disposition.

He is always happy, positive, and will cheer up people (by saying something stupid or flashing a goofy grin/sunshine smile).  Their intention is to help and to reassure the only way they know how.

Harness that sunshine inside of you.

Very likeable.

Joyful and enthusiastic.

Dumb One as Villian-rare (Hogan’s Heroes).

Oblivious to what is happening around them.

Simple, everyday plans.

Do not play dumb.

Latch onto those things you know nothing about.

Never know what you’re talking about.

Always tell the truth, even if it’s not cuz they think it’s the truth.

Team the Dumb One up with the Logical Smart One.  Then they get into a tiff but the Dumb One thinks they’re right.

Sincere.

Honest.

Genuine.

No lying and no cheating, unless it’s very important, even then, not good @ it.  They always get found out.

Says whatever pops into their mind.

Very direct.

Blurts out stuff.

Say offensive things without realizing that they are offensive.

A joy to be around.

If they are doing something wrong it’s to help you.

Unselfish.

No ulterior motive.

Full of goodness.

Give of themselves to make the world a better place.

Don’t understand why or how ppl get into long drawn out fights or be mean to oneanother-it stuns them.

They get mad but easily forget.

Get along with anyone, so writers move ‘em in and out of scenes and storylines.

Likeable.

Zest for life.

Sweet demeanor.

We root for them.

They work well with other characters, especially the Neurotic One and the Logical Smart One.

They don’t work well with the Bitch/Bastard.

They stick to their own characteristics. Perhaps briefly they’ll need to be the Logical Smart One.

Never sarcastic.

Don’t lash out.

Tone ‘em down in a single camera comedy/film.  Multi-camera-bump ‘em up. In a single camera shoot, make their intentions, thoughts, facial expressions, and physicalities more specific and less heightened.  In a single camera comedy that can be the “Naïve One” in this manner.

 

Possible intentions for the Dumb One

To please

To make happy

To excite

To make proud

To play

To be honest

To create harmony

To encourage

To support

To comfort

 

There is a difference between the Dumb One and the Loveable Loser.  The dumb one is not aware in the least that something would be a bad idea, the Loveable Loser would be, who’s “consciously oblivious”. 

 

 

 

 

The Bitch/Bastard

5)  The “Bitch” or “Bastard” type.

They are the ones who bring spunk/edginess to the sitcom.

They are the connecting character for the audience.

Sets people straight.

Puts people in their place.

Reflection of the audiences pessimistic and cynical side.

Don’t take crap & call people on their crap.

One lines & wise cracks.

Exit lines, exit lines, exit lines.

His humor comes from social or economic oppression.

Lots of support “staff”: Maids, butlers, secretaries, assistants.

Can be pessimistic, naggy, crabby.

Able to say anything and everything they want to anyone.

Biting, scalding humor.

Angry at the world.  Puts people in their place.

Lack of compassion and sense of decency.

They make the viewer gasp.

They don’t mind being mean.

This person is born this way.

Tough background, tough exterior.

Keen eye for the shortcomings and vulnerabilities of others.

Often older characters.

Have disdain.

Pessimistic about the present and the future.

They have nothing but feel a sense of entitlement.

They are convinced that they are smarter than others.

Deep down they are insecure.

They are protecting themselves from getting hurt & from being disappointed yet again.

They beat people to the punch.

This character may have something very sad that happened to them a while back.

To play this character well you must explore & understand their background & history.

Sarcasm-Used as a weapon to be mean and biting.

Often has a dry sense of humor.

Not outwardly expressive.

Let the humor come from the nasty words.

Delight in seeing the reactions of others from your words.

No patience with fools or idiots.

High and mighty.

Only care about themselves.

They are willing to do anything to get what they want no matter who gets hurt cuz they feel they deserve what they want.

They do not apologize.

Almost a mean spirited version of the Logical Smart character.

Works well opposite:  Lovable Loser.

Might have been a Loveable Loser year ago, dreams were shattered, and now they are mean and nasty and bitter.

We like to see them get their just desserts.

Doesn’t work well opposite the Dumb One.

Physicality is an important trait for this character.

Tap into your mean streak.

Enjoy playing this character.

 

Bitter.

Biting.

Scalding.

Sees a weakness in someone or a vulnerability and attacks.

Witty.

Nasty.

No-holds-barred attitude.

No tolerance for whiners, fool, or the pretentious.

Crabby.

Pessimisticdowner.

Intolerant nag.

The only one strong enough to regularly tell people just what she thinks of them.

Able to say anything and everything that we want to say to people we don’t like.

Grunts, growls, snarls.

Little person with a big attitude.

Acerbic, stubborn, cranky, irritable, a downer.

Angry @ the world.

Takes great pleasure in making other people feel the same way.

Lacks compassion and a sense of decency.

No fear.

Tough.

Has something burning inside of them who makes them who they are.

They have no problem unleashing their fire on ppl.

They bring the spunk/edginess to a sitcom.

They are like the Logical Smart One in that they are us, the viewers, at our meanest and cleverest.

The Bitch/Bastard pounces on whiny ppl, brag about something, etc.  They put ppl in their place and set them straight.

They do what we hoped we’d do.

They are our little heroes reflecting our pessimistic and cynical side.

They don’t take crap and they will call others on their crap.

Harsh.

One-liners and wise cracks.

They are the kings and queens of exit lines, throwing insulting remarks then exiting.

We laugh out of shock value.

Mother-in-Law

Berates ppl.

Manipulative.

Bitchy.

These people are the “help”-the housekeepers, maids, butlers, servants, secretaries, assistants.  There is something funny about someone in the service industry being sarcastic, cranky, and mean-spirited.

These characters are employed by people who economically and socially have more than they do and they’re bitter about it.  The humor comes from social or economic oppression.

The humor is from an angry place.

We watch the little guy make fun of their superiors to their face or behind their back.

 

Characteristics of The Bitch/Bastard
Bitchy	Biting	Bitter	Condescending
Contemptuous	Cynical	Doesn’t apologize	Dry sense of humor
High and mighty	Insecurity	Intolerant	Manipulative
Mean-spirited	Outspoken	Pessimistic	Quick-wittted
Sarcastic	Self-centered	Street-smart	Tough background
Tough exterior	Wise	Wisecracks

 

Having a back story for these characters helps.

Always condescending.

Instigate trouble.

Lives to harass.

Smart alek.

Torment.

Foul mouth.

Old soul.

Certain disposition, level of intelligence, emotional expression, talent.

Ancestry of oppression.

It is very important that this character come across as looking tough/having a tough exterior.

They must have a keen eye for the short comings and vulnerabilities of others which they use to gain control and power.

They love to target and attack people with a lashing tongue biting wit, and bitter sarcasm.  It makes ‘em feel better about themselves.

They had tough backgrounds and think that they have it tough now.

They are pessimistic about the present and the future.

Years of struggle, bitterness, and things not going the way they imagined.

They have nothing but they feel a sense of entitlement so they can’t tolerate those people who do have something.

They are convinced that they are smarter than others.

They have no patience for those who act dumb.

They are insecure down deep.

They are protecting themselves from getting hurt & disappointed by life again & again & again.

They may show a sad touching moment.

They expect people to not like them or to make fun of them so they beat ppl to the punch.

They are fed up with life.

Choose a history to play this character.

They use sarcasm as a tool to prove a point.

Dry sense of humor.

Not outwardly expressive.

They will never put away a good putdown.

They will hold their ground by standing firm and being still.

They don’t slump, they don’t slouch.

They don’t’ hesitate, whine, stutter, stammer, or flinch.

They leave satisfied.

They go for the kill.

They don’t hold back their wicked thoughts.

Intolerant.

Condescending.

Don’t tolerate fools well.

No patience with idiots.

They feel high and mighty.

Downright mean.  You need to enjoy being this mean.

Don’t be catty as it’s passive-aggressive.

Be intolerant of everyone who is less than you.

Be ready to manipulate and abuse people.

Pounce on people.

They don’t care about anyone other than themselves.

They don’t want to hear about opportunities for others

They are willing to do anything to get what they want no matter who gets hurt because they feel they deserve it.

Pessimistic.

They think that they are entitled to any break that might come their way.

They rub things in people’s faces.

Couldn’t care less about what comes out of their mouth.

What they say is meant to hurt.

They don’t apologize.

Outspoken.

They can be saucy.

Irritable, cranky, cynical, sarcastic.

Take things out on each other.

The Logical Smart One can trade off to be the Bitch/Bastard and back sometimes.

Quick witted.

Street-smart.

Derogatory cracks.

                                                ?  Malaprops (mispronouncing and misusing words).

The Bitch/Bastard is most like the Logical Smart One.

Every once in a while writers give us a glimpse into the Bitch/Bastard and it’s almost as if they are Lovable Losers whose dreams got defeated one too many times, turning them bitter, sour, and downright mean.  Many of them may have started out as Loveable Losers but had years of struggle, stress, and defeated dreams and now they say “screw it”.

Every once in a while a writer will throw the Bitch/Bastard into a Lovable Loser role and then we get to see them get their comeuppance.

The only plotline that isn’t played out much is the Bitch/Bastard with the Dumb One.  The Dumb One is too much of an easy target and the Dumb One doesn’t understand what the Bitch/Bastard is saying, although there are exceptions.

The Bitch/Bastard is rarely clueless.

They will go out of their way to screw people.

They care about nobody other than themselves.

 

Possible intentions for the Bitch/Bastard

 

To ridicule

To condescend

To manipulate

To crush

To belittle

To demean

To patronize

To destroy

To mock

To dismiss

 

Actors in this role need to learn to be openly mean spirited and sarcastic out loud and not hesitate to do so.

Physicality:  Harsh, brave, hard-lined face, certain lips, certain brow, a look that says “Don’t cross me.”

Dig into that negative part of yourself.

Cynicism and intolerance.

Mean streak.

One must enjoy playing this character and others need to see that you enjoy playing this character.

Audiences will tire of seeing someone constantly being mean so sometimes they need to see their heart.  Perhaps a crush or some sentimental moment, some vulnerability or something.

This is the character that other characters can slip into quite often.  The Logical Smart One gets bitchy when their patience is being pushed, the Neurotic can get curt or prickly if people aren’t following their rules, the Materialistic One can be condescending and judgmental.  So you can have a Materialistic Bitch, and so on.  Blended characters.

Technique:  You must be on the money with your comedic technique, especially timing to play this part.

They punch home jokes.

They get to deliver a lot of the best jokes.

Keep the pain inside of the character.

 

 

 

6)  The “Womanizer” or “Manizer” type.

Constant flirt.

Endless quest for sex.

The “idol” of the other characters.

Casanova, Venus.

Seduction.

Never turn down an opportunity to flirt or jump into bed.

Hedonistic lifestyle & damn proud of it.

Great deal of insecurity.

Need for attention from the opposite gender.

They are empty inside.

Vain.

Well put together.

Confident in the dating world.

Smooth & self assured.

Cocky.

Arrogance.

Sarcasm.

Shallow & superficial.

Can show kinks in their armor.  (Vulnerable, insecure).

Sometimes you can see something more to this character.

They want to fill a void with sex.

Handsome.

Good looking.

Gorgeous.

Proud, cocky, conceited.

Always ready for their next sexual conquest.

Certain lifestyle.

Sassy, sophisticated, beautiful.

Confident, smooth, vain, well-put-together.

Some of the things they say make us blush, cringe, feel uneasy.

People of the opposite sex are immediately drawn to them.

They have no problem handling their many admirers.

They are irresistible.

When it comes to sex, they always get what they want.

Insatiable appetite for sex & always ready for action.

Constant flirt.

They have a one track mind & it’s for sex.

We love watching them on their quest to find sex.

The conquest for sex is the only way to live.  Life is sex and sex is life and they have no qualms about doing it, talking about it, living it.

They dish out funny one-liners and make people into nothing more than sexual objects.

Bold and cocky.

They vary in age, appearance, and approach.

They are often the idol of others.

We wish we could more like them.

 

Characteristics of the Womanizer/Manizer
Aggressive	Arrogant	Assertive	Bold	Charming
Cocky	Conceited	Confident	Hedonistic	Horny
Inescure	Narcissistic	Sarcastic	Seductive	Self-assured
Sexual	Sexual conquest	Shallow	Smooth	Suave
Superficial	Vain	Well put together	Sexually charged

 

Sexual fling seekers.

Casanova

Venus

Seduction is an art and requires a great deal of confidence.

Well coiffed.

Horny.

They never turn down an opportunity to flirt with a stranger or jump into bed-they don’t know how to stop themselves.

They know where the party is, where the drinks are flowing,and where the attractive people are, which is why the Loveable Loser hangs out with them.

They live a hedonistic lifestyle and they are not ashamed of it.  In fact, they’re proud of it.

They are convinced that having sex is imperative to having a satisfying life.

They are always on the prowl.

Sex is an addiction.

Pick up lines.

Be horny as an actor.

Be bold, stronger, and have more intentions, use your imagination.

Having sex provides the validation that they need.

Behind all the sex/need for attn./solicitous exterior lies a great deal of insecurity.

Their need for attn. from the opp or same gender will ultimately manifest into the need for sexual conquest.

Sex makes them feel powerful.

Underlying sadness. Shows itself at certain special times.

Vain.  How they look is important.

Sexy outfits, obsessed with their hair, etc.

Smooth and suave even if they’re not the best looking.

There are different types of sensuality.

Wild and crazy guy.

When it’s a male who’s not the best looking it can be very funny.

Confidence.

Incredibly resourceful.

Terrific knack for sarcasm.

Cool, charming, confident.

Devilish grin, wandering eye.

Generally they are very shallow and superficial.

They are the idol of the Loveable Loser

Suggestive glances, flirtatious smiles.

Sweet naivete.

 

Possible intentions for the Womanizer/Manizer

To seduce.

To flirt.

To Entice

To Flatter

To Compliment

To woo

To make love

To allure

To captivate

To tantalize

To lure.

 

This character as a # of qualities which would be looked on unfavorably in real life.

Body language.

Don’t be afraid to get close to your sexual targets, almost to the point of dominating them with your body posture.

They are harmless predators.

 

 

7)  The “Materialistic” person.

Extremely pampered, waited on, no care in the world.

Clothes, cars, jewelry.

No solid grasp of values, responsibility, what it’s like to live in the real world.

Shallow but with depth.  ?!

Most sporadically appearing character (historically) in sitcoms.

Socialites.

Still mostly seen as a supporting character.

Females most often.  Or males (Metrosexuals-straight men who possess narcissistic traits).

“What’s in it for me?” mentality.

Born with a silver spoon.

They want to fill a void with gifts-a void as a result of lost affection & insecurity.  They want to feel loved.

They want to replace Mom or Dad’s affection w/items.

Deep need for attention.

Miss Popularity.

It’s all about her, her, her.

Often this character is the popular kid/person (handsome jocks, pretty cheerleader, rich, trendy, county club type, etc.).

Define themselves thru material items.

Wish List of the Material One:

$, clothes, new car, mansion, date w/Rock Star, popular friends, Chihuahua in a hand bag, career as long as they don’t have to work, $.

In vogue.  Designer labels.

Can whine & pout until they get their way.

Can come from an un-wealthy background (Peg Bundy).

Imperialistic (?).

Some snobbiness @ a minimum.

Money DOES buy happiness.

Full of themselves.

Oblivious to the less fortunate.

Can show the insecurity of the Neurotic One, the vulnerability of the Loveable Loser, the pain of the Bitch/Bastard.

Needs acceptance and approval.

From a well to do family

Finest of fashions.

The one who we sometimes dream to be.

Exteremely pampered.

Waited on.

Really don’t have a care in the world.

Their only concerns are who the next big designer is and where they can get the money to buy their clothes, cars, jewelry, and a sweater for their Chihuahua.

Money is not a problem for them.

Don’t typically have a solid grasp of values, responsibility, or other elements of human behavior.

Many don’t seem to know what it’s like to live in the real world.

Pretty shallow.

This is the one character that appears the least.

Usually seen as a teenage daughter, sister, or friend of the lead char.

Fish-out-of-water sitcoms.

The inability of these characters to comprehend anything less than a life of luxury is what makes them funny.

Like the Loveable Loser this role is geared towards a certain gender. Women in this case.

Few men:  Jefferson in Married w/Kids-never shy about mooching off of his wife.

Metrosexual.

Manicures, pedicures, facials, and a love of all things material.  Think:  Ryan Seacrest.

 

 

Characteristics of the Materialistic One
Above it all	A princess	Daddy’s little girl.	Mommy’s little boy.
Filling the vessel.	Full of themselves.	Imperialistic	In vogue
Insecure	Judgmental	Materialistic	Money conscious
Oblivious to the less fortunate	Pampered	Popular	Pouty
Sarcastic	Self serving	Sense of entitlement	Shallow
Snobby	Spoiled	Status oriented	Superficial
Vain	Whiny

 

 

“What’s in it for me?” mentality.

They also need to be likable and show a heart underneath their stylish, shallow, and superficial behavior.

They had an upbringing that made money and material goods an important part of their lives.

They have a vessel of insecurity which needs to be filled-they share this trait with the Womanizer/Manizer.

The trendiest clothes, the hippest accessories, the hottest cars.

They look for material goods to make up for lost affection, then they look for attention thru friends, loved ones, prospective mates, etc.

They need attn to fill a void.

The popular kids fall into the category of being the Materialistic One.

Superfical friendships.

 

 

 

 

The “In Their Own Universe” Character

 

8)  The “In Their Own Universe” type.

Perhaps different looking.

Gives fuel to others for sarcastic comments.

Eccentric (yet organic).  Wacky. Odd.  Unusual.  Unpredictable.

They have an unedited stream of consciousness.

Primary used as a supporting character.

Supplies instant comedic relief.

They introduce a new plot line or give a break from an existing plot line.

They become “break out” characters (in popularity w/public).

From:  Another universe, another time, another dimension, far off unspecific land, cloud 9 (from nearby, but just “out there”).

Clash with society.

They are a fish out of water.

We can’t wait to see what he’ll say or do or what idea he’ll come up with next.

Staple in new shows.

Not much of a background/history for this character.

In their own little dream world as kids/adults.

March to the beat of their own drum.

Employ “illogical logic”.

They are stunned when others don’t believe their truth, point of view, logic.

Logic in, illogic logic out.

Skewed train of thought.  One step ahead, behind, or removed. IE:  Words…#1 <thought #2, #3> Word #3 !

First thing in the story:  H can obsess about something

Focused on the task @ hand.

Very opinionated & speak the truth-but not in a mean spirited way like the Bitch/Bastard.

Acceptable of others.  “Live and let live.”

No internal sensor-so they are shameless.

Lead unorthodox lives.

Chalk up things to life experiences & don’t regret things.

They serve the same purpose as the Dumb One, but the Dumb One is oblivious and the ITOU is smart.

Jack and Karen from Will and Grace are extremely complex characters & are ITOU’s.

Tends to adopt characteristics of the other 8 characters but puts their own spin on them. 

 

Eccentric.

Embodies the wackiness of the show.

Always coming up with strange ideas which make sense to them.

Constantly in awe & wonderment of the world that surrounds them even if it is a world only they see.

They constantly give fuel to other characters to be sarcastic towards ‘em (make jokes about ‘em?).

Oddly dressed, odd looking, odd.

You never know where they’re coming from.

Weird, edgy, funny.

They are allowed to say and do almost anything and everything.

They rarely make any sense at all to us rational viewers.

They have an unedited stream of consciousness.

They are free wheeling on what they believe, what the y do, and how they do it.

They are unpredictable.

Where they’re coming from nobody knows.

Primarily used as a supporting character.

They provide that instant comedic relief much the same way as the dumb one.

They often start out as a minor character that just appears from time to time to say or do something crazy, either to help introduce a new plot line or to give viewers a break from an existing plot line.

They develop a following.

They become more important to bigger storylines.

Whenever they walk into a scene you never know what’s going to happen next.

Some of these characters literally come from another universe, another time, another dimension, or a far off land somewhere.

They clash with what we consider normal society.

They have different cultural values, a different set of principles,a different frame of reference, different sayings.

They may be from “cloud 9”.

Fish out of water.

Trying to adapt to life.

Illogical logic.

Weird schemes, hair-brained ideas.

Unpredictable, interesting.

1 step ahead, 1 step behind.

 

Characteristics of the “In their own Universe” character.
Accepting	Direct	Eccentric	Exciting	Fascinated
Focused on the task @ hand	Has good intentions	Illogical logic	In awe	Marches to the beat of their own drum
Non-judgmental	Odd	Often obsessed	Opinionated	Optimistic
Positive	Sarcastic	Shameless	Skewed train of thought	Unflappable
Unpredictable	Wonderment

 

Difficult to play and make believeable.

Let yourself go and get weird.

Sense of awe & wonder.

We on earth see them as doing things that are odd.

They see it as they ‘re doing normal things.

They have been that way since they were born.

They are just different.

They just look at things differently.

As kids they were hyperactive or they spent a lot of time gazing out of the window lost in a dream world.

This character is the biggest and the most exciting to play and watch.

One can tell there’s just something odd about them from the moment you see them.

Odd and eccentric.

“Out there.”

They march to the beat of their own drum.

They are stunned when others don’t understand their truth, their POV, their logic.

As long as they believe something, that’s all that matters to them.

They see and hear things differently than other characters.

Another char. Will talk about a problem with the ITOU char. Who will then take that info and process it from within their own universe, and somewhere in there it gets jumbled up with their illogic logic, and then they’ll say something that makes little or no sense.

They are not the Dumb One and not to be confused as being the dumb one.

Sometimes they hear or see things for the first time and have a sense of awe and wonderment.

They are more fascinated with things than the other characters.

They think one step ahead or one step behind.

Skewed train of thought.  Ie w/word association:  If you said ‘Orange’, I would say ‘apple’.  It you were to say ‘orange’ to them, they would first think ‘apple’, then think ‘Mmm…apple pie, then say ‘Apple Pie!’.”  See?  In there they entered their own universe, had a conversation in their head, then exited their universe and re-entered ours.  This all happens in a matter of seconds. They could even do this:  ‘Orange’.  ‘Apple.  Apple Pie.  Marie Calendar’s sells pies.  I haven’t been to Marie Calendars in a while.’  “Would you like an orange?” Then they say “I have to check my Calendar.”.

They have a stream of consciousness.

They might respond to something from a conversation 15 min ago because they are still thinking about it.

One can create a world of the ITOU character. 

This char. is good for writers.

This char. is usually found in the “B” storyline.

They present a problem they’re obsessing about right @ the beg. of the episode.

Always focused on the task @ hand-much like how a neurotic obsesses. Focus on what the char. really wants and take in the info that will help you with that specific want.

Very opinionated, but not in a mean-spirited way.

Very accepting of everyone.

Noone seems to strange to them.

Non judgemental.

They have good intentions in their heart.

They can be sarcastic @ times but really do have a “live and let live” mentality.

Shameless.

No internal sensor.

They say whatever’s on their mind.

Lead unorthodox lives.

They don’t apologize for anything.

They chalk up everything they do in life to “life experiences” and have no regrets.

Exciting and unpredictable.

They often talk of their exploits off handedly, even if they’d be a major thing for the rest of us, meanwhile everyone else is stunned.

You never know where they’re going to or coming from.

They work well with just about anybody.

They serve the same purpose as the dumb one, in terms of providing constant comedic relief, however the dumb one is oblivious and the ITOU is actually smart (but just has a different frame of reference).

Naïve & childlike.

Tell stories of their old homes.

 

Possible intentions for the ITOU Character:

To do any of the other character’s intentions but in their own special way.

 

They adapt characteristics of other characters but adds their own spin.

They can be another character briefly but must then snap back into being ITOU.

You need to come up with your own universe.

 

---

 

 

 

 

 

 

Video Recordings for Learning purchases

http://storymindmedia.com/dsc/

This  program requires Real Player to be installed on your computer

You can download the free Real Player  at http://www.real.com

Welcome to the Dramatica Software Companion, hosted by co-creator of the Dramatica theory and software, Melanie Anne Phillips.This CD ROM is designed to help you, the creative writer, get the most out of your Dramatica software.

There are two sections to this 4 1/2 hour streaming video program:

1. Using the Dramatica Software

Detailed video demonstrations cover all of the important tools and how to use them.  It includes tips, tricks, techniques, shortcuts, and pointers to powerful “hidden” features.

2. Using  Dramatica Creatively

Different writers work in different ways.  Through extensive video clips, we’ll show you how to carry your story from concept to completed treatment no matter what style of writer you are.

 

Best. books. ever.

Free book:  Write your Novel Step by Step
http://storymind.com/page31.htm

 

 

Software I own and use to assemble stories

Dramatica Pro
(Downloaded/solved)

StoryWeaver
(Downloaded/solved)

Throughline 3 Interactive Index Cards for Windows
(Downloaded/solved)

Writer’s Dreamkit 4
Writer’s Dreamkit Wizard 2.0

Outline 4D
Downloaded/solved.  4/29/19
Screenplay.com Sales (Write Brothers) <Sales@screenplay.com>
Mon 4/15/2019 2:30 PM
Tutorials:
http://www.learnoutline4d.com/
Examples:
https://techsupport.screenplay.com/hc/en-us/articles/115001063832-Outline-4D-for-Windows-Supplemental-Materials

Dramatica Software Companion Online Edition
(Downloaded/solved)

Dramatica Unplugged Story Structure Course 12 Hour Video Program
(Downloaded/solved)