 Drama: January 02, 2008 Issue [#2153] |
  Drama
This week: Edited by: Texas Belle  
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| As we roll toward the New Year, I hope everyone is enjoying the holidays. What a wonderful time to reconnect with friends, family, and WRITE! Since I was lucky enough to guest write this newsletter, and given a comment by pooja_sr, I decided I would expand on the idea from my last newsletter, structured dramatic tension. This newsletter will focus on proper character building. |
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Dramatic tension can not only come from the descriptive narrative of the author. Whether we are writing novels, short stories, plays, screen plays, or poetry none of this will touch the reader unless the author has carefully constructed all characters in the piece. Notice the artistic application of emphasis in the previous sentence and reflect on it a minute. As in theatre, the same is true in all drama there are no unimportant characters. All characters must have an assigned purpose in the plotline. That doesn’t meant that all characters must have a large part, or copious dialogue or appear from chapter one all the way through the epilogue. Character purpose is not the same thing as protagonist or antagonist but the character must have a purpose. The purpose will place the character into one of two categories: dynamic or static.
Static does not mean the same in literature as it does in the “real” world. A static character is not a boring character (unless it’s necessary to the plot) or a way to get around writer’s block. A static character is one that does not develop or change as the story progress. This character helps to move the plot, expose some flaw, or hidden strength, in the pro/antagonist, act as foil for the protagonist, the list is endless. As a writer what you must remember is that this character must have a purpose. Going back to “It’s A Wonderful Life,” we find that the majority of characters are, in fact, static. Oh, yes, gentle reader it’s true there are only three who are not static: George, Mary, and Clarence. Though Potter can be called the anti-George, the psychological opposite of George, he doesn’t change through out the movie. In fact, as we walk through George Bailey’s life in the beginning of the film we see that Mr. Potter is the same in 1919 as he is in 1945 according to George, “I'd say you were nothing but a scurvy little spider.” It’s all nice and good to have a bad guy to hiss and boo, the true author will offer more than just a stereotype of “a warped, frustrated old man” who covets his money more than humankind. In this case, the dramatic tension comes with a choice of redemption for Potter. In a pivotal scene, Potter discovers he has inadvertently taken the daily deposits for the Bailey Building and Loan Company while talking with Uncle Billy. He goes as far as the door with the intention of returning the money. However, when he opens the door and sees Uncle Billy frantically searching for the money, Potter decides to use the opportunity to rid himself of the Baileys and their pesky little building and loan. This adds tension but in choosing the obvious he looses any chance of entering the realm of the Dynamic Character. Likewise, Uncle Billy remains a bumbling old coot through out the piece a nice piece of window dressing offering not only comic relief but the catalyst that set George spiraling downward. As you can see, static characters are far from being without interest and often serve as antagonistic forces that set up road blocks for the protagonist. Though these two examples from the film are complex, all static characters don’t have to be so well developed in order to serve the greater purpose of creating dramatic tension. Zuzu Bailey is the youngest of the Bailey children. We don’t know much about the little girl but her brief interaction with her father because an important piece in this intricate dramatic puzzle. She won a rose at school and a few of the petals fall off. In childlike confidence she asks her father to fix the flower. George turns, takes the fallen petals and secrets them into the watch pocket of his slacks. Later in the story these petals help prove George was never born, and that George’s reality has been restored. A small thing, true, but it sets up a very powerful and joyful moment in the film.
Dynamic characters are the most readily recognized by the writer. Dynamic characters are main characters who goes through an internal change because of the plotline. It is safe to assume that the protagonist must be a dynamic character. However, the protagonist can’t be the only dynamic character in a piece if the writer is trying to truly construct dramatic tension in the piece. George stays in a constant state of flux in his adult years because he believes he is being constantly blindsided by Life and he has to change his dream plans so that he stays in Bedford Falls, marries the girl who sets her cap for him when she was nine, lives in the Old Granville Place, and runs the building and loan. Though the events in and of themselves create drama they do not lead to that all important internal change because he resents having to rearrange his life for other people. It’s difficult being the good guy, the stand-up guy, the responsible guy and George does eventually snap turning his anger on those who love him the most. At this point, he becomes a hateful vindictive man lashing out at those who love him and as dramatic as that might be it still is not the moment that makes George dynamic. It is when George realizes that his life has always taken the correct path that he changes and embraces his “good guy” personae that the all important internal change comes about. Every event and every character leads to this point. Mary and Clarence’s internal change is not as dramatic because, though they are major characters, they are not protagonist. They share the same internal change, conviction and courage. Mary tends to be timid and unsure, except when it comes to loving George, and leans toward safe decisions. She lives in proximity of George all her life but doesn’t have the courage to tell him that she for fear of rejection. She lives her life playing it safe and in the shadows. Her change comes not only when she stands up to George during his tirade where she tells him to leave the house in a tone that implies more than a couple of hours. The defining moment comes when she realizes that an outside force has threatened her family and she takes the enormous step to take the initiative and save her family. Though not as obvious as George’s metanoia but it represents an internal change none the less. The same is true with Clarence Oddbody, Angel Second Class. Like Mary, the audience must tune in closely to watch him make the leap from trite advice to genuine creative ideas and demonstrating the courage to implement these ideas.
Pick one of your favorite books or stories and read through it this time taking note of the construction, not necessarily the story. In other words, view it as a writer not a reader. Note the static and dynamic characters and how they act and interact with each other. It is also a wise move to read something you did not particularly care for as a writer and not a reader. Keep in mind we aren’t talking about changing the plotline nor the ending just the characters from the point of view of dynamic and static. Ask yourself these questions: How would you reconstruct the characters? Who is need or not needed? What was it about a character that made it dynamic or static? Turn this new critical eye on your own work and see if it helps better develop a plotline.
In a nutshell:
A static character is one that does not change in the process of the story.
A dynamic character is one that experiences an internal change during the process of the story.
Happy Writing!
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From pooja_sr came these excellent questions:
I'd like to get started on writing under the Drama genre. How different is drama from the other genres? Could you suggest some reading material so I can learn the ropes?
First, all literature no matter which medium you choose is divided into two major categories: drama and comedy. The important thing is that basic plot construction regardless of genre is the same and don't let the type keep you from trying out the genre.
Next, it may sound cliche but the best way to learn a genre is to read, read, read. Obviously, read authors you like and admire, however, don't ignore writers you don't particualarly care for. You can learn valuable lessons from what you don't like by simple asking yourself "why don't I like this?" Oh, and you don't have to read novels, short stories can be just as instructive.
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