Lecture 3. OTHER CHARACTERS

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1 Lecture 3. OTHER CHARACTERS SUMMARY SO FAR A NOVEL is a lengthy written fictional prose narrative in which a protagonist struggles to achieve a goal which is essential to their spiritual, professional, or physical survival, and is transformed by the struggle. The heart of every great story is a PROTAGONIST who wants the wrong thing. 1. The Three Types of Characters Major Characters Secondary Characters Spear Carriers (Minor Characters Major Characters Fully developed history, personality, and motivation May or may not be a POV character Each has goals, weaknesses which complicate their journey, and most importantly The Capacity and Necessity for Change The protagonist is a major character. Other non-protagonists may be major characters as well. Antagonists may be, but usually lack the capacity to change. The Capacity For Change Why is this essential? The essence of story is change. At its simplest level, all something needs to be is a story is a change. There once was a king and a queen, is not a story. The kings died, and then the queen died of grief, is. Why? Something changed. All stories which move us are about characters. So the most important changes in the story are the changes which the characters undergo. The Necessity for change is the driver behind the story s central conflict: a protagonist who wants the wrong thing.

2 Examples of Major Characters Wizard of Oz Dorothy (a life of adventure) Tin Man (a heart) Scarecrow (a brain) Cowardly Lion (courage) Cassablanca Rick Blaine (Ilsa) Louis Renault (hedonistic pleasure) Star Wars Luke Skywalker (a life of adventure) Han Solo (money) Darth Vader (power) Secondary Characters Some evidence, either explicit or implicit, about lives beyond this story May be very colorful or memorable, but also may be homey, comfortable Generally do not change during novel, and probably do not exhibit capacity to do so Examples of Secondary Charactersx Wizard of Oz The Wicked Witch The Wizard Cassablanca Victor Laszlo Ilsa Major Strasser Star Wars Princess Lea Obi wan Kenobi Chewbacca R2D2 and C3PO Luke s Aunt & Uncle

3 Spear Carriers So-called because they are inspired by all the guys standing around the king carrying spears. Appear once or twice in story Have no life beyond their role in the novel, usually beyond their occupation, nor should they May still be memorable and important Wizard of Oz The Good Witch Cassablanca Sam Star Wars Commander of the Death Star The lines between these types can be blurry, and sometimes crossed. A spear carrier can step up and become a secondary character. (Robots) A secondary character can rise above themselves and become a major character. (Han) Someone apparently poised to be a major character can die before they have a chance to completely develop. (Obi wan) 2. How Characters Develop By Authors: General to specific Overall traits, beliefs, values, and background history determined. Author establishes motive, and then actions flow from that. In Life: Specific to general We witness actions first, and from the sum of actions infer motivations and beliefs. Authors must generate their characters from general to specific, but must present them from specific to general Readers want to make up their own minds. Actions do speak louder than words. Maintenance of suspense: action must precede motivation. Characters must surprise us.

4 3. How Characters are Presented Name Given Name: Evocative, Symbolic, Indicative, Ironic What others call the character? Little John Sweetie Wart Physical Description Sparingly, only when essential to story or reveals character. Less important characters can benefit from more detailed descriptions. Avoid laundry list of description Let reader imagine the characters except where needed Details noticed about one character by another illuminate both Speech Syntax and vocabulary Accent Figures of speech, clichés, profanity Behavior, Mannerisms Facial: eye contact, frequency of expressions Body: grace or clumsiness, Confidence or uncertainty, calm or nervousness Temper, self-control What keeps a character from looking like she was just sent out by Central casting? Speed of Thought Clarity of Purpose Motivation and Distraction Their life outside the plot (subplots) Surprise 4. Antagonists Villains as Protagonists in Their Own Stories In what ways does the protagonist agree with the antagonist? Under what circumstances would they be allies? What historical evidence supports the antagonist? Which philosophers? Ideally the villain is as interesting as the protagonist W and M pattern stories 5. Supporting Characters Supporting characters are Major characters other than the Protagonist(s) and all Secondary characters. Star Wars Han Solo (Major) Princess Lea Wizard of Oz Tin Man (Major) Scarecrow (Major)

5 Obi wan Kenobi Cowardly Lion (Major) Chewbacca The Wizard R2D2 and C3PO The Wicked Witch Luke s Aunt & Uncle Darth Vader Each must serve a clear purpose in advancing some aspect of the plot, but... THEY MUST NOT APPEAR TO BE IN THE STORY FOR THAT PURPOSE Major Supporting Characters Have their Own Story-Within-The-Story, Which We Call a Subplot. The transformational journey of the supporting major characters (subplot) must contribute to the progress of the story (i.e. the protagonist s struggle). If the protagonist is key to the supporting character s transformation, the supporting character s assistance does not diminish the final triumph of the protagonist, it multiplies it. Subplots Generally can be handled in about three well-chosen scenes 1. Establishment of Goal 2. Crisis of the Soul, Forced Choice 3. Success (or failure) Should not appear tacked on or a distraction. Should serve to advance or complicate the main story. Star Wars: Han saves Luke and enables his to destroy the Death Star. If Luke were saved by a minor character, and not as a result of a transformational journey, it would destroy the virtue of the victory. Should be rich in conflict and emotion. The protagonist should be instrumental in the supporting character s transformation.

6 Example 1: The Wizard of Oz Story Problem: Defeat the Wicked Witch, get back to Kansas. Theme (Moral Argument): The strength to live a good life lies within you. Or as the band America put it, "Oz never did give nothing to the Tinman/That he didn't, didn't already have." Protagonist: Dorothy Transformational Journey: Grow from a child hungry for novelty and adventure into an adult appreciative of and responsible for the people she loves. Major Supporting Characters: Scarecrow, Tinman, Lion Transformational Journey: Transcend their limitations by discovering the strength and humanity within. The Wizard of Oz Major Character Interactions Dorothy cannot defeat the Wicked Witch by herself. She needs the assistance of the others. The others cannot assist (rescue) Dorothy without completing their own transformational journeys. They are able to complete their journeys only because of the inspiration Dorothy gives them. As a result the final victory is a greater achievement because to required the talents of more characters, but Dorothy s contribution is greater because she is responsible for the transformation of the others. Example 2: Cassablanca Story Problem: Get Victor Laszlo out of Morocco, defeat the Nazis. Theme (Moral Argument): Individual must sometimes put aside their own interest in pursuit of the greater good. Protagonist: Rick Blaine Transformational Journey: Return from the dark; from a misanthropic, bitter loner to an involved member of the human race. Major Supporting Character: Louis Renault, Prefect of Police Transformational Journey: Rediscover his lost idealism. Cassablanca Major Character Interactions Rick cannot escape and fight the Nazis without Louis rescue. Louis will not help Rick unless he recovers his lost idealism (completes his transformational journey). Rick s act of self-sacrifice inspires Louis and enables him to recover his idealism. As a result the final victory is a greater achievement because to required the talents of more than just Rick, but Rick s contribution is greater because he is responsible for the transformation of Louis.

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