Detailed Summary of the Character Section from 'The Art of Dramatic Writing'
Here's a detailed overview of the Character Section from Lajos Egri's
The Art of Dramatic Writing. This guide synthesizes Egri's insights
and advice, emphasizing
the necessity of creating multidimensional, dynamic characters that
drive the story's conflict and align with the premise.
Key Principles of Character Creation:
1. The Connection Between Premise and Character
- Every story starts with a premise (e.g., "Greed leads to
destruction"), and the characters are vehicles to explore, test, and
ultimately prove this premise.
- Characters must embody traits, desires, and motivations that
resonate with the central theme.
Three-Dimensional Characters:
Egri insists that fully realized characters must be three-dimensional,
meaning they possess:
1. Physiology: The Physical Traits
- Age: How old the character is and its relevance to the story.
- Gender: Male, female, or non-binary traits that impact perception
and dynamics.
- Physical Appearance: Height, weight, body shape, health
conditions.
- Heredity: Genetic factors that influence the character's behavior
and abilities.
Example: A frail, sickly person may act differently in confrontations
compared to a robust athlete.
2. Sociology: The Social Traits
- Class and Status: Upper, middle, or lower class-how society views
them.
- Occupation: What they do for a living and how it shapes their
worldview.
- Education: Formal, informal, or none, influencing how they
communicate and think.
- Religion and Beliefs: Influences moral decisions and behavior.
- Environment: Urban or rural background, country, or region.
- Family Background: Relationship dynamics with parents, siblings,
etc.
- Social Environment: The immediate community's impact on their
values and habits.
Example: A factory worker versus a CEO would have contrasting
attitudes toward wealth and privilege.
3. Psychology: The Inner World
- Temperament: Calm, irritable, hot-headed, or reserved.
- Attitudes: Toward work, life, love, and conflict.
- Intellectual Capacity: Logical thinker or impulsive doer.
- Habits: Smoking, fidgeting, or other quirks.
- Emotions: Fear, love, jealousy, ambition, or guilt.
- Motivations: What drives them? Greed, revenge, love, survival?
Example: A character with a jealous streak may react irrationally in
relationships.
Consistency and Contradiction:
- Characters must act consistently based on their established traits.
- Contradictions are allowed but must be rooted in logic and
psychology.
Example: A timid character might show courage if their loved ones
are in danger.
The Driving Force:
Egri emphasizes the importance of the dramatic need, the goal or
motivation propelling a character.
- This need defines their actions and decisions.
- Conflict arises when this need clashes with another character's
goals or circumstances.
Example: In Death of a Salesman, Willy Loman's driving force is to
achieve success and respect, which clashes with reality and his
family dynamics.
Conflict: The Heart of Drama:
1. Internal Conflict: The character battles their fears, doubts, or
desires.
Example: Hamlet's indecision in avenging his father's murder.
2. Interpersonal Conflict: Characters with opposing goals or values
clash.
Example: The Kim family vs. the Park family in Parasite.
3. External Conflict: The character struggles against larger forces like
society or nature.
Example: Katniss Everdeen vs. The Capitol in The Hunger Games.
Growth and Change:
- Characters must evolve logically based on the events of the story.
- The change must be dramatic and impactful, yet believable.
Example: Ebenezer Scrooge in A Christmas Carol transforms from
miserly to generous, driven by his encounters with the spirits.
Protagonists and Antagonists:
1. Protagonist:
- The story revolves around their goals and struggles.
- They must be relatable and flawed but capable of change.
2. Antagonist:
- Equally strong and multi-dimensional.
- Their opposition forces the protagonist to confront their
weaknesses.
Secondary Characters:
- They must have their own desires and conflicts.
- Supporting characters should never exist solely to advance the
protagonist's story.
Example: Dr. Watson in Sherlock Holmes is more than a sidekick; he
brings his own perspective and strengths to the story.
Techniques for Character Building:
1. Create a Comprehensive Biography:
- Detail every aspect of physiology, sociology, and psychology,
even if it doesn't appear in the story.
2. Test Your Characters:
- Place them in hypothetical situations unrelated to your plot to see
how they behave.
Example: How would your character react if stranded on a deserted
island?
3. Dialogue and Action Reveal Character:
- Avoid exposition; let dialogue and actions show who your
characters are.
Example: A character who avoids eye contact might be shy or
deceitful.
Conclusion:
Egri's approach ensures characters are compelling,
multidimensional, and central to the story. By focusing on their three
dimensions, dramatic need, and growth, writers can
create unforgettable characters that resonate with audiences and
drive powerful narratives.
