The Four Best Ways To Add Character Depth
by CARSON REEVES
I remember when I first heard the term“ threedimensional character.” It sounded like one of those things clueless producers mutter when they don’ t know why they don’ t like something. Oh yeah, the characters weren’ t, umm,“ three-dimensional.” That’ s why I didn’ t like it. Occasionally, you’ d run into one of the more affluent execs, who might throw this curve ball at you:“ Your characters never popped off the page.” What the hell does that even mean? It’ s a freaking piece of paper. If you want things popping off pages, head over to the children’ s section at Barnes & Noble.
Ah, but as time went on and I came into contact with more intelligent and established entertainment folk( purely by accident of course), I noticed them using these same darn phrases.“ Sorry, the characters have no depth.”“ They were paper thin.”“ The plot was okay but the characters never popped off the page.” Urgh. Wherever I went, this three-dimensional character thing was following. I needed to find out what was going on.
So I did a little research into this“ 3rd dimension” and repeatedly came across the term:“ character flaw.” This seemed to be the all-elusive key to achieving character depth. A character flaw, I found out, was a negative trait holding your character back from becoming whole. Okay, I could get on board with that. I started watching my favourite movies and, lo and behold, it was true! There were character flaws everywhere I looked. Neato!
But then tragedy struck( well, subjectively speaking). I was on a screenplay message board one evening and found a thread discussing this exact topic. The head screenwriting message board guy in charge( HSMBGIC) was saying that not all characters had character flaws. Indiana Jones didn’ t technically have a flaw. John McClane in Die Hard didn’ t have a flaw. My whole screenwriting world came crumbling
Alien
down. What next? Were there screenplays without words?? How could anything make sense anymore!!!
If only that were it. As if some phantom force was set on getting me to commit scripticide, I was introduced to yet another term:“ Inner Conflict,” which writers were using interchangeably with“ character flaw.” Yet another screenwriter cornered me and whispered,“ Don’ t listen to those bums. The key to a great character? A VICE.” Don’ t even get me started on 70s Writer Guy, who kept telling me all I needed was a good“ character fear.” Character fear?? What the hell was that??! It was at that moment I did what any slug-fearing screenwriter would do. I bought a case of Bud Ice at the corner liquor store and got drunk.
I won’ t get into how that began a three year bout with alcoholism that ended with me on the top of a stoplight on Santa Monica and Wilshire screaming( the cops informed me),“ Knick-Knack Paddywack, give E. T. a phone!” The good news is, I’ m better now. And I have medication. Which allows me to drive by myself. Which led to a lot of library visits, where I actually learned what all these terms meant! And because I don’ t want you to have to go through what I went through, I’ m going to break all of them down and show you how you can use them to add depth to your characters. Get ready for your life to change. As one of the greatest philosophers in history once said …” I’ m tan mom. Biyyyyyyaaaaattttcchhhh.”
Flaw – A character( or fatal) flaw is the dominant negative trait that’ s held your character back from becoming the person he’ s meant to be. Selfishness, lack of trust, won’ t open up, won’ t stand up for themselves, being irresponsible – these are all flaws you’ ve seen hundreds of times in films. The most
108 | WGSA MAG July 2013