Hello folks, we’ve been discussing art and writing from a more existential point of view so far. Meaning, essential and elemental organic concepts about the world of scripts and writers’. One such has been character creation. So far, I’ve stated the necessity that all characters are being portrayed and displayed through their profiles and these being demographics, psychographics, education, economic background, relationships, strengths and weaknesses, goals, etc. Nevertheless, discussions being made so far relevant with many topics should include the writer’s ambition to reach closer to execution and not just an intellectual discussion. After all, it all ends up to characters in screenwriting. In pure literature for example, the majority of sheet space is devoted to advanced descriptions outside the characters’ arena so what is left for a well-developed cast is much smaller. Or maybe we should judge the script as literature and not a final draft for the movies to seek different target audiences.
But what about flat versus complex characters and their dialogue, in general? Flat is the opposite of complex. Complex characters are real and multi-layered 3D characters whereas flat characters are one-dimensional characters. Many writers as we write, we expose our knowledge and experiences and ideas as a whole and right afterwards we distribute this model to everyone, in later stages this might be wrong especially if the majority of this displaying occurs at the dialogistic level. Better examples may be understood by you in terms of earlier discussions on the unification of literature with screenwriting. When it comes to characters information delivered is not valid unless it is delivered in a physical fashion. It doesn’t matter how characters talk but the necessity of them being absorbed in specific building blocks of writing, into specific scenic spacetime with scene headings and themed activities better elaborated by analytical discussions and advanced vocabulary dependent on these specific structures…!
All I am trying to venture today is to discuss closer to execution… Still, do the above guarantee the writer’s memory on everyone? You would say there should be characters’ development not in our minds but on arguments by design. Multiple characters’ development where if so far, this meant the single distribution of the writer’s idea and the sharing of his ego multiply, now we have to come up with independent character analyses and independent creative development, where such descriptions should be bound by mentioning exact scenes where characters’ attributes are visible. With this and that, discussions judge the necessity of development not in the script but surrounding to its nature and dependent on the writers’ notes and notebooks, online or offline. Wouldn’t it be wise after all to spend more time on development and feeling successful than thinking overnight and still feel stuck eternally? Have a great time folks!
Interested to find out about the projects that started it all? Get to know my work through Amazon Author Page and my website at Independent Authors Network (IAN):
Amazon Author Page: https://amazon.com/author/makersdust
The Independent Authors Network: https://bit.ly/39chSSQ showcasing Amazon, Barnes & Noble, Kobo & Walmart as well as the diversity of some of my professional pages!
But what about flat versus complex characters and their dialogue, in general? Flat is the opposite of complex. Complex characters are real and multi-layered 3D characters whereas flat characters are one-dimensional characters. Many writers as we write, we expose our knowledge and experiences and ideas as a whole and right afterwards we distribute this model to everyone, in later stages this might be wrong especially if the majority of this displaying occurs at the dialogistic level. Better examples may be understood by you in terms of earlier discussions on the unification of literature with screenwriting. When it comes to characters information delivered is not valid unless it is delivered in a physical fashion. It doesn’t matter how characters talk but the necessity of them being absorbed in specific building blocks of writing, into specific scenic spacetime with scene headings and themed activities better elaborated by analytical discussions and advanced vocabulary dependent on these specific structures…!
All I am trying to venture today is to discuss closer to execution… Still, do the above guarantee the writer’s memory on everyone? You would say there should be characters’ development not in our minds but on arguments by design. Multiple characters’ development where if so far, this meant the single distribution of the writer’s idea and the sharing of his ego multiply, now we have to come up with independent character analyses and independent creative development, where such descriptions should be bound by mentioning exact scenes where characters’ attributes are visible. With this and that, discussions judge the necessity of development not in the script but surrounding to its nature and dependent on the writers’ notes and notebooks, online or offline. Wouldn’t it be wise after all to spend more time on development and feeling successful than thinking overnight and still feel stuck eternally? Have a great time folks!
Interested to find out about the projects that started it all? Get to know my work through Amazon Author Page and my website at Independent Authors Network (IAN):
Amazon Author Page: https://amazon.com/author/makersdust
The Independent Authors Network: https://bit.ly/39chSSQ showcasing Amazon, Barnes & Noble, Kobo & Walmart as well as the diversity of some of my professional pages!
