Monday, January 6, 1997
Tackling the psychology of characters in screenplays
BOOK:
Professor shows writers what makes a good story but offers
little practical adviceBy Cheryl Klein
Daily Bruin Senior Staff
Chances are, the movie "Die Hard" will be remembered more for
its chase scenes and explosions than its sensitive character
interaction. But in "Writing Great Characters: The Psychology of
Character Development in Screenplays," author Michael Halperin
cites the action flick several times as an example of archetypal
struggles and human relationships.
Halperin’s book, promoted by Lone Eagle Publishing Co. as one of
their numerous guidebooks for the many young people trying to get a
foot in show business’ exclusive door,
doesn’t always deliver what the title suggests. Readers who
haven’t written a screenplay before will not now sit down and write
the next blockbuster.
But "Writing Great Characters" does take an interesting look at
what makes us love the movies we do  primarily the
characters. Halperin’s diverse choice of examples not only makes
the book thought-provoking, but also demonstrates that good writing
can be applied to any genre. At one point, Halperin discusses the
importance of the "messenger" as a catalyst for the protagonist’s
actions. He writes, "The messenger might show up as a burning bush
in the Bible, Marley’s ghost in Dickens’ ‘A Christmas Carol,’ or
Simon, the tow-truck driver in the film ‘Grand Canyon.’"
The first two chapters meander through the history of folklore
and how it relates to modern film. Halperin points out that while
film may be a relatively new medium, the stories it tells tap into
humanity’s oldest tales and most basic elements (birth, marriage,
death). While "Star Wars" is a classic fairy tale complete with an
evil stepmother, long lost parent and beautiful princess, "All
About Eve" is a twist on "Oedipus."
Halperin’s insights in these chapters are intriguing. Throughout
the book, he applies the psychological implications of culture, sex
and childhood to the behavior of film characters. It reads like an
English paper at times, but a good English paper nonetheless.
Readers will no doubt watch their next movie with greater attention
to character development, and being a savvy movie watcher is a
vital ingredient in becoming a screenwriter.
Budding screenwriters could probably use (and, at $19.95,
deserve) a little more guidance than this book offers, but they
will at least get a taste of it if they stick it out until the
third chapter. Titled "Outside the Interior," it explains the whys
and hows of creating family backgrounds and motivations for all
characters, even if the exact details don’t appear on screen.
Like all of the chapters, it contains chunks of dialogue from
movies ranging from classics like "Field of Dreams" to forgotten
comedies like "War of the Roses." Seeing the lines on paper may
help readers examine the subtleties of screenwriting as well as
answer questions about how much of a film is scripted as opposed to
added by the director or actors. Plus, it’s always fun to relive
favorite movie moments, like when Evelyn slams into the car of the
cocky teenagers who stole her parking place in "Fried Green
Tomatoes."
Interspersed between bites of screenplays and Halperin’s
interpretation of them, the author includes diagrams that simplify
his occasionally confusing text. He splices what he dubs the
archetypal "hero’s journey" plot line into simple steps such as the
"supreme ordeal" where the character overcomes his or her greatest
obstacle and acquires the "reward" at the end. Halperin also
illustrates the popular "triangle" between characters whose actions
affect each other.
"Writing Great Characters" gets even more specific toward the
end, with sections about agents and copyrights tacked on almost as
an afterthought. Combined with the theoretical tone of a large
portion of the book, this makes for an awkward mix of real world
how-to and literary analysis.
Halperin adds to the workshop feel of the book by including
"exercises" at the end of each chapter. Most ask the reader to do
something along the lines of "Describe briefly the manner in which
a character’s experience becomes the catalyst for story
development." The reader doesn’t need to check the back cover to
see that Halperin is a college professor.
"Writing Great Characters" is no substitute for a real
screenwriting course but it could encourage beginning writers to
delve into the subject of characterization more intensely.
BOOK: "Writing Great Characters: The Psychology of Character
Development in Screenplays" by Michael Halperin is published by
Lone Eagle Publishing Co. and costs $19.95.