{"id":2371667,"date":"2016-05-05T13:38:08","date_gmt":"2016-05-05T18:38:08","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371667"},"modified":"2023-01-06T21:37:00","modified_gmt":"2023-01-07T03:37:00","slug":"learn-theater-writing-characters","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/learn-theater-writing-characters\/","title":{"rendered":"What I Learn from Theater about Writing Characters"},"content":{"rendered":"

\"oyan-blog-theater-pinterest\"<\/a>By Irie Odessa Browning, Guest Contributor<\/strong><\/p>\n

You may not know the play, you just know you need to be under the lights again<\/strong>, so you show up at\u00a0auditions. You sing a song in front of the director (and your competition).\u00a0You stumble through the\u00a0dance with a smile on your face, and then read lines from a scene or two, acting your best and\u00a0projecting so the five-year-old in the back row can hear you.<\/p>\n

Waiting comes next. You hope and pray that you didn\u2019t fail too badly as your hands shake violently in\u00a0your lap. You consider the characters<\/strong> you got a taste of at try-outs, wondering if maybe you\u2019ll get the\u00a0lead or the love interest\u2026 or at least ensemble.<\/p>\n

Finally! The list is up, and you hyperventilate as you recognize the names of your friends, searching, scanning for your own until, thank goodness, there it is<\/strong>.<\/p>\n

I know this cycle well. I love to act, but I\u2019m a writer, too. One of the reasons I love acting is how it\u00a0helps me develop my writing<\/strong>, mostly in the area of character development.<\/p>\n

After the bolt of joy of spotting your name on the casting list comes the realization: The character\u00a0name printed next to yours, you have to become them. You have to create a version of\u00a0yourself that is not you anymore.<\/strong> The character may be similar to you, or vastly different, and both\u00a0present their challenges.<\/p>\n

Can you be like yourself, yet not quite?<\/p>\n

Or can you create a villainous alter-ego who retains enough of you to be believable<\/strong>, even if you\u00a0would never turn hundreds of poor townspeople out of their homes\u2026 or scream in a\u00a0child\u2019s face that it is no concern of yours whether her family lives or dies?<\/p>\n

These questions are sobering. And they apply to writers as well.<\/p>\n

Just as it\u2019s normal for actors to feel daunted by the responsibility to capture the essence of a character\u00a0on stage, writers feel daunted by the task of translating characters to the page. But writers have the\u00a0additional complication that no one has created the character for them. They have to imagine the\u00a0character<\/strong> and translate the character<\/strong>. There\u2019s no script to work off of, and no director to tell them how\u00a0they could do better.<\/p>\n

In theater, this difficult period of discovery and trial and error is fun. As an actor, I spend almost every night for weeks and weeks at the theatre under the cold house\u00a0lights, stomping or gliding or dancing around the stage,\u00a0befriending my fellow actors and creating hundreds of inside jokes that no one but this cast will\u00a0ever understand.<\/p>\n

I also have the benefit of physical props and costuming.\u00a0Initially, costumes can be a distraction. As an actor, I have to get into my character\u2019s head first, so I can\u00a0perform her (or him) no matter what I am wearing. Costumes don\u2019t amount to character. But as opening\u00a0draws nearer, the props come out, one by one, adding visual guides<\/strong> to this character you have been\u00a0creating inside yourself. You wear your boots a few weeks in advance (two sizes too big but you\u2019re\u00a0capable of wearing three pairs of socks), so you can get used to dancing in them. This gradual\u00a0accumulation of physical guides does help. Costuming can offer cues\u2014reminders about what is\u00a0important.<\/strong><\/p>\n

By tech week, everything comes out. Costumes are everywhere. Your face is now covered with makeup \u2013 foundation, powder, blush, eye\u00a0shadow, three kinds of eyeliner, fake lashes, mascara, dirt smudges, lipstick \u2013And and you fix your hair\u00a0as the director instructs.<\/p>\n

It\u2019s time for dress rehearsals. The lights, the music, trying to make it as far as you can through the\u00a0show without the director stopping you. You know that even if, for some reason, you blank out\u00a0on your lines, at this point your character is so real to you that you can always ad lib what they\u2019d say<\/strong>\u00a0until you or a friend remembers where the story goes.<\/p>\n

It\u2019s amazing to trace the change I undergo each time I get my casting assignment. In the space of weeks,\u00a0I go from knowing next to nothing about a character to being able to ad lib.<\/p>\n

But when writing, this process is not as dramatic\u2014not as obvious. It can be lonely and frustrating. That\u2019s\u00a0why I think the experience of acting\u2014of being part of a theatrical production in some way\u2014can bring\u00a0energy to the challenge of creating and writing characters.<\/p>\n

If the fun of preparing for a play makes the hard work of getting to know a character easier and more\u00a0rewarding, why not anticipate that by adding fun to my writing process<\/strong>?<\/p>\n

If visual guides in the form of costuming and props and set pieces help me remember what matters for a\u00a0character, why not incorporate visual\u2014or other sensory\u2014guides as I try to write from a character\u2019s\u00a0point of view<\/strong>? As I admitted, these physical cues can be distracting if you use them in place of the hard\u00a0work of inventing your character, but as cues, they can add a dimension of reality that helps you really\u00a0immerse yourself in the scene.<\/p>\n

And if the support of other actors, all of whom are excited and stressed and passionate about the play,\u00a0makes the preparation as much fun as the performance, I think there is something to be learned from\u00a0that about writing rough drafts as well. As writers, we need each other.<\/strong> For support, but also to\u00a0undertake the journey of writing a book not so much a lonely solo traveler but as a band of adventurers.<\/p>\n

And there\u2019s something to be learned from the shows themselves, too.<\/p>\n

Opening night: These kids who were strangers\u00a0ten weeks ago now have become great friends as you worked towards the common goal of this show.\u00a0The lights blind you to the audience, and you take a deep breath and dive into your character\u2019s voice<\/strong>.\u00a0All this preparation, the practice, finding the right voice to speak in, the proper way of walking, the\u00a0facial expressions, the words to emphasize, the costume, the shoes, the hair, the makeup\u2014it\u2019s all\u00a0finally together, played out before a paying audience. Maybe the house only sells out once in the three-week run. Maybe it sells out every show.<\/p>\n

Closing night arrives. You bow for the last time, you turn in your costume and jewelry, you scrub the\u00a0makeup off of your face. You\u2019re given a job or two (or twelve) to help with striking the set,\u00a0and then it\u2019s time for the final party, a good-bye to not only your friends, but your character as well.<\/p>\n

Even if this play is performed again, it will never be the same<\/strong>. Never will that exact group of people, and\u00a0the characters they brought to life, be all together once more. It\u2019s over.<\/p>\n

Except it\u2019s not, not really. Every time a play is performed \u2013 or a story is read \u2013 characters change and\u00a0develop in different ways.<\/strong> Your fifth time reading a book, or writing your own novel, or playing a\u00a0character in a show \u2013 they will be different. They will change. Characters don\u2019t stay the same, even\u00a0written in ink. They are a part of a writer\u2019s soul, and become a part of the reader\u2019s heart, and no one\u00a0who experiences a good character will be quite the same afterwards.<\/p>\n

That is why I write, why I read, and why I act.<\/p>\n

…<\/p>\n

Have you ever learned something about writing by participating in another type of\u00a0artistic activity?<\/em><\/p>\n

…<\/p>\n

\"\"<\/a>About Irie<\/strong><\/p>\n

Irie Odessa Browning lives in Washington State, and draws much inspiration for her writing from her family\u2019s cats and the pine tree forests where she spent her childhood. She loves theatre almost as much as she loves cats, and is currently in the ensemble of a local theatre\u2019s production of Mary Poppins. She blogged a bit last summer at The Hobbit of Oz,<\/a> and plans to write some more posts this summer once the theatre season is over.<\/p>\n

 <\/p>\n

* Please note that links on\u00a0<\/em>The One Year Adventure Novel Blog\u00a0to other websites and blogs do not constitute an official endorsement. We are not intimately familiar with all the writing and opinions contained in outside links.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

By Irie Odessa Browning, Guest Contributor<\/strong>
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