Developing characters is the classic formula of 1% inspiration to 99% perspiration. In very early versions of Mirabilis, we experimented with a more modern style of army uniform closer to WW1 style:
We soon saw that wasn’t working. Possibly it would have been more historically accurate in a story that nominally begins in 1901 but, as Emerson said, "a foolish consistency is the hobgoblin of little minds." The flamboyant hussar’s uniform that we eventually settled on is much more in keeping with Jack's romantic streak.
After doing the prototype pilot episode for the dummy issue of Random House’s DFC comic, we thoroughly overhauled all the characters. Not only the clothing changed. Jack and Estelle needed to be much more attractive. We opted to give Estelle a look that modern readers would find more relatable. She cuts her own hair - that was part of the character description from day one - and she does so with garden shears, so that gave us a legitimate excuse to avoid giving her an off-putting Princess Leia hairstyle.
Jack had also looked rather too young and unathletic (even podgy) in the dummy episode. When we knew we had a green light for the series, Martin and Leo got to work on giving him a more relatable look. The dashing uniform shows off his heroic figure and incidentally shows that he is in the same regiment in which Coleridge briefly enlisted: the 15th (Elliott's) Royal Dragoons.
This striking poster image that Leo drew of Jack makes a great piece of concept art, although I don't think it will end up being an actual scene from the story because the giant lion is a touch too Narnia. But that doesn’t mean that he won’t be astride something with wings in the Spring book.
All this development work takes time, and even though it may seem blindingly obvious that the finished version is better, it isn't always that clear when you're groping your way through the maze of creative choices. Good creative development is a matter of trying things out and learning from your mistakes.
Apart from the character’s appearance, there are several storytelling tools that the writer can apply to make readers care about a character:
· being resourceful
· being brave
· being clever (not the same as merely resourceful)
· doing a good deed ("save the cat")
· being unfairly treated (“kill the cat”)
· standing up against unfairness or injustice
· doing something we can relate to - especially if funny, but can be as simple as cleaning teeth, having breakfast, if made into an interesting “bit of business”
· being in a relationship we can connect with
· in a situation we recognize - hot/cold, needing a pee, late for a meeting, etc.
· being interesting - this is how an audaciously badly-behaved, rude or even evil character can be made very compelling: what will they do next?
Next time you’re reading a story or watching a movie, take a look and see how often those tricks are used right from the start.
We soon saw that wasn’t working. Possibly it would have been more historically accurate in a story that nominally begins in 1901 but, as Emerson said, "a foolish consistency is the hobgoblin of little minds." The flamboyant hussar’s uniform that we eventually settled on is much more in keeping with Jack's romantic streak.
After doing the prototype pilot episode for the dummy issue of Random House’s DFC comic, we thoroughly overhauled all the characters. Not only the clothing changed. Jack and Estelle needed to be much more attractive. We opted to give Estelle a look that modern readers would find more relatable. She cuts her own hair - that was part of the character description from day one - and she does so with garden shears, so that gave us a legitimate excuse to avoid giving her an off-putting Princess Leia hairstyle.
Jack had also looked rather too young and unathletic (even podgy) in the dummy episode. When we knew we had a green light for the series, Martin and Leo got to work on giving him a more relatable look. The dashing uniform shows off his heroic figure and incidentally shows that he is in the same regiment in which Coleridge briefly enlisted: the 15th (Elliott's) Royal Dragoons.
This striking poster image that Leo drew of Jack makes a great piece of concept art, although I don't think it will end up being an actual scene from the story because the giant lion is a touch too Narnia. But that doesn’t mean that he won’t be astride something with wings in the Spring book.
All this development work takes time, and even though it may seem blindingly obvious that the finished version is better, it isn't always that clear when you're groping your way through the maze of creative choices. Good creative development is a matter of trying things out and learning from your mistakes.
Apart from the character’s appearance, there are several storytelling tools that the writer can apply to make readers care about a character:
· being resourceful
· being brave
· being clever (not the same as merely resourceful)
· doing a good deed ("save the cat")
· being unfairly treated (“kill the cat”)
· standing up against unfairness or injustice
· doing something we can relate to - especially if funny, but can be as simple as cleaning teeth, having breakfast, if made into an interesting “bit of business”
· being in a relationship we can connect with
· in a situation we recognize - hot/cold, needing a pee, late for a meeting, etc.
· being interesting - this is how an audaciously badly-behaved, rude or even evil character can be made very compelling: what will they do next?
Next time you’re reading a story or watching a movie, take a look and see how often those tricks are used right from the start.
COMPELLING CHARACTERS
The process of designing, casting and costuming.
The process of designing, casting and costuming.
Copyright ©2008 Dave Morris Leo Hartas Martin McKenna. All rights reserved. No material from this website to be used without express permission of the rights holders.
