I used to write stories when I was younger and I was always way too nice to my characters. And they had no back story. And my stories were pretty boring :P

The Motivation is external and objective, and you present it that way, in objective, external terms.

The Reaction is internal and subjective, and you present it that way.

And after the Reaction comes . . . another Motivation. This is the key. You can’t afford to write one perfect MRU and then be happy. You’ve got to write another and another and another. The Reaction you just wrote will lead to some new Motivation that is again external and objective.

I probably have not done justice to the technique, but if you’re interested I highly recommend getting the book if only for the chapter on MRUs.

Keep Writing.

Formulas are great, but they’re only a start.

I feel that eventually, getting to the point where the higher percentage of your character/story is created ORGANICALLY, is the ultimate goal.

When this happens. It cant be anyone elses voice, cause its being grown inside you. This is where your voice truly shines. And that cant be achieved through formulae.

1)write FACTS
-list all the facts about your character.
-favorite color
-underwear
-where she works
-philosophy
-who shes seeing
To me this is where one-dementional cardboard cut-outs come from.

so next phase
2) feelings
for each of the categories above, theres an subtextual feeling and emotion thats linked to the fact. People dont just buy things, or believe things for nothing.

So, basically get the subtext of each fact.

finally

3)quirks and reactions.
link up 1 & 2 to create quirks and reactions.

Example :: if one of your characters has an explosive temper … and the fact that hes a killer is linked you can show that having him explode in someones face, and shoot them.

However, and this is where the thought comes in. ITS so much more intresting to link “calm & the fact that hes a killer”. its no longer cliche. (it might be now though, but you get the idea)

And by making conflicting connections like this, youre creating NEW ways of looking at characters.

This isnt the end-all-be-all. Next you take all the connections and quirks/reactions. start to write a bio based on this. keep adding, slowly you wont need the list. It will be a person.

If this person doesnt fit the story you choose, or you werent careful in choosing who it was to your liking. You wont have a character you like. Go back, and choose carefully. Eventually you’ll come out with a person you like, that fits.

*The best part about this method, is since its all done in series and connected. It’s all relevent.*

Finally, take the characters you’re satisfied with and place them in various situations(drag through mud). Have them evolve organically. The stuff that comes out of this, is the gold. Usually.

This is what i’ve found, with your help.

Thanks for listening.

And just like in acting where there is more than one way to approach developing a character, there is also more than one route into understanding character in screenwriting.

Now, the way you’re describing is like “the method” where the acting is build out from the inner life of the character… it’s your basic Brando, De Niro, Hoffman way of working.

Along side this you’ve got actors like – Judy Dench who start character development from getting the right shoes. Shoes inform the walk and posture… posture effects the emotional context.

Now, both methods result in good performances… both techniques work for the actors who use them… and there is no possible way to establish which technique is more valid.

I know from my experience of directing actors that method actors think they are delivering deeper, more emotionally intelligent performances… but, in all honesty it just isn’t true.

The same is true of writing techniques… I can see how to an “inner life” writer it may look like they’ve got a better, deeper grasp on their characters… but my experience is that emotional intelligence works in many different ways.

Inner life is one tool amongst many… and not automatically a superior tool.