April’s Buzz:

SUPPORTING CHARACTERS: THE CORNERSTONE OF YOUR SCRIPT

By
Kathryn McCullough (copyright 2002)

Much attention is paid by writers, directors, executives and story analysts to developing a screenplay’s main characters into compelling, three-dimensional personalities. However, as much work should go into developing the supporting characters. Written well, these characters help define the main characters and add texture and dimension to the story.

One-String Characters:

They’re called one-string because they sound just one note in the story: the cranky landlady, the annoying co-worker, the precocious neighbor boy. These characters fill in scenes, provide exposition or add a comic touch. These characters do not necessarily advance the plot, nor do their relationships with the other characters change.

To make your one-string character as memorable as possible, think in terms of giving the actor something juicy to play. Make the cranky landlady dress like starlet, for instance. Have the neighbor boy be a juggler. Be wary of the easy, clichéd choices, however, and try to find the most original (yet believable) trait possible.

On the other hand, be careful not to give one-string characters more depth than they need. If you provide the neighbor boy with a whole backstory and subplot of his own, you will simply grind your main plot to a halt and bore your audience. Recognize the one-string characters for who they are, provide them with one memorable trait, and then move on.

Minor Characters:

These characters can have brief backstories or subplots of their own, as long as the subplot/backstory relates to or affects the main character.

Unlike one-string characters, who are sometimes in danger of being overdeveloped, minor characters are often underdeveloped in scripts, making their presence seem contrived rather than organic to the story.

One helpful way to gauge the success of your minor characters is to use the “Rule of Three.” Every minor character should have at least three beats in the story, which show an evolution or change of some kind. These can be beats of a relationship with the main character, or beats of action, or beats of humor. For instance, a nagging mother may first be seen berating her meek son (the hero of the story), next challenging her son’s newfound independence, and finally being told off by the son and forced to accept a new, more mature relationship with him.

The Secondary Characters:

These characters have larger roles than minor characters: a love interest in a romantic comedy, or the villain in an action film, for instance. These characters should have fully developed backstories and subplots, in order to make them an equal match for the hero. A romantic comedy with a weak, undefined love interest falls flat. We don’t care whether the hero gets the girl because we don’t know the girl well enough to know if she’s worth the effort. A weak villain makes the hero’s triumph unsatisfying.

Within these categories certain types of individual characters stand out:

The Confidante: This is often a best friend, but can also be a stranger the hero has just met, such as a bartender. This character acts as a sounding board for the hero to give voice to his goal in life (and in the story).

The “Raisonneur”: This is the wise sage -- a parent, an older partner/friend/co-worker or some magical presence in a fantasy story -- who defines what is right and wrong. The hero usually begins on the wrong side of the moral compass, but via his experience during the course of the story, he ultimately sees the light. The raisonneur may guide or just comment on this transformation.

The Naysayer: Although an antagonist, this is not the primary villain. The naysayer constantly gives the hero a hard time or puts him down. It could be a neighbor, a relative, or a co-worker, for instance. This character is one of the more minor figures, usually with no independent subplot, but can play an important role, especially in a comedy, as someone who gets their comeuppance in the end and thereby underscores the hero’s triumph. The naysayer may also come around to the hero’s side in the end.

The movie TOOTSIE provides good examples of all these types of characters. Jessica Lange’s character is obviously a secondary presence, while Charles Durning is a more minor but still memorable figure. Bill Murray acts as a sounding board, Sidney Pollack as a raisonneur and Dabney Coleman as a naysayer. Geena Davis’s role would be an example of a one-string character.

Although there have been movies that focus solely on one character, in most films, a main character without sufficient support will come across as unreal and uninteresting. We are all defined by our friends and enemies, and by how we interact with those around us. Developing all of the characters in your script to their potential will result in a rich, authentic and emotionally involving story.