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20historical components that havemade that person who he is.Without understandingsome of that or building apicture around that, you geta one-dimensionalcharacter and more often thannot you get a stereotypicalcharacter.”Having flaws can make thecharacter colorful orprovide the dramatictension needed to keep thestory compelling, but manywriters fall back on stereotypes.“Narrative tension is really whatpropels a character through ascript,” says Gertler. “If he’shaving two different kinds oflives and if there’s a tension orconflict between the two withinthat one individual characterthat, for me, is very compellingand I’ll follow that character allthe way through. If there’ssomething at least a littlebit enigmatic without beingkooky, that’s something I finddraws me to the character.”Rather than go for the joke,or the predictable reactionto a situation, the writermust think consciouslydecide to defer to character.“They go immediately to theextreme in order to get amessage across,” adds Kielsen indiscussing how writers will givecharacters dysfunctions,addictions and other problemsto avoid developing realistic andmotivated characters.“Crises and conflict are apart of life, but [manywriters use it] more andmore to impact people. Aregular story isn’t interestinganymore, there’s got to be thebigger and bigger explosivenessin order to catch people’sattention. It’s like pointed shoes,they can only get so pointed andthen they have to go back tosome middle ground.”The conflict within thecharacter can be subtle,according to Gertler. “It doesn’thave to be conflict between goodand evil, but there are thosechanges that you feel through ascript that can be fully realizedwithout hitting you over thehead.” The situations that unfoldfor the characters within thestory should lead to anunderstanding of them andtheir motivations.By developing charactersbeyond stereotypicaladdictions and foibles, thewriter takes a big steptowards universality. “Youhave to have a very specificcharacter for people to identify,”says Stone. “It’s by identifying
21with a character that your storybecomes universal because anaudience identifying with yourcharacters will relate their ownexperiences through them.”
Page 3 and 4: 3Annesso tentativo diterminologia (
Page 5 and 6: 5abiudini)” per raccontare e far
Page 7 and 8: 7Whatever Thomas did, he managed no
Page 9 and 10: Los Angeles, 1998 p. 439
Page 11 and 12: 11unità precedente; impostazione d
Page 13 and 14: 13Per Michel Chion, la "sinossi" è
Page 15 and 16: 15W-4- Revisione e valutazione. Imp
Page 17 and 18: 17Con poche frasi, quindi, si descr
Page 19: 19consultant, Marie-Eve Kielsen,of
Page 23 and 24: 23Sebbene raccomandano di scrivere
Page 25 and 26: 25the world -- and not the good --
Page 27 and 28: 27SETTIMA UNITÀT- 7 - Unità temat
Page 29 and 30: 29personaggio dallo scrittore.Se no
Page 31 and 32: 31BIBLIOGRAFIA CONSIGLIATA• Manua
Page 33 and 34: 33di…4] temi soprannaturali (poss
Page 35 and 36: 35A volte è qualcosa che il pubbli
Page 37 and 38: 37Il terzo atto inizia dalle scene
Page 39 and 40: 39Nota tecnica - 2Nozioni e termini
Page 41 and 42: 41L’eroe di una tragedia deve aff
Page 43 and 44: 43Nota tecnica - 3Nozioni generiche
Page 45 and 46: 45“scalettone”.TRATTAMENTODopo
Page 47 and 48: 47Il dialogo drammaticoIl dialogo,
Page 49 and 50: 49I personaggi raccontano se stessi
Page 51: 51La differenza con il dialogo del

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