Considerations & Contemplations from a Chocophile

What Star Wars Teaches Us About Character Introductions

-merewords:

Original article found here.

The following article originally appeared on Jason Black’s blog, Plot to Punctuation. Jason is a book doctor who actively blogs about character development. He writes a monthly column on character development for AuthorMagazine.org, and was a presenter at the 2010 Pacific Northwest Writers Association Summer Writers Conference. To learn more about Jason or read his blog, visit his website at www.PlotToPunctuation.com.

What Star Wars Teaches Us About Character Introductions

In real life, we make judgments about people, often within mere seconds of meeting them. Those judgments, whether right or wrong, are incredibly difficult to change later on. You don’t, as the saying goes, get a second chance to make a first impression.

The same is true in our books. Scenes where we introduce readers to new characters are tough to do well, because we don’t get much space to play with before readers make up their mind. Not many paragraphs pass before readers decide whether they like, loathe, admire, or pity a new character. So we have to act fast.

Star Wars is a great example of how to do this well, and exhibits most of the core techniques I want to talk about. Star Wars (and I’m talking about Episode IV, here) manages to convey to us, in very short amounts of screen-time, the essential nature of all of its main characters and shows them to be unique, distinctive individuals. We can take some lessons there as to how to effectively introduce our own books’ characters.

Show them in action

When introducing a protagonist or other POV character, consider showing them in action. By this I mean putting the character in a scene where he or she has to actually do something. Make it a situation where the character has to make some kind of choice and take some kind of action (preferably, a difficult choice and an unpleasant action) in order to affect the outcome of the situation.

Early on in Princess Leia’s introduction - it’s not her first scene, but it’s close - she is faced with a no-win choice: give up the location of the rebel base, or see her home planet of Alderaan destroyed. We can see how difficult a choice it is for her, through her visceral, bodily reactions. She’s heartbroken to betray the rebellion, but she can’t let an entire planet’s population be eradicated either. It’s an impossible choice, but she makes a choice anyway, and we see the pain of it in the down-turn of her face, the slump of her shoulders.

What does it tell us about her? It tells us that she’s an important person within the world of the movie. It tells us that she is fundamentally a protective, nurturing person, in as much as she tries to protect the people of Alderaan even though she must make a huge sacrifice in the attempt. The scene portrays her as a deeply sympathetic character. But note - and this is important - the sympathy comes not from the choice itself but from how she feels about it, which we viewers read through her body language. Had she treated the choice differently, in a casual or cavalier manner (“Well, Tarkin, I can’t have you blowing up a whole planet, so hey, the rebels are on Dantooine. Go get ‘em, big guy!”) we’d have had an entirely different feeling about her.

Show them in conflict

One of Luke Skywalker’s first scenes is a minor conflict between him and his Uncle Owen. We meet Luke in the scene where the Jawas sell R2-D2 and C-3PO to Luke’s family. Having made their purchases, Uncle Owen tells Luke to get the new droids cleaned up. Luke replies with:

But I was going into Toshi Station to pick up some power converters…

Epic whine. A whine that will go down in history. But, he obeys his Uncle. What’s going on here from a character perspective? We’re being shown that Luke is a relatively powerless figure. He has no authority, and little control over his life. Physically, we can see that he’s a very young man, so this makes sense and is something most viewers can empathize with. We’ve all felt that way from time to time. That’s the sympathetic hook of Luke’s character. But it also shows us that he’s not satisfied with the life he lives. He rankles at the limitations of both the life he lives and the place he lives it. As he remarks to C-3PO:

Well, if there’s a bright center to the universe, you’re on the planet that it’s farthest from.

Conflict is a wonderful way to bring a character’s deeper motivations up to the surface where we can see them. Whether those motivations come out through dialogue (as they do here), through choices made as the conflict progresses, conflict is a great way to let us know what really drives your characters.

Show them using key skills, attitudes, hobbies, et cetera

We first meet “Old Ben” Kenobi, the “crazy old wizard,” after Luke gets his butt kicked by the Tusken Raiders. (Side note: Luke clearly loses that conflict, which greatly reinforces his powerlessness.) Kenobi comes breezing into the canyon, his brown robes flowing in the breeze, and the raiders all take off. Young, strong, able-bodied Luke was child’s play for the raiders, but creaky old Ben Kenobi scares them off without so much as breaking a sweat.

It’s not difficult to understand that this Kenobi guy must have something going for him. He’s got some kind of mystic juju going on in that scene which is nothing to sneeze at. At that point in the movie, we have no idea what his deal is, not yet, but we get it: he’s a powerful figure. His subsequent dialogue with Luke further reveals him to be both kindly and wise.

In hero’s journey terms (and Star Wars is definitely a hero’s journey story), even in this short introductory scene Kenobi is an obvious fit to be the story’s mentor character.

Use vivid imagery

Don’t discount a vivid set of visuals to introduce a character, either. Like Darth Vader. Even without John William’s unforgettable musical theme for Vader, we know he’s a total badass from the moment he steps into the smoke-filled corridor of Princess Leia’s spacecraft. His imposing physical stature, jet black outfit, and billowing cape all speak of power. The symbology is not subtle at all, but it is pulled off with such panache that the overall impression is powerfully striking.

Show other characters’ reactions

Speaking of Vader, he’s also a great example of how other characters’ reactions can show the viewer (or reader) a more complete picture. He shows his face - well, his mask anyway - and storm-troopers snap to attention along the corridor’s walls. They make room for him to pass. Rebel soldiers avert their eyes and clasp their hands behind their heads. Those reactions, even though they come from nameless (and for the stormtroopers, literally faceless) extras, tell us everything we need to know about Vader. When Vader steps into that corridor, he’s the man. He’s in complete control of the situation, and no one is about to defy him.

Except, getting back to her for a moment, Princess Leia. And what does that tell us about her? That she’s strong, oh so strong, and indomitable.

Make use of setting

Where we meet characters says a lot about them too. We meet Luke out in the middle of nowhere on his Uncle’s moisture farm. He could scarcely be in a less influential setting. It’s a great setup for Luke, because for him Star Wars: A New Hope is a fish-out-of-water story. He’s the backwater nobody who finds himself suddenly thrust into the middle of hugely important, high stakes events. That we meet him in such an inauspicious location, and particularly since the previous scenes involved spaceships and Very Important People, shows us exactly the degree to which Luke is going to be an unlikely hero, bumbling through very much out of his depth.

Han Solo’s introduction is also rich with setting. We meet him in the practically the sleaziest dive bar in the galaxy. That alone sets him up as an unsavory rogue character. We then see him shoot his way out of an encounter with a bounty hunter, and with more than his share of casual bravado, establish that he is as much in control within this environment as Vader was back on Leia’s spaceship. We’re also left with no uncertainty that this Han Solo guy is likely the worst of the possible choices Luke and Ben have at their disposal for getting off Tattooine, except that he’s their only choice. His roguishness, established as much by the setting as his actions, works to sell the desperate circumstances Luke and Ben are in.

Note, too, that this is a perfect introduction for Han Solo in terms of setting up his overall character arc. He flips from being an indifferent mercenary figure to being an active ally to the rebellion. And in later movies, he shows his softer side, his willingness to take risks for those he cares about, and so forth. His arc is all about that shift from being a self-centered opportunist, to a more idealistic supporter of a cause that is larger than himself. For that to work, we have to meet him while he’s still pompous, and the Mos Eisly cantina scene is a great setting to establish that as a starting point for him.

Drop some hints about backstory

The opportunity of meeting a new character is not an excuse to tell us their life’s story. It is not an occasion to indulge in a massive backstory infodump. Don’t go there. Just don’t.

It is, however, an opportunity to create some mystery by hinting at interesting elements of backstory. The opportunity of meeting a new character is to raise some compelling questions in the reader’s mind which you can then explore more fully as the story moves on.

Darth Vader’s physical form hints at significant backstory. From the first second we see him, he is obviously a physically powerful character. And yet, there’s that mechanical, raspy breathing that hints at an underlying frailty. He’s got machines and blinking lights all over his chest. You cannot help but look at him and wonder What’s under the mask? And how did he get to be that way?

When we meet Luke Skywalker, it’s in the context of his aunt and uncle. The dialogue takes particular care to give us their names, Aunt Beru and Uncle Owen. Shortly thereafter, we see that he doesn’t simply work on their farm, he lives with them. The subtext of the conversation where his Uncle refuses to let Luke send in his application to the Academy tells us that they are his caregivers and surrogate parents. So we wonder Why is he living with them? What happened to his real parents? We’re not given some kind of heavy-handed flashback montage showing us what happened to Luke’s parents (we had to wait 20+ years and five more movies to really understand that), but we are given hints that there is a compelling backstory there.

When we meet Obi Wan and come to understand that he isn’t just a crazy old man like Uncle Owen told Luke, that he does have some kind of power, we’re forced to wonder What the heck is he doing living out in the middle of a nowhere desert?

We’re forced to wonder. And because of that curiosity, we’re compelled to keep watching. It works in books, too.

The number-one job of a character introduction

If I can sum all this up, my advice would be this: Craft your character introductions to tell us what’s most important about that person. You don’t get much space before the reader’s first impression is set, so make it count. Concentrate on conveying the one thing you most want us to believe about that character.

And make it something good, because above all, we need a reason to be interested. Give us some reason to love, to hate, to admire, or to pity the character. As long as we feel something about the person, we’ll read on. As long as we’re interested in who they are, we’ll be interested in what happens to them. The second we realize there’s nothing about a character that interests us (usually because the writer has left them too opaque), we lose interest in the story itself.

Writing Tip #5

keyboardsanddarkness:

I have met so many, many writers who, upon introduction, told me that they wrote for themselves. That they always kept a journal. That their writing was this secret imaginary friend that only they could see, and if someone caught them playing with him or her they would disavow any knowledge of it.

I routinely force my imaginary friends on everyone else.

I started a fiction group in Pittsburgh in 2009 (affectionately called “For Fiction’s Sake!” because…well, you get it) and it has been on-going to present. I started it out with a big smile, so open-minded and happy and “Let’s all give our writing a hug!” Not so much anymore. Now, it isn’t out of the question for us to spend half of our time telling each other what to fix in our writing.

I didn’t bring my stuff at first. Most were familiar with it, but not in a critique-y kind of way. “Oh, I’m the facilitator. You go ahead. Oh, I absolutely insist! Let’s discuss this wonderful simile here…” And when I did, I got a number of odd looks (most in our group write literary fiction — I write strange fiction).

But it got better! For them and for me. And most important, for my writing.

Taking that step forward and letting your stories or poetry or essays out of the closet and revealing them to other eyes…I won’t lie to you. It’s hard at first. To you, your words are a glorious pile of treasure, polished and shining. And woe to those who take advantage of the incredible gift you’ve given them, the opportunity to see it!

To them, it might be a gold-plated turd.

Take a breath. Let someone “nice” look at it first. Not too nice. Not your mom. A teacher, maybe, or a coworker; someone who likes you but would tell you if your fly was undone. Ask them to tell you just one thing that could use some work. Thank them. Cry about it for a while.

Then think about it.

You’ll be ready for public speaking in your underwear in no time.

You are the best thing that has ever been mine.

(Source: footstepsinwonderland)

What’s worse than having every sad song apply to you?

Being unable to find words that describe your pain.

I… don’t want David and Mary to have an affair.

stormborns:

That kiss was enough. I don’t want them to turn this into a full blown affair. I know that they are technically married, but they aren’t Snow and James right now. They are not aware and having an affair is just wrong. I am most definitely not Kathryn’s biggest fan, believe me, but she deserves better than this. David is being a coward right now. I understand that he was in a coma and he is very confused because he has false memories of loving and being married to Kathryn, but at least end the marriage before you start up something with Mary Margaret.

Keeping this a secret, meeting up and having little moments together, it makes this into something shameful. And wrong. Have I mentioned it’s wrong? They’re in love, obviously, they are in love and it’s something that is difficult to control, but come on guys. Please don’t be those people. You waited 28 years (sure you have no idea you did but it’s been 28 long years!) you can wait a little longer. At least until he breaks up with Kathryn.

I do not know for sure if David and Mary Margaret will be having an affair, but there was a scoop talking about it and it just made me feel bad. I think I loved them more when they were just telling each other everything with a look.

Why are you doing this to me, guys? I love you BUT NO STOP IT RIGHT NOW.

Especially you, David. I am so disappointed in you. Especially if he continues to lead Kathryn on and see Mary Margaret on the side.

That is most definitely not charming.