Creating Good Character Descriptions
(c) Peter D. Marshall (with special thanks to Brian Casilio)
1. Casting Breakdown
When you send out your Casting Breakdowns, you need to think of
them as marketing tools – you want to create an “advertisement”
to attract the right actors to audition for each role.
Always ask yourself: why would any actor want to audition for my
film? If it’s not for the money (or the craft service) – then why?
It’s because actors want to work on an interesting story; they
want to play a character that has depth; they want film set
experience; and they want clips for their demo reel.
2. Character Descriptions (Bios)
Ineffective Character Bios only show the “outside life” of the
character. The trick is to also show part of the “inner life” of
the character to add depth. By adding subtext in your character
descriptions, you can attract more experienced actors who will
also be better prepared at your audition.
Good Character Bios should explain essential physical and
background information about the character, but also establish
some conflict so an actor can play with it.
a. Your descriptions need to be written to attract (interest)
actors.
b. You should use at least one “emotional conflict” to add to the
description
c. Use subtext to create conflict within the character
While there are specificities of character that are necessary,
it’s important to understand that outer traits (ethnicity,
height, weight, etc.) are seldom integral to the actual
character in the story.
An ineffective bio only details those outer traits, whereas a
good bio supplies a glimpse into the character’s inner life,
which offers valuable insight into the role for the benefit of
your potential actors.
For example, you might have a character who you view as: “A
muscular, towering, Jamaican bouncer with a bald head.”
First, you should recognize that those are only the outer traits
of the character and, in casting, you have to remain open to
actors who might not exactly look the part (in fact, a lot of
great roles are created by actively playing against type).
So instead, you should find the pertinent inner traits that point
to the same character: “An imposing bouncer, intense and without
fear.”
In that description you can see immediately the character you’re
describing, but you’re not chaining that character to specific
physical characteristics.
Of course, there are certain aspects of physicality that are
necessary to mention. If, for example, special skills are
required in the role, like the ability to ride a bike or swim,
then that should be mentioned.
Similarly, you’ll want to specify if it’s integral to the story
that two characters look physically related: brothers and
sisters; parents and children etc.
Lastly, give some kind of description of what is required in the
role. It’s important to casting if there are any physical
demands, violence, implied nudity and/or sexuality in the part.
In short, be precise in what you need; be flexible over what you
don’t.
3. Character Descriptions should have two parts to them.
a. TEXT: Describe the “outer life” of the character? (Age,
general description, what they do for a living etc.)
b. SUBTEXT: Describe some part of the “inner life” of the
character (What is really going on inside of them? What conflicts
do they have?)
EXAMPLE 1: John is a 45 year old dishwasher who limps from a car
accident when he was 7. He is passionate about classical music
and he dreams of playing his violin in an orchestra. He lives at
home with his mother and his step-father, who abused him when he
was a child.
EXAMPLE 2: Mary is a vivacious, 25 year old university student
studying Engineering. She grew up with three older brothers who
always bullied her. She constantly pushes herself to be the best
in a man’s world while struggling to accept her emotional, female
side.
4. Sample Character Descriptions (Ineffective and Effective)
Ineffective:
John is a skinny 28 year old Caucasian. He has short hair and a
beard. He was born in Berlin and can speak fluent German. When he
was 15 his parents divorced, and his mother brought him to North
America. He felt ostracized in high school and spent most of his
time reading the works of Bertolt Brecht. He now works as a
clown.
Effective:
John is a brooding German male in his late 20s. Even though he
makes a living by entertaining children as a clown at parties, he
emits an intense aura of defeat and depression. He’s obviously
worn down by too many regrets, and seems to be wavering on the
verge of a mental breakdown.
Copyright (c) 2013 Peter D. Marshall / All Rights Reserved
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