A novel character with nothing to do or no goal to pursue is not very exciting or relatable. So give that character something to do! Here are some ways to do that:

. A job or career that you are fascinated with, but never worked in before, such as a big rig truck driver or a snake charmer or a magician’

. Create a funny or unusual career for your character. Maybe your character cares for bugs as a hobby and trains kids’ bugs to perform tricks.

. Think of a job that you would not enjoy performing, such as a security guard or a grave digger or fast-food worker.

. Think of the most prevalent jobs in your town or city and choose one of them for your character.

. Choose a job that you would love to do, such as working as ab assistant to a big name movie or sports star.

. Choose a career or job that not many people are familiar with but would like to know more about and give it to your character. Turn your character into a complete novice!

. Go to your library’s reference room and peruse career books that are not circulated but are limited to use in the library.

. Explore more mundane options such as garbage man aka “sanitation engineer” or a customer support person in a given industry.

. Explore other possibilities as game show host, disk jockey, paparazzi or professional athlete or student.

. Combine two careers or jobs and build a new one for your character!

. Think of the jobs held by your family and friends. Then choose the most interesting one for your character.

. Consider the occupations of characters in published novels and perhaps choose one that is slightly similar. Your character may be an apprentice or an assistant, for example. Or perhaps even another character’s boss! And maybe your character was assigned that position because he is more talented or secretly being chosen as a subject for experimentation. You never know!

The key is matching your character’s personality to a given job or career. It might help to imagine yourself as the main character who happens to hold a similar position. Or even YOUR position. After all, you know all the ins and outs and lingo of your job. And maybe as a novel character, you’re well matched and love it. That is, until people have to be laid off or fired. What would you do if you were on the verge of being fired? Put your character in the same predicament and watch the fun!

What is character? According to the dictionary, character means

1. a distinctive trait;

2. behavior typical of a person or group;

3. moral strength;

4. reputation.

Character is an evaluation of a particular individual’s moral qualities. It can also imply a variety of attributes including the existence of lack of virtues such as integrity, courage, fortitude, honesty and loyalty, or of good behaviors or habits. When someone is a moral character, it is primarily referring to the assemblage of qualities that distinguish one individual from another.

When we watch a movie or read a book we usually think of the characters. Even though sometimes the character is complex most of the time they tend to be usually good or bad. Even in the early days of the western, you could tell the characters by the color of their outfits and hats. Although we tend to support the good character and cheer them on as they go about their lives. We want to see them succeed. But in real life character is much more complicated. We are all an array of good and bad character traits. We need to make a conscience decision to do what is right. Depending on your choices, we are either rewarded or have to pay the consequences.

The United States Air Force Academy definition is “We define character as the sum of those qualities of moral excellence that stimulate a person to do the right thing, which is manifested through right and proper actions despite internal or external pressures to the contrary.”

When we think of someone with good character or morals we can find many who fit the bill. One of the men I think about is Noah. Even if you are not biblical you have heard of Noah. Noah was a man who God chose as being a person of good character. Noah was a just man. He was righteous in conduct and character. He was a man vindicated by God. He was also able to maintain his integrity as he was being ridiculed by his peers. He was a role model for them and by being a man of good standing and did not waiver in his conviction, God protected Noah and his family.

Another quote by an author unknown says, “Watch your thoughts; they become words. Watch your words; they become actions. Watch your actions; they become habits. Watch your habits; they become character. Watch your character; it becomes your destiny.”

In looking at the negative side of character for a brief moment. The current situation on Wall Street shows the CEO’s of these firms as greedy. Shows a lack of integrity.

Once your character has been destroyed how long do you think it would take for others to trust you again? Would your character ever be totally repaired? Would there always be a hint of question surrounding you?

Remember when dealing with others keep your character intact. Also, remember the true test of character is what you do when no one is watching you. Do you act the same way when you are alone as you do when you are with others. As Abraham Lincoln said, “Nearly all men can stand adversity, but if you want to test a man’s character, give him power.”

According to renowned psychoanalyst/philosopher Dr. Erich Fromm, man, by his very nature, has an urgent need to be oriented, to understand himself, his fellow humans, and the world around him. Another way to make this same point is that man has great fear of being isolated, alienated, and disconnected, from himself, his fellow humans, and the world around him.

In that light, to the degree that an individual develops a realistic understanding of and connection to himself, his fellow humans, and the world around him, he is sane (oriented, connected rational, and balanced). To the degree that he fails to develop such an understanding and connection, he is insane (disoriented, disconnected, isolated, and alienated).

The vehicle that allows man to connect realistically with the world of things Fromm calls reason. The vehicle that allows man to connect realistically with himself and his fellow humans, Fromm calls love. So connecting realistically with himself, his fellow humans, and the world around him requires man to develop his ability to reason and to love.

Productive VS Non-Productive Character

The ability (or inability) to develop one’s capacity to reason and to love is heavily influenced by the circumstances in which an individual is raised. At an early age one’s experiences solidify into what Fromm terms character.* Fromm divides character into two camps. Camp number one is the productive (sane, rational, healthy) character type. Camp number two are the non-productive (neurotic, psychotic, insane) character types.

The productive camp revolves around what Fromm calls a “being” orientation to life in which exploring, developing, and fulfilling man’s productive potentials is the primary focus. In contrast the non-productive orientation to life revolves around what Fromm called a “having” orientation to life in which accumulating/consuming things is the primary focus. In the having orientation human life itself (individually and collectively) is reduced to a thing that can be bought, sold, owned, controlled and manipulated by someone or something other than oneself.

Both character types exist in the form of possibilities to be developed or to be left undeveloped within all human beings. Their actualization, as we’ve already said, depends heavily on the circumstances in which the individual is raised. If one’s productive possibilities are encouraged, nurtured, and cultivated the productive character type will emerge as dominant. But if one’s productive possibilities are discouraged, stunted, perverted, or otherwise prevented from developing, the non-productive character type(s) will emerge as dominant.

Fromm’s Four Non-Productive Character Types

Fromm identifies four non-productive character types including the receptive (masochistic), the exploitative (sadistic), the hoarding, and the marketing orientations. In all four non-productive character types their lack of self-respect, (self-value, self-love) results in their inability to creatively and realistically interact with themselves, other human beings, and the world of things. This personal void causes the individual to depend on someone or something outside of himself in order to develop an orientation to life. But all humans must have an orientation (even if illusionary) in order to function. In the process the non-productive character avoids taking responsibility for his own life. To use Fromm’s phrase, he’s “escaping from freedom.”

More specifically, the RECEPTIVE character dislikes/disrespects himself and his ability to be productive. So anything of value (including his orientation to life) must come from someone or something outside himself. The receptive character type effectively attaches himself in a symbiotic fashion to someone (i.e. parent, spouse, boss, coach) or something (the state, the corporation, the church, the team) outside himself and depends on that entity to direct and define his life. The receptive character is generally referred to as masochistic.

In contrast the EXPLOITATIVE character also dislikes/disrespects himself and his ability to be productive. As the result, anything (including his orientation to life) of value must come from someone or something outside himself. The difference is that the exploitative character does not wait to receive. He takes what he wants from someone who is weaker and can be exploited. Instead of being dominated the exploitative character is the dominator. He is however, every bit as dependent on others (the exploited) as the receptive character for his value. The receptive and the exploitative characters need each other. The exploiter is generally referred to as sadistic.

The third non-productive type Fromm labels the HOARDING character. The hoarding character also perceives himself as incapable of being productive. But he’s not receptive or exploitative. Instead he SAVES everything. He’s a miser. His relationships with people are distant, untrusting, and cynical. He’s unable to give anything of himself. Yet he is still 100% dependent on entities outside himself for anything of value including his orientation to life. When anything of value that comes within his grasp he never lets go. A penny saved is indeed a penny earned.

The fourth non-productive type Fromm labels the MARKETING character. A relatively modern phenomenon, the primary characteristic of the marketing orientation is its malleability, its flexibility, its ability to change in a heartbeat depending on the demands of the market. This character type effectively worships the market (the invisible hand) as his god. He perceives himself as a commodity to be bought and sold on the free market, which in his eyes determines the value of everything including himself. His relationship to others can be characterized by the phrase “I am what you want me to be.” He’s a chameleon. The customer is always right. ***

The Antidote to the Non Productive Character Problem

Character is formed at an early age. But it’s not set in stone or irreversible. While it’s true that character is hard to change, it’s not impossible. In Fromm’s view the antidote for the non-productive (neurotic, psychotic, insane) character is the understanding and practicing of productive living. In other words the cure for the problem is to actively develop one’s own innate capacity to reason and to love (respect, revere, appreciate, value) humanity, starting with one’s self as a full-fledged, respected member of the human race.****

Developing such capacities requires understanding and practice. But as one’s productive living potential begins to emerge and to take shape, the experience of living meaningfully and purposefully becomes fulfilling in a way that the non-productive orientations can never be. The experience of being responsible for one’s own life – as much as humanly possible – becomes gratifying enough that the non-productive (extrinsically driven) motivators gradually begin to fade, lose their power, their ability to influence and control the individual’s behavior

The Productive Character Type

So now let’s focus more specifically on the productive character type. The term “productiveness” as used by Fromm* refers to a specific way in which a person relates to himself, to others, and to the world around him. It’s an orientation, a context in which human life has the potential to become meaningful, purposeful, and worth living.

Respectful, Interactive, and Creative

For Fromm, a productive relationship begins with a deep respect, a reverence for life in general, including and especially for one’s self and one’s fellow humans (regardless of gender, ethnicity, race, religion, nationality or socio-economic status). In contrast, the lack of respect and reverence for human life (regardless of gender, ethnicity, etc.) results in the inability to connect with one’s self and one’s fellow humans. This makes the experience of productiveness impossible.

This mutually respectful, productive relationship is also interactive (in the sense that it’s something a person does, mentally or physically with others and/or things around them) instead of passive (in the sense that it’s something that’s done to a person, mentally or physically by others and/or things around them). In other words, productiveness takes at least two to tango.

This mutually respectful, interactive relationship is also creative in that it produces something new whether it’s an idea, an appreciation for, understanding of, or an actual physical entity. In this sense the experience of productiveness is Godlike in its capacity to create, recreate, and multiply itself exponentially in the lives of those who understand and practice it.

Ends and Means

The experience of productiveness is also an end in itself instead of a means to an end outside of itself. So if it’s done for sake of fame, fortune, social acceptance, or any other extrinsic reward, it’s not productiveness in the way that Fromm uses the term. That is to say, productiveness is itself the reward, the motivator. One practices productiveness because the experience itself is naturally rewarding, fulfilling, and meaningful.

The Powers of Reason and Love

As we said previously, according to Fromm, reason is the vehicle with which a person actively penetrates beneath the surface, the superficial, and comes to understand the world of things. On the other hand, love is the vehicle with which a person actively penetrates beneath the surface, the superficial, and comes to understand himself and his fellow human beings.**

Thus through the power of reason, a person has the potential to penetrate, understand, and to interact productively/creatively with things around him. In the process, he has the potential to improve his own circumstances and the circumstances of his fellow humans.

Through the power of love a person has the potential to penetrate, understand, interact with, appreciate, and to connect creatively with himself and his fellow humans. The powers of reason and love are thus the vehicles through which man can express and experience productiveness.

Conditions Encourage or Discourage Productiveness

The possibility of relating to the world productively also depends on one’s circumstances. That is to say, it’s almost impossible to relate productively to the world when one is in dire need of food, drink, a roof over one’s head, or clothes on one’s back.

On the other hand, when one is not struggling under the whip of economic necessity, when such basic necessities are predictably met, the odds of relating productively are enhanced exponentially. So when he has discretionary time and a healthy upbringing, when he is legitimately free and unencumbered by culturally oriented illusions to think for himself and to choose accordingly, man has the opportunity to develop his productive potentials. He’s not naturally lazy, slothful, depraved or sinful as some contend

And historically speaking productiveness, when given the opportunity to breathe freely, has resulted in the development of human culture ranging from language and history, to religion, art, science, and sport. In other words, without discretionary time to be productive, there would be no Socrates, Plato, or Aristotle, no Jesus, Allah, or Buddha, no Michelangelo, Shakespeare, Mozart, Beethoven, Einstein, Elvis, Muhammed Ali, or Robin Williams. That is to say discretionary time, not necessity, is the true mother of invention and a productive, meaningful life.

*The concepts of character and productiveness are discussed in great detail in Erich Fromm’s book entitled Man For Himself: An Inquiry Into the Psychology of Ethics.

** In “The Art of Loving” Fromm’s best known book, the concept of love is explored in detail.

*** These four character types are simplified in order to describe the primary qualities of each type individually. But in real life they’re found in various combinations within individual people. That is to say an individual could be a marketing oriented character who is also exploitative.

****Mental illness, generally speaking, is the result of man’s productive nature being impeded. The antidote to depression, anxiety, and ennui according to Erich Fromm is productiveness.

I want to tell you a story about a lady who is very pretty and highly influential, but remains single out of her wish. She was very promising because of her higher education Qualification, but there was a ‘but’ in her life. She is of a bad character. She can talk and talk and talk. Gossip has eaten her up that she never know when she will say what she ought not to say. Time passes but she never get married. Oh what! At 40 she remained single.

Looking back, many of her peers are vividly settled down with their husbands, she was worried what was wrong with her. She began to asked questions. She began to imaging what could be wrong with her. She had forgotten that education without good character is like the biblical gold ring in the pig’s snout. She never know that too much of her talking had driven her potential husband away.

I am not telling you this story just for a tale bearing sake, I am telling the story just for you to know that there are lot of things that we considered as minor that are doing major havoc to us. Helen never know that speaking uncontrollably can wreck havoc to her.

So what are the minor things in your life – lying, low self esteem, glutton, disorderliness, too much of sleep, laziness, indiscipline etc. If you never get rid of them they can as well send you to where you never wish to be. Let the story of Helen be a lesson to you. In anything you are doing, make your character be seen as good as possible.

To illustrate this, let’s examine the film adaptation of The Godfather to see how the main characters give rise to the structure of the film.

The central characters are:

• VITO CORLEONE: Aging mafia don with three sons. A tough immigrant Sicilian, he now dreams of taking his business legit. He’s a moral man in an immoral world: he loves his family and worries about the sleazy business of drug dealing.
• SONNY: The eldest son, heir apparent, but a hothead.
• FREDO: The middle son, a weak fool.
• MICHAEL: The youngest son, a war hero, all-American (with a WASP girlfriend), very smart, loves his father but doesn’t want to work in the family business.

These four characters don’t really give you a film structure, but what if you add the following:

• SOLOZZO: A drug dealer who wants to build his own empire. He needs the leverage of a big player — Vito Corleone — but he’s too ambitious.

So here’s your plot:

1. Solozzo (too ambitious) asks Vito to partner with him in the drug trade.
2. Vito (the man of morals) politely refuses.
3. Sonny (the hothead) speaks out of line.
4. Solozzo (too ambitious) thinks he can make a deal with Sonny, and tries to kill Vito, placing Sonny in power.
5. Fredo (the weak fool) can’t protect his father.
6. Vito (the tough immigrant Sicilian) survives five bullets in the chest.
7. Michael (who loves his father) goes to see Vito in the hospital.
8. Solozzo (too ambitious) plans to kill Vito in the hospital.
9. Michael (the smart one) outwits the assassins and saves his father.
10. Michael (the smart one, who loves his father) plans to avenge Vito and restore order and power to the family business.
11. Michael (the war hero) goes to kill Solozzo.
12. Solozzo (too ambitious) falls for the trap and gets killed.
13. Michael (the smart one) flees the country.
14. Michael (the all-American) hides in Sicily, where he learns to embrace his heritage.
15. Sonny (the hothead) flies into a rage over the abuse of his sister, falls into a trap, and gets killed.

And so on….

Structure is the natural outgrowth of characters in conflict.

Before structuring your story, make sure you have characters who will come into conflict in a meaningful and interesting way.

There have been many great characters throughout television history, but not many of them can claim to be as complex, round, or hard to figure out as Jimmy McNulty from the Wire. McNulty may be the most interesting and deep character ever created. The Wire has many great characters, including popular favorites Omar Little, Stringer Bell, and Avon Barksdale, but Jimmy McNulty was the poster boy for the show and he is the central figure of the show.

Jimmy McNulty is the character featured in the opening scene of the series, and for the next three seasons he plays a prominent role. McNulty is the character rattling the cages of those in charge of the police department. McNulty is the only character putting the job ahead of himself. He wants to catch the criminals, rid the streets of drugs, and make Baltimore a better place. Everyone else in the show is simply holding Jimmy back. If the Wire were a melodrama like most shows on television, it would seem natural to place Jimmy McNulty as the hero of the Wire. He may have a little too much to drink sometimes, he may have cheated on his wife with another woman, and he may have no respect for anyone but himself, but perhaps we can pity him for this rather than hate him. However, the Wire is not a melodrama. It is a drama based on the reality that is Baltimore. Jimmy McNulty does do great things as far as working cases and catching crimminals, but the Wire also shows him for who he really is. We see the pain he has caused his ex-wife and his children. We see the pain he causes Beadie when he again reveals his true traits. We see his disrespect for even those one might consider his friends at the police department. We even see Jimmy McNulty altering corpses and impersonating serial killers, so he can get his way. Jimmy McNulty has many great and honorable traits, but he also has many traits that should be frowned upon.

The Wire even goes as far to essentially remove McNulty from the show for a season. Most shows do not remove their poster boy and central character from the show, but the Wire did not hesitate to. Even by focusing on other things, they managed to develop McNulty. For a moment, many believed Jimmy McNulty could be happy without investigating crimes, but the fifth season puts that belief to rest. He is a character driven and passionate about only one thing, solving crimes. In most show this makes him a hero, but the Wire shows more about him, defeating stereotypes and incorporating the realism that makes the Wire special. Jimmy McNulty is one of the greatest characters in the history of television, not because of his smarts, bravery, or other honorable traits, but because of his negative traits that make him a round, whole character.

McGee. McGeekle. McGoogle. McMotherboard. Elf Lord. Shall I go on? Tim McGee is one of the funniest characters on the show, and is often teased by DiNozzo and Ziva. Growing up, he was a nerd in school, the opposite of Dinozzo. Throughout the series, Tony has a lot of difficulty understanding McGee’s infatuation with computers, which is why he teases Mcgee so much. Tim is not the best agent in terms of fighting and interrogation, but he is the best in obtaining information on suspects. McGee has various degress, including a Bachelors in Biomedical Engineering from Johns Hopkins, and a Masters in Computing Forensics from MIT. He is a computer genius, and fairly laid back for a federal agent.

McGee is extremely persistent when it comes to virtual information. When faced with a tough level of computer encryption, or a difficult task, he may stay up the whole night working on it. He does not give up until he finds what the team is looking for, and the criminal is put behind bars. Persistence is McGee’s best trait. This is significant, because when dealing with computer forensics, you cannot give up on a challenge.

Despite McGee’s humor, intelligence, and wit, he is sensitive to the opinion of others. If one person tells him that his hair looks bad, he will ask everyone else how his hair looks. He cares greatly about what other people think of him, especially those close to him. This can be seen when he asks his fellow agents what they think of his new light beard look. To which Tony teases him, and Gibbs forces him to shave it off.

Agent McGee makes for a very unique NCIS agent, and his character is so realistic and true-to-life. He represents how a geek can grow up to be a Federal Agent, as long as you have confidence in yourself. Because in the end, it’s your confidence that matters most to your success.

Now that we know who he is, let’s answer a basic questionnaire about what Agent McGee would do in certain situations:

Q1. Your best friend has just lost a loved one, how do you handle it?

A. McGee has suffered through the death of 2 team members in the past, which has strengthened him greatly. He would be there for a friend, and stand tall when it is needed. Like Dr. Mallard, he is strongly supportive and willing to comfort a friend in need.

Q2. You just won $1,000,000 from a lottery ticket that you bought. How do you react?

A. McGee would gloat to Tony and Ziva about the lottery win, just as they would gloat to him. With the money, he would probably spend 90% of it on himself, including a car and Armani/Ralph Lauren clothes.

Q3. Your best friend has just achieved his or her dream goal. How do you show your support?

A. McGee would be very happy for his friend, and celebrate the event. He’s not much of a leader, or a party thrower, so he would follow somebody else’s lead. McGee is very supportive, but in a different way from other characters on the show.

Q4. On your deathbed, how well did you live your life? Is there anything you would have done differently, given a second chance?

A. McGee would probably wish that he had more courage to take more chances in life. McGee has stayed relatively close to his comfort zone throughout his NCIS journey. What he lacks in courage, he makes up for in persistence. Although McGee stayed close to his comfort zone, there isn’t much that he would change, if given a second chance. He does what he loves to do for a living, and that is one of the highest accomplishments in life.

The most challenging roles and the most acclaimed portrayals are those of mentally unstable characters. Such portrayals resonate with audiences for multiple reasons; most telling is the anxieties and uncertainties we face in our own lives. Likewise, such behaviors generate strong emotions that include empathy, fear or resentment. Whatever the response, we are moved and engaged; mirrored by our fears and uncertainties what if this happens to me? What if I go over the edge?

When done brilliantly, such roles are critically admired and often win industry nominations or awards. They also win critical recognition as being the pinnacle of acting. When done well, it can also result in better job offers. It sets the bar higher showing one is a competent performer, one who can play an extreme range of wants, needs, and emotions of a character on the edge. Such actors become an asset, a bankable entity to developing projects

Another reason to explore this area is that normal characters occasionally become mentally unstable. Such occasions arise when a person is overwhelmed at work, or when something catastrophic happens to a close relative. Another occasion might be when losing one’s temper and crossing the boundaries of common decency. Such events put considerable stress on a person causing them to act irrationally. These departures from the norm are opportunities to expand the role and give the character more depth.

There is limited visual evidence of how mentally unstable people behave. However, many filmmakers, directors, and actors have done in-depth research in this area and have duplicated characters exhibiting the desired unstable traits. These people have researched actual patients and even brought in consultants to further solidify these portrayals and their predominating traits.

This article reflects a consensus of these traits. This is not a clinical compiling but a dramatic compilation from well-researched films. There is a difference in that the clinical is spread out over a long treatment period while the dramatic is selective and compressed into the allotted time period. While the clinical rendition may be more authentic, the dramatic rendition gets to the same story points and does so with more impact. While these portrayals are complex, it helps to deal first with the externals.

Mentally unstable people are recognizable by certain visual traits. Most telling is the eye/nose alignment, which is more acute as the eyes often look beyond the observed to the imagined. The look exceeds normal angles, as the subject seeks avoidance, confronts paranoia or searches for answers in a chaotic world filled with uncertainties. And this uncertainty engages the audience as unstableness creates the propensity for going in multiple behavioral directions.

In “The Snake Pit”, Oscar-nominated performance by Olivia de Havilland, eye behaviors are used to portray a chaotic world, one where self-imposed guilt causes a nervous breakdown so serious, she has to be institutionalized. The story is structured around her treatment and her progressing awareness of what caused these breakdowns. Thus, the audience is alongside her as she goes through this self-discovery. We know what she knows and we identify with her struggles. Events such as a calendar date or time on a clock trigger psychotic episodes overwhelming her mental state. Through her slow recovery, there are setbacks and regressions, yet she gains enough strength to face her dilemma and discover she was not responsible for the death of her father and that of a man she dated. Part of the story is told in flashbacks when her behavior was normal. This contrast is an important part of this characterization.

Another telling behavior is shifty eyes, a paranoia that someone is watching her. It could also be apprehension knowing she doesn’t have the answers. In most cases, these are imagined entities, yet to the subject, they produce responses as if they were real. Psychotic illusions, whether manufactured or memory induced are portrayed as if seen by the darting eyes.

Other traits include facial contortions that are likely induced by stress and anxieties. Most noticeable is the tension around the lips and eyebrows as if the person is trying to make sense of his or her surroundings. In acute cases, there is a look of inner madness that has the potential to go off any which way. This ambiguity of purpose and unpredictability draws audiences to these characters. Such behaviors create pressing questions; what will happen next, what direction will she take?

In mentally unstable people there is a lack of clarity as they are weighted down with misinformation, bad assumptions, or forced perceptions. They are confused about how to identify the problem, attack and resolve it. Thus, the overriding behavior is one of inner confusion and a feeling of losing control. Their judgment is degraded to where they cannot make logical decisions. As a result, they are more likely to make bad choices, choices which could precipitate a downward spiral toward madness.

Self-awareness of being unstable leads to the behavior of trying to act normal. And how well the subject does it depends on the control he or she has over their behavior. Being normal is the primary goal of most institutionalized patients, however, they are more prone to triggers upsetting this balance. What a normal person would consider an inconvenience, an unstable one sees as a catastrophe. An analogy would be that of a drunk trying to act sober.

Memory lapses are common, as is momentary disorientation. The subject focuses most on inner self rather than the world and those around him. There is also confusion between implied and literal meanings. Behavior is incongruent (lacking appropriateness) rather than exhibiting harmony, agreement, and compatibility.

There is a persistent inner voice that talks to the subject, weighing options, seeking answers, and struggling with implementing actions. There’s an inner turmoil between that which is real and that, which is perceived. When things go bad, what’s perceived usually outruns reality. Episodes of paranoia are clear as the subject distrusts everyone including himself.

There’s usually a strong sense of vulnerability for the subject lacks the skills to defend himself. The pain inflicted by others or himself leave long-lasting damage. There is little desire to take care of one’s self. Appearance can be disheveled and unkempt usually the result of deflated ego or an inferiority complex. Things such as hair not combed or clothes wrinkled, and often not color coordinated. Also, buttons in wrong holes, no makeup or misapplied and complexion drained of energy.

Depression soon becomes the gateway aliment and can lead later to more invasive neurosis such as an array of phobias, neurotic instability, and episodes of intense anger. Unless there are counseling and therapy, rehabilitation is doomed.

When he or she is subject to persuasion, they are easily misdirected toward detrimental consequences. This is likely because of the uncertainty about one’s judgment and capabilities.

Facial muscles and lips tighten illustrating the subject’s stress level which can be elevated for extended periods. Also, facial expressions are ambiguous reflecting multiple or even conflicting emotions. This distortion reflects the inner tumoral of being unable to bring clarity to situations. Not being able to exhibit clarity is a common trait of a mentally unstable character.

The inciting cause of becoming mentally unstable can be anything from a catastrophic loss to a brain injury to an induced breakdown. “Gaslight” is a classic example of manipulation and betrayed love. In this psychological thriller, Charles Boyer character accuses his wife played by Ingrid Bergman of losing valuable items. She also hears sounds coming from the attic and the unexplained dimming of the lights, things her husband states she’s imagining.

She portrays these anomalies through acute eye movements and questioning head turns. Soon she degenerates into a raving lunatic unable to decipher reasons for her downfall. She rambles and becomes incoherent until the policeman gets inside the house and confirms the gaslights are indeed flickering. Logic overcomes her paranoia as she finds a reasonable explanation. Her husband has attempted to drive her insane while he searches the attic for the family jewels once owned by her murdered aunt. The flickering gaslights result from his lighting the gaslights in the attic. The psychological term gaslighting, which describes a form of psychological abuse in which the victim is gradually manipulated into doubting his or her own sanity, originated from the play and its two film adaptations.

Another good resource is the film “One Flew Over the Cuckoo’s Nest.” The supporting actors who play the inmates are excellent character studies. In preparing for their roles the director had them mingle with actual asylum patients for weeks and observe their behavior. Thus, this film is a great resource for creating characters. The same behaviors described earlier are articulated by these supporting players portraying inmates.

Other films which exhibit mental neurosis can be found on Wikipedia under the heading: Mental Disorders in Films. Some disorders have short definitions and the films listed have synopsis when highlighted. Sometimes, it states which character is afflicted or which actor played the role.

Mental disorders can also manifest physical ailments which add to the character’s texture. These might include headaches, stomach pain, nausea, or muscular tightness. Such ailments are often because of the stress the subject is under. Other physical traits include loss of energy and lack of coordination.

Researching the role of a mentally unstable character requires more study than the average role. An unstable character exhibits both normal and abnormal behaviors so one must research both. This contrast compares the two behaviors and provides a reference point. It tells us what life was like before the unstable behavior started. Or it tells how the character behaves in non-stress situations. This phase of the character could be episodic or revealed in flashbacks. What triggers the mental unstableness is usually stated in the script along with the medical disorder. Exploring this area can enrich the role. However, avoid playing the ailment’s symptoms. Instead, play the character’s inner struggle to deal with his incongruent, disturbing, and erratic world.

One mistake to avoid is playing too many traits for this can lead not only to confusion but also a lack of believability. Instead, pick a few of the major symptoms and play with their variations and dynamics. Also, by contrasting their real and imagined worlds, we can feel the pain of their journey into madness.

A list of all mental disorders, mental illness, and related mental health conditions, their symptoms and treatment can be found online at psychcentral.com/disorders. This information conforms with the DSN-5, the Diagnostic and Statistical Manual of Mental Disorders, 5th Edition used by mental health professionals.

In summary, there are many considerations in developing and portraying mentally unstable characters. Foremost is the alignment of the inner turmoil (emotions) with the external behaviors (expressions) we see and hear. Do they mesh together and create a troubled creature struggling for clarity? Next is portraying the contrast between normal and abnormal behaviors so we can gauge the departure from reality. And last, add your own touch of uncertainty, either remembered or fabricated, to create a more authentic and resonating character.

For an actor creating a character from scratch is a major undertaking. If you wish to achieve more than playing some variation of yourself there are many elements that go into creating a role.

After developing a solid technique you will have to learn how to break down a script. The writer provides the actor with a road map and it is the job of the actor to navigate the twists and turns of the writers vision. Actors approach their roles differently. Brando was an actor who relied heavily on his instincts and intuition to gain an understanding and feel for the character’s point of view. He was a keen observer of human nature who spent hours watching people in a variety of situations. In the latest Brando bio by Susan Mizruchi (“Brando’s Smile”) Ms. Mizruchi writes that Brando was an avid reader/researcher that would read voraciously to gain information on all aspects of the character’s nature. Annotating every script he worked on was part of an insatiable curiosity that was an integral part of his process. To gain an understanding of character he had to know why his characters were motivated to do the things they did.

Intuition is another tool that is an integral part of the process. Getting a “feeling” for what is happening “moment-to-moment” and “impulse-to-impulse” is a non-intellectual way of dealing with the written word. The actor cannot impose himself/herself on the script. In other words you don’t do the script, the script does you.

“Imagination”, said teacher/director Robert Lewis, “is the most powerful tool the actor has at their disposal.” For any artist imagination is not a luxury. It is a necessity; the fuel that ignites creativity. The actor’s choices are directly influenced by the imagination. Vivid visual images have a major impact on the actor’s choices.

Time and place cannot be ignored. Stella Adler said, “Where you are is who you are.” This not only refers to the immediate place but the economic, political, social climate of the time. Dress codes, morality, protocols, etiquette, must be addressed.

It is your job to inhabit the world of the character that you play. Their voice, walk, speech patterns, mannerisms are all part of creating the role. You must express yourself emotionally and physically as the character does. You cannot ignore the essential elements of character. It is your job to bring the character to life.

Develop your technique, respect the process, and bring all of who you are to each and every role that you play. Do not compromise any aspect of preparation. And learn how to play. It is the child in each and every one of us that gives birth to creativity.

In creative fiction writing, the author needs a framework, but his/her characters have some freedom within the framework.

A good story must have a basic framework to hang upon. There are two basic approaches to framework creation. One approach is to create a detailed outline of the order of events in the story from the beginning to the end and have the final product be a fully fleshed out version of the outline.

Another method is to have a basic overall picture of where the story will go and some of the important events that will occur along the way, including a rough idea of how the tale should end. In this second approach, the story is given more freedom to unfold and the author may even surprise himself or herself. In fact, in this approach the author might well be writing to find out what happens.

Regardless of whether you are a storyteller who prefers a greater structure on which to hang a story or whether you are a storyteller who prefers more spontaneity, there will always be a dynamic relationship, an interaction, between the tale that is being crafted and the characters developed to inhabit that story and bring it to life.

Many beginning authors fall into the rigid mindset that, “I am the author. I create the story. I know how I want my story to end and what is going to occur along the way.” This isn’t always true. Your characters may sometimes have different ideas. They have a certain amount of control over the story. This is true regardless of which basic story framework style you choose to follow.

As a good storyteller, you have endeavored to create your characters’ personalities in a detailed manner so that if someone ran into them on the street that person would recognize the characters. Based on the personality established for a given character, one can predict how the character will react in most situations since every person can be somewhat predictable. Once you as an author have figured out this basic pattern and you give the character a similar situation, will she always react that same way? The answer surprises some people. It is a resounding: Not always. Real people are oftentimes inconsistent and will end up surprising you.

Therefore, to have a believable character, you must make the character behave like a real person and allow him or her to sometimes do the unexpected, or, otherwise, you have created a robot your readers will not like. Therefore, don’t force the story on the character. Sometimes the story will have to be adapted to fit the character.

Nevertheless, when you break the character’s general trends, it absolutely must be believable. The event should not sound like a false note that distracts the reader. At the same time, it is all right to have some notes that stick out as long as they do not detract from the work as a whole. This is a balance you as a storyteller will have to practice and play around with. But while playing around, remember just as you should not force the story on the character, you should not force the character on the story. Story and character interact and create something bigger than either one alone.

This dynamic interaction is the magic of story creation that will inspire your readers to visit your world frequently.

Kat Jaske ©2006 All rights reserved