Over the Christmas holidays, I watched Disney/Pixar's Up with my in-laws. I'd seen it before and loved it, and since the story was no longer new to me, my brain did what it always does with a familiar story. It dissected it.
One of the biggest things that stood out to me was how the story was driven so clearly by the character's wants-- their desires. Those are what motivates them to action. It's one of the most common pieces of writing advice: define what your character wants in order to drive the story forward. It creates a stronger story to have characters who act rather than react all the time.
But let's dig a little deeper. I'm going to be using examples from Up, and there may be spoilers, so if you haven't seen it, you have been warned. Let's break down wants into smaller, more useful bits.
Unique and specific wants - Say your character wants to find adventure in South America. Cool. Say instead your character wants to take his whole entire house on an adventure to South America to fulfill a promise to his wife. Way cooler. A lot of the uniqueness of Up is in the uniqueness-- and specificity-- of Carl's wants. What he wants drives him to find a fantastic and original solution: he flies his house to South America with helium balloons.
Emotional wants - Carl's desire to fly his house south isn't just a whim. It's a very deep, emotional want. He feels as though he broke a promise to his wife by never taking her to have an adventure in South America. The guilt and sorrow he feels strengthens the emotional ties to the story, and makes the ending that much more cathartic. It makes it easier for the audience to be connected to the story when there's emotion involved.
Complex, multiple, and hidden wants - Russell, the young stow-away on Carl's flying house, has one initial want: to be of service to Carl so he can earn a badge for his Wilderness Explorer group. As the story progresses, Russell also wants to help Kevin (the giant bird) get back to her babies. This want echoes the deeper desire underneath Russell's initial want-- he wants his final badge so his father will come to the badge-pinning ceremony. The intertwining and hidden wants make Russell a more complex character than just a boy scout trying to do some good.
Changing wants - Near the end of the story, Carl finally acheives his want: His house sits in Paradise Falls, just where his wife always wanted it. However, feeling somewhat unfulfilled, he pulls out an old scrapbook his wife made and realizes their adventure was in their lifelong relationship. At that moment, Carl's wants change-- he wants the adventure of an unselfish relationship again, starting with his new friend Russell. This change of his want is the change in his character that drives the satisfying end to the story.
Every character in Up had desires, from Kevin's desire to get back to her babies to Dug's desire to bring Kevin in so his doggy-friends would like him. (I can't even tell you how long it took me to catch my breath after laughing over Dug's "please, oh please be my prisoner!" line.) All of these wants are what made this story-- one that could have been small and unimportant-- into a story I fell in love with.
So, my friends, what do your characters want? Is it unique, emotional, complex, or changing? Is it strong enough to drive your story? How do you determine your character's desires?
One of the biggest things that stood out to me was how the story was driven so clearly by the character's wants-- their desires. Those are what motivates them to action. It's one of the most common pieces of writing advice: define what your character wants in order to drive the story forward. It creates a stronger story to have characters who act rather than react all the time.But let's dig a little deeper. I'm going to be using examples from Up, and there may be spoilers, so if you haven't seen it, you have been warned. Let's break down wants into smaller, more useful bits.
Unique and specific wants - Say your character wants to find adventure in South America. Cool. Say instead your character wants to take his whole entire house on an adventure to South America to fulfill a promise to his wife. Way cooler. A lot of the uniqueness of Up is in the uniqueness-- and specificity-- of Carl's wants. What he wants drives him to find a fantastic and original solution: he flies his house to South America with helium balloons.
Emotional wants - Carl's desire to fly his house south isn't just a whim. It's a very deep, emotional want. He feels as though he broke a promise to his wife by never taking her to have an adventure in South America. The guilt and sorrow he feels strengthens the emotional ties to the story, and makes the ending that much more cathartic. It makes it easier for the audience to be connected to the story when there's emotion involved.
Complex, multiple, and hidden wants - Russell, the young stow-away on Carl's flying house, has one initial want: to be of service to Carl so he can earn a badge for his Wilderness Explorer group. As the story progresses, Russell also wants to help Kevin (the giant bird) get back to her babies. This want echoes the deeper desire underneath Russell's initial want-- he wants his final badge so his father will come to the badge-pinning ceremony. The intertwining and hidden wants make Russell a more complex character than just a boy scout trying to do some good.
Changing wants - Near the end of the story, Carl finally acheives his want: His house sits in Paradise Falls, just where his wife always wanted it. However, feeling somewhat unfulfilled, he pulls out an old scrapbook his wife made and realizes their adventure was in their lifelong relationship. At that moment, Carl's wants change-- he wants the adventure of an unselfish relationship again, starting with his new friend Russell. This change of his want is the change in his character that drives the satisfying end to the story.
Every character in Up had desires, from Kevin's desire to get back to her babies to Dug's desire to bring Kevin in so his doggy-friends would like him. (I can't even tell you how long it took me to catch my breath after laughing over Dug's "please, oh please be my prisoner!" line.) All of these wants are what made this story-- one that could have been small and unimportant-- into a story I fell in love with.
So, my friends, what do your characters want? Is it unique, emotional, complex, or changing? Is it strong enough to drive your story? How do you determine your character's desires?
