![]() Madelaine Blais, a Pulitzer Prize-winning journalist and author, captured the essence of this challenge in The Complete Book of Feature Writing. It takes a little more effort to zero in on the physical attributes that distinguish one person from another, but that’s one of the writer’s gifts that makes storytelling such a special experience. “Janice Richardson, 35, advertising account manager at Hathaway Communications” or “William Masterson, 22, of 568B Crowne Court Apartments.” Not just standing and watching the crazy happen.In most newspaper stories, and even some magazine pieces, people are little more than a name, a title, age and address. Try to have the fish active in the scene. Needs justification / stakes for character to be in this crazy world. Sane Character Comic World – Group Sketch – Needs to start out grounded, audience doesn’t know its crazy yet. It usually takes 3 or more characters to provide ‘proof’ of the world.Ĭomic Character is a Sane World – Aliens coming to Earth (Work and Mindy, Coneheads, Mr. The difference is with C&E scenes, the Center usually has a relationship history with the Eccentrics (Arrested Development, The office, Malcolm in the Middle) With Fish out of Water, it’s usually the sane character walking into this comic world for the first time. Some Fish out of Water scenes are also Center & Eccentrics. Works best when the central character want/needs something from the environment (Stakes) – they aren’t just plopped there for comic effect. Typically they don’t understand the rules of the environment – or have an outsider perspective. If we use your idea for ‘Workout’, then this can push him to a much higher physical/emotional (financial?) cost as he abuses his body.Ĭenter & Eccentrics – San character in a comic world.Ĭenter usually has a relationship history with the Eccentrics (Arrested Development, The office, Malcom in the Middle)Ī character who doesn’t belong with the environment. High stakes also justify increasing comic action/behavior. For example, when a character gets shocked by the wires, then he could have limited use of his fingers for the rest of the scene. To that end, if one of the goals is to beat up your character (physical cost) while he destroys his environment (financial cost.) And the injuries aren’t random, but should act as future obstacles. Push costs- Because in non-dialogue scenes, all the comedy comes from the physical. If you’re going keep this same Character POV, then you need to add another character who IS affected by these events and choices (a roommate, friend, girlfriend, etc.) ![]() Have him be affected by these events from the top of the sceneĢ. And without tension/conflict, there is nothing to build off of. Seinfeld ‘The Chinese Restaurant’ and ‘The Garage’ episodesĪs fun as it is to have a character who shrugs everything off, it undermines the tension of the scene.In order for the sketch to seem plausible or realistic, the goal has to be an all consuming passion or obsession for the character.The goal in the impossible task is usually never accomplished or, if it is, it’s usually at a great physical, financial, or emotional cost to the character.Character has a mind set on one goal and there are obstacles set in his/her way that he/she has to overcome.
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