In playing a scene, an actor will ask herself, “what do I want?” That is, what does her character want from the other person in this scene?
Do I want this man to be my seducer? My victim? My best pal? What do I want to hear the other people in the scene say and why? Am I looking for flattery or confirmation? What are my goals?
Do I want to get married? Do I want the job? Do I want to see him suffer?
What a character wants helps the actor to determine the tactics they’ll use to get what they want. Are they flirty, firm or fidgety? Forceful, flowery or fretful?
It sounds all very manipulative, doesn’t it? And yes, it is. But come on, you do it, too. Sometimes without realizing it, you’ll be a bit more pouty than you need to be when declaring a case, or a bit more effervescent when faced with someone you fancy.
From a writing/acting perspective, thinking about a character’s wants helps you inject action into the scene. If a character has a goal, they aren’t going to sit there picking at their cuticles waiting for their life to change. They will do something. Actions betray their true desires, words don’t.
But what your characters don’t want can be just as, if not more, important to figuring out long-term motivations. I’d argue that their hopes for the future are bound up more with what they don’t want than what they do want.
Look to your own future. You don’t know what it holds. You can imagine, yes, but you don’t know for sure if the goal you’re striving for will satisfy you. You think you do. But at the same time, one thing you do know is, you don’t want to be…
- a cubicle worker for the rest of your life
- drunk every night like your mother
- alone in the world
- (insert your own or your character’s fear here)
In some ways, it is as though we head into the future running backwards, terrified of becoming one of those train wrecks we see spinning into the background as we hurl ourselves through time.
Just as in life, your characters are struggling to release themselves from something. So, in trying to figure out what they want from the future, try to consider what they are trying not to be, just as much as what they hope to be.
Stories are the means we use to “get away,” or escape. They are filled with characters trying to release themselves from a fate, a situation, a struggle.
A tragedy is a story where the hero discovers that what she thought she wanted comes at a price higher than she was willing to pay. She may think she wants to be queen, to discover the criminal who killed her father, or that she wants her son to demonstrate his love. She can taste what this satisfaction will be like with absolute certainty. She looks forward to it, fights for it at every turn. Consider, if you will, Macbeth, Oedipus, King Lear.
Modern stories tend to morality tales where the hero always wins. They ‘win’ the throne, put the criminal behind bars, and the son buys her a mansion in the country. It is as though we need the happy ending because of… what?