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Continuing our Free Storytelling Courselet’s talk now about the importance of understanding that each character has a goal, has a purpose, has a mission, just like you and I, just like all of us.
If we are going to tell a story, be it fictional or real, we have to immediately capture what the character wants, what is his target, what is his goal, otherwise we run the risk of creating a story that is so static that it will not arouse the interest of the audience. our listener or reader. In a story with a purposeless character we will simply have a meaningless story. And it is even significant to note that sense also means direction, purpose, aim.
We should begin our study both in creating a new story and in preparing to tell any story with the question, “What does the main character want?” We have to make it clear from the beginning what the objective is to be achieved, usually overcoming obstacles and difficulties, so that our reader or listener can identify with the character and “get into his skin”.
In other words, the external goal is the what he wants, while the internal objective can be understood as the because he wants.
For example, we have the film Inception, with Leonardo Di Caprio. For those unfamiliar with the film, here’s the synopsis:
In a world where it is possible to enter the human mind, Cobb (Leonardo DiCaprio) is among the best in the art of stealing valuable secrets from the unconscious while asleep. In addition, he is a fugitive, as he is prevented from returning to the United States due to the death of Mal (Marion Cotillard). Desperate to see his children again, Cobb accepts the daring mission proposed by Saito (Ken Watanabe), a Japanese businessman: to enter the mind of Richard Fischer (Cillian Murphy), the heir to an economic empire, and plant the idea of dismembering him. To accomplish this feat, he has the help of his partner Arthur (Joseph Gordon-Levitt), the inexperienced dream architect Ariadne (Ellen Page) and Eames (Tom Hardy), who manages to disguise himself precisely in the dream world.
The film is interesting in several ways, including the theme of dreams and, more specifically, the theme of lucid dreams. In the film, we can see that the central character, Cobb, together with his friends, plant a new idea in the mind of a billionaire’s son so that he can undo his father’s empire and, with that, the competition can win the market for itself. This, then, is the external objective.
The internal objective is presented over time. Initially, it can be said that the internal goal is to return to the US without any charges for the death of his wife. However, as we enter the character’s mind, we can recognize that the internal objective is another: to understand his memories and reconcile with his wife’s unconscious projection and deal with the guilt of having possibly been indirectly responsible for her death. .
Well, this is an example that I imagine not everyone knows, but here’s another tip for an excellent film.
We can understand the difference between the internal goal and the external goal by asking what the external goal, if realized, will bring to the person, to his growth or development. For example, a character who wants to find great love might go on to feel loved or lovable, or be able to empathize with others or be selfless.
In other words, which the achievement of the external goal will bring to change of the character. The inner change, consciously or unconsciously, will also be the achievement of the inner goal. This distinction is important because just realizing the external objective is not enough for the reader to identify with the character, or rather, we can go deeper in provoking identification by also showing or making it clear what the internal objective would be.
A character who wants to get rich has only one internal goal. But a character who wants to get rich to overcome his feeling of inferiority has much more depth, doesn’t he?
conclusion and exercise
To conclude, let’s think together about the questions we should keep in mind when we analyze how to tell or create a story:
If all protagonists have to have an objective, a purpose, a goal, let’s ask ourselves first:
1) – What is the external objective of the character? What does he want more than anything? What motivates you in your action?
Remember that the objective has to be specific. For example, wanting love is non-specific. What kind of love? A loving relationship? Feeling loved by family, friends?
2) – What is the character’s internal goal? Why does he want his outer goal so badly?
Think of the inner goal as the direction of your motivation for the outer quest. For example, an older man’s search for love can be an unconscious, oedipal representation, so that a woman can understand and recognize the troubled relationship she had and still has with her absent father.
3) To accomplish both objectives, what will the character have to face as a problem or obstacle? What will he have to overcome? What will the character feel? Fear? Rage? Despair? Empty…?
To create curiosity and interest, we have to make those who are listening or reading us identify with the character. And identification happens especially in the dimension of emotions. To reach your big goal, what will be the main feeling that the character will have to deal with or what will be the main emotions?
4) What is the truth or secret that the character has hidden – from others or from himself – and that explains who he is and why he has these goals in particular?
In a good story, we often have to surprise ourselves. In the film used here as an example, The Origin, we can see how the central character hid an important truth from his friends, which puts them in danger, which is his relationship with his wife and the way the two lived before his death. This truth is revealed little by little during the narrative.
The central idea here is that when creating or telling a story, you know what the character’s backstory is. But, of course, it is not necessary to create or memorize an extensive and endless biography. We only need to keep in mind those aspects of our character’s past life that directly affect the story we are telling.
We can see this clearly in the movie Inception. We learn about the character’s truth only with regard to his relationship with his wife, a relationship past and prior to the time of the narrative but which directly affects its unfolding. We don’t learn about other aspects like his relationship with his parents or previous jobs or what his high school life was like.
The writer created the story and also created this background – the relationship with his wife and children – but he didn’t create what was irrelevant to the film’s narrative. To get to this point – to expand the story but only to the point of need – we can ask ourselves two more questions:
a) What specific event caused your problem or fear?
b) What event created the need for the external and internal objective?
In the next Lesson of our Course, we’ll talk more about characters’ inner motivations. Questions, suggestions, criticism are always welcome in the comments below!
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