At California State University, Eric Edson, one of the most informative screenwriting professors presents extensive lectures concerning what he defines as the 14 character types, with a helpful PowerPoint to boot. When we speak of character types here, these are not individual examples, but archetypes, and therefore these modes for character-writing ought to be of vital importance to any writer who’d like to consider themselves informed about the medium their working in.
Edson opens with a preface of sorts; philosopher Theophrastus’ 70 personality types, defining human beings as being governed by a predominant attitude. These categories set in motion artistic depictions of
character types; however they did not relate to plot function, but rather to Theophrastus’ summation of the human personality.
The 14 character-types which do relate to plots, as outlined by Edson, can be seen to serve the story, without fail, or more specifically to either help or hinder the hero’s progress. This process is what produces conflict, the lifeblood to audience involvement in films. Every character that has no such tangible effect on the main conflict, or the hero’s progress, is defined as an atmosphere character; essentially props to create verisimilitude for the story world.
Edson goes on to run through a number of his character-types, their purpose in a story and what variation they can undergo, along with examples from massively popular films (the goal of inciting such character
archetypes is to create a conventionally satisfying narrative, of course). A refreshing aspect to Edson’s lecture is just how unshakable he considers many of his guidelines.
Take what lessons you will from him, but this is a professional who has thoroughly outlined his perspective and left the vague and impractical to the wayside. Consider a particular rule; characters cannot switch roles, since this destroys the audience’s expectations, rather than subverting them. They can however hide their true nature or intent. This distinction is what separates, for instance, a satisfying betrayal, from one that appears out of left field.
As the video progresses, Edson comes to explore several of the character types in some detail. For the Hero, he outlines 9 methods by which to develop sympathy for your protagonist. For Adversaries, he explains that there can only ever be one per film, thus ensuring the obligatory showdown (there are plenty of obstacles, but only one true Adversary).
Further on, a discussion takes place as to why the happily married don’t count as Love Interest characters, and a distinction is made that if you can take a love interest out of a film, and still have something resembling a plot, then that Love Interest, without fail, is defined as being relegated to a subplot.
Having these concepts in mind when you set out to write a film should never be a priority, since stories don’t respond well to being reverse engineered from theory, but Edson’s lecture, thorough, precise and touching on much more than just characterization, should equip you with a stronger basis of knowledge for storytelling, and that can only strengthen your work as a whole.