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C. Robert Cargill
@Massawyrm
, 4 tweets, 1 min read Read on Twitter
If your characters are feeling flat despite making interesting choices, consider giving them something they want that doesn't involve the story's chief plot: getting the guy/girl, good night sleep, a promotion - something relatable. Bonus points if they sacrifice it for the plot.
You'll be surprised how a sprinkling of normal life desire/conflict into even the most fantastical of plots will ground it. Even the simple desire to find a god damned Twinkie at the end of the world makes Woody Harrelson's otherwise over the top badass grounded in ZOMBIELAND.
Making these desires play wildly against trope/cliche creates the illusion of depth and does A LOT of heavy listing. Think a Rambo type who turns to mush around kittens, or the Prom Queen saving up to go to space camp, or the Nerdy Science Guy training to be a pro wrestler.
This is also a great space to make commentary on those very sorts of societal cliches, if that's your thing.
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C. Robert Cargill
@Massawyrm
For audiences, kindness and a moral center are assumed traits. You never have to explain motivations for unselfish acts. This is especially important to remember when writing antagonists. No matter how brutal the villain, they can still be kind to others, even amid villainy.
This is extremely helpful when trying to flesh a villain out. The cheap way to add depth to them is to give them a dog or a sick relative.

But you can have them show a moment of kindness, even to a foe - showing pity, remorse, or empathy - without having to explain exactly why.
Audiences innately believe in redemption and goodness, so take advantage of that and show a moment or two of humanity with your villains, and they will feel far more three dimensional - the goodness within them at conflict with their greed, anger, or hatred.
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C. Robert Cargill
@Massawyrm
One of the best ways to define a character is through a lie. One lie will the the audience more about a character than a hundred truths.

When you choose to reveal that the dialog was in fact a lie will determine how the audience processes it.
The truth revealed before the lie will create a more nuanced moment of character development. The truth revealed after the lie will give the audience two different reactions to the character, and will allow them to feel betrayed.

Both will reveal internal workings indirectly.
BABY DRIVER is a masterclass in character development through lies. So many characters lie over the course of the movie, and we learn who they are by how, when, and who they choose to lie to.

Give it a rewatch paying attention to how often everyone lies and how they go about it.
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C. Robert Cargill
@Massawyrm
It's important to point out that in the beginning of RAIDERS OF THE LOST ARK, one of the greatest movies ever made, the hero is stealing a sacred artifact from its rightful owners.
And in CASABLANCA, we first hear of everyone joking about what an asshole Rick is, then we meet Rick being an asshole to a banker he's heard of and doesn't like, denying him access to his illegal gambling den.
In OCEAN'S 11, Danny Ocean gets snarky with his parole board, gets out of prison, then immediately violates his parole. We meet Rusty sharking dim-witted celebrities at cards. And Linus picking someone's someone on a train.
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Sleep Paralysis is Not a Spiritual attack!

Remember having a frightening experience of being unable to speak or move when falling asleep or waking up and even having a feeling there is someone there? It is Medical!

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