Stage to Page: Writing Character Dynamics in Fiction
In a previous post, I discussed my background in fine arts and outlined a few lessons that could transfer from “stage to page”—that is, from working in a theatre to working as a writer. Here are a few more ideas for fiction writers who wish to hone and enhance the dynamics between their characters.
Positioning is paramount
The ability to create effective stage pictures is an incredible tool in a director’s toolbox. The positioning of actors onstage can and will transmit particular narratives to the audience, even before the actors say their lines.
For instance: Two people stand on opposite corners of the stage, the first facing the second, the second turned slightly away from the first. They move a few steps closer, then closer still. As they near each other, the tension mounts, although we—the audience—may not know why. Finally, the actors are almost touching and the tension is at its highest. A directing professor once told me that there were only two reasons to allow actors to get close enough to touch on stage: when they were about to fight or embrace. Either way, if there has been distance between them until that point, the very act of bringing them together creates tension.
One of my favourite learning experiences in university was when my directing class experimented with moving actors around the stage without any script or set context. It was fascinating to see the different stories and relationships that emerged simply by moving an actor upstage or downstage, by having them face their scene partner or turn away. In theatre, the positioning of actors onstage is called “blocking.” It is often one of the first steps in rehearsal. The actors are told where to stand and when to move. The dialogue is then layered into the action. If the blocking has been effectively mapped out by the director, then the actors should feel certain emotions tugging at them even before they begin to speak: anger, loneliness, discomfort, joy, passion. The physical positioning can prime the actors to experience these in an authentic way.
“Blocking” is a useful tool to keep in mind when writing for fiction. Before tackling a scene, it may be helpful to visualize where the characters are in relation to one another. What emotions might be coming up for your characters as they navigate their space throughout the scene? Will you play with the tension by drawing them closer to one another as the scene plays out? Do they yo-yo around each other, intentionally trying to keep their distance? Imagine they are actors on a stage. How would you position them in each moment in order to perfectly tell the story? How can you transfer those ideas to the page?
2. Level up
Besides positioning actors in particular areas of the stage, a director must also consider the level on which those actors are operating. An actor lying on the floor would be on a low level. An actor on a medium level would be doing things like kneeling, crouching, bending over, or sitting on a chair. An actor on a high level would be standing, jumping, running, etc. The set may help to accentuate these levels by affording actors the opportunity of climbing above or below the others.
Incorporating different levels into a stage picture makes the scene more interesting to look at. When approached from a storytelling perspective, levels can also help to enforce a character’s status in that moment of the play. If a character has a high status—aka more power—the director might choose to literally make them higher than their scene partners (think adult Simba roaring on Pride Rock); whereas if a character is low status—aka less power—they may physically be positioned lower down (think little Simba cowering on the ground during the antelope stampede).
Again, this is something you can keep in mind when writing a scene that includes multiple characters. If you want to suggest subtle differences in power, you can do so by physically placing one character over the other. You can also flip this idea on its head. Put the weaker character physically above the stronger character and see what happens to the dynamic. It could open up some exciting possibilities in your storytelling!
3. Movement matters
One of my favourite exercises that I have used many times when teaching acting to kids is something I like to call character leads. During this exercise, students/actors are instructed to walk around the room, leading their movement with different parts of the body. What happens to their posture and attitude when they lead with their nose? Their chin? Their chest? Their gut? Their toes? Not only is this a fun activity to watch, but it can also spark some excellent ideas about how different sorts of characters might move around the stage. For example, a character who is nervous but trying to put on a brave face might lead ever so slightly with their chin. An innocent character, someone who lets kindness or love guide the way, might lead with their heart. An obstinate character might let their forehead lead them into a room.
If you are writing fiction, it is worth considering how your characters move through their space. What is their tempo? Which part of their body is leading their movement, overall? Do they have any quirks, any ways moving that are unique to them? Mentioning these sorts of details to your readers can tell them a great deal about a character in a nuanced manner that requires readers to make inferences. It is a wonderful way not only to catch their attention with specificity, but also to give them an opportunity to relate to the characters on the page—which is what most readers are looking for at the end of the day.
Stay tuned on more writing tips and tricks from my time on stage and film sets.