3.1.2 How to Create Characters for the Script - Reviewing Satisfaction Points and Defining Characters

Reviewing the Satisfaction Point Hierarchy Theory

Let’s also review something from the previous lesson. When I discussed satisfaction points, I talked about Level 1 and Level 2 points. Level 1 points relate to mating/romance and conquest. Level 2 points relate to superiority, belonging, and order. We said these first two levels, the first five points, are used more frequently in microdramas. The next three—knowledge-seeking, efficiency, aesthetics—we generally disregard.

Application of Satisfaction Points in Different Payment Models

Let me correct that: for heavy-payment models, we disregard the latter three; mastering the first five is sufficient. But in the future, if more refined, free, or broader-reaching microdramas with minimal payments emerge, aesthetics will be needed, and even novelty/knowledge-seeking might be desired. Showing the audience something they haven’t seen before is novelty. That’s a satisfaction point related to novelty/knowledge-seeking, right? I said those points rank lower and require using the brain.

Limitations of Suspenseful Content

You see, the same issue: I said the first two levels of satisfaction points are animal-level and human-nature-level. The next level is intelligence-level. Intelligence-level involves using the brain, like puzzles, which also requires thinking. Students, you can understand that there are indeed suspense novels, but suspense novels have never become the dominant mainstream throughout history, you need to be clear on that. They certainly can’t beat romance and martial arts novels in terms of sales volume. It really requires thinking. People watch/read to relax, they don’t want to think too hard. So, I emphasize these two points of knowledge from the last lesson.

Summary of Course Content Applicability

In our subsequent lessons, all the knowledge I impart is generally applicable. But I will specifically mention certain aspects, for instance, whether they are suitable or unsuitable for heavy-payment models. The first lesson covered what heavy-payment and light-payment are; keep that in mind.

The Core Definition of a Character

Okay, this lesson is about shaping characters. In microdramas, characters are undoubtedly very important. This includes traditional film/TV dramas, where generally you design the characters first; we call it character setting. A character in a script has a definition: it is the sum total of that character’s actions. This definition is somewhat academic, more formal. But this definition has its logic. Why? Because the characters in a story don’t actually exist; they are created by you. So how do we determine what kind of person this is? Through the sum total of their actions.

Avoiding Ineffective Character Settings

Some students write elaborate character bios, saying this character graduated from such-and-such place, has this career, feels this way, actually holds such-and-such values, etc. But if none of these are reflected in the character’s actions within the story, then that’s an ineffective setting; it doesn’t belong to the character. You say they graduated from Harvard, but the entire story has nothing to do with Harvard, nor does it show the character being particularly fluent in foreign languages or cultured, right? So, such settings are ineffective. Actually, in a story, or a scripted story, the character is defined by the sum total of that character’s actions. Actions constitute the character. This is the concept we must first understand.