Film & TV

Developing Characters: Part 1

Aaron Sorkin

Lesson time 11:43 min

Aaron shares some of the decisions he made to develop some of his most unforgettable characters—like The Social Network's Mark Zuckerberg and The West Wing's Toby and Leo.

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I don't have characters in my head. It's not like that. The character is born from the intention and obstacle. They're born from the intention and obstacle. And then the tactics that the character uses to overcome that obstacle, that's what the character is going to be. With "The Social Network" what I had was Mark Zuckerberg's blog post from the Tuesday night when he was a sophomore at Harvard, from the Tuesday night that he invented what they called Facemash. And it's a very angry blog post. He's very angry at a woman. I changed her name in the movie. I called her Erica. So he's very angry at Erica because he's just, in his opinion, been treated badly on a date. He's kind of been broken up with, or blown off, or something like that. And he writes a blog post where he narrates the rest of the night. He narrates that he's drinking and that he's drinking to get drunk. He narrates that he needs some kind of act of revenge to rid himself of this anger that he feels toward this girl. So he's just had a great idea. I'm going to create a website that compares women to farm animals. You get to vote who is hotter, this woman or this farm animal. That morphed into, wait a second, we'll put actual two women up there, two Harvard undergrads, and you get to vote who's hotter. One is only slightly less misogynistic than the other. I'm not even sure which though. But so I had that whole blog post. I wanted to start the movie by imagining the scene that came before that blog post. And in that scene we see what Mark wants, OK. And it's something we can all identify with. He wants to be one of the cool kids. OK, he wants to be socially accepted. He wants to date girls. And he wants to get into the exclusive clubs as a way of doing all that. So his sort of macro intention, his I want is I want to be accepted. I want a social life. What he ended up doing was building a virtual one, an artificial one that he was sort of the mayor of this world. The obstacles to doing that, there are a lot. What's the obstacle toward building the most successful website in the world? There are a ton of them. Toby gets around obstacles. For Toby if the obstacle is the president, Toby is a lot more direct with the president than most of the other characters, if not all of the other characters, save his wife, Stockard Channing. Toby is the one very early on, it's in the episodes The Crackpots and These Women, which I think was episode four or five of the series, Toby is the one who basically said-- Well, actually, now that I think about it, it's in a number of episodes, where Toby says you are not fulfilling your potential. You don't pretend to be dumber than you are to pander to all of the dumb people in America. You are the smartest person in the room. Be the smartest person in the room. Toby dresses down the president, whi...


Your script starts here.

Aaron Sorkin wrote his first movie on cocktail napkins. Those napkins turned into A Few Good Men, starring Jack Nicholson. Now, the Academy Award-winning writer of The West Wing and The Social Network is teaching screenwriting. In this class, you’ll learn his rules of storytelling, dialogue, character development, and what makes a script actually sell. By the end, you’ll write screenplays that capture your audience’s attention.



Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

When a master screenwriter like Aaron Sorkin admitted that he can't write action scenes/scripts very well it made me start to wonder if I've been trying to write the wrong type of scripts for my particular skill set. That question had never even occurred to me before.

As someone who has not written for stage for nearly two decades, this masterclass from the Master is a welcome kick-in-the-butt!

I have found not only the tools and resources to be a writer, but also the courage to express myself in my own voice.

Wonderful insights and advice. "Intention" and "obstacle" -- learn these words.


Comments

A fellow student

I love the clothesline analogy. It really helps to visualize the storytelling process.

Jess J.

Hi everyone! Message from the MC Community team -- make sure you join Aaron Sorkin's Class Community! There you can discuss writing techniques and other class material, network with other students, trade tips and reviews, and stay up to date on class contests & activities. Link here: https://community.masterclass.com/c/film-tv/as-workbook Also, FYI! We recently launched a contest to win 2 tix to Sorkin's latest screenplay adaptation on Broadway, To Kill A Mockingbird. Learn more and enter here: https://community.masterclass.com/t/contest-win-tix-to-aaron-sorkin-s-latest-broadway-show-to-kill-a-mockingbird/35249 Contest closes this Sunday, Nov 24 at 10pm PT. Can't wait to see your submissions!

Juergen T.

Just I was thinking it would be helpful to see a clip of the scene he is referring to, the scene pops up! It really helps as I am a visual learner.

Jennifer

Another great lesson! The anti-heroes are a lot of the times just as interesting, or even more interesting than the heroes.

ABDEL-MOUNIM E.

To challenge others by reminding them of the universal and invisible traps of our egos that bind and lock the human in us, can be devastating, destabilizing and life-saving at the same time : the money; the power; the profession; awareness; beauty; the diplomas Social and ethnic affiliation; the color The sex Nationality

Matt K.

This interview set up is awesome, I can't help but wonder what focal length lens and aperture this is shot at. Any guesses?

Victoria

Aaron is terrific. His style, his delivery is real. No acting going on here. He talks... like he talks.

Ethan

It’s difficult to listen to um ah um ah ah ; over and over and over again.

Joseph

A fellow student: Turn your HERO into an anti-hero of sorts. Take your hero to a place where he grapples with some serious moral dilemmas - what wouldn't a father do to save his son? What kind of sacrifices would he make, what moral lines would he cross, how far would he imperil his own soul to save his child? Would he take a life, an innocent life if it could somehow save his son? Explore those areas. Take the character to some dark places, and maybe he's startled to learn his own capacity for evil, or maybe he finds redemption in not saving his son. There's quite a lot of character development and growth that could come out of that.

Greg H.

Great Lessons so far! This has generated a question for me, perhaps others. Faced with his son's demise, The HERO character must find cure for his son's illness, at least outwardly this provides plenty of motivation and obstacles, in this situation how does one show character growth and transformation beyond the problem solving? It seems as though any of his flaws pail in comparison to the motivation.