Chapter 7 of 30 from Shonda Rhimes

Creating Memorable Characters: Part 2


Shonda shares her techniques on how to effectively develop and evolve your characters when writing your stories, including when and how to kill off characters.

Topics include: Ensemble Characters • Evolving Characters • Killing a Character • Your Character's Journey

Shonda shares her techniques on how to effectively develop and evolve your characters when writing your stories, including when and how to kill off characters.

Topics include: Ensemble Characters • Evolving Characters • Killing a Character • Your Character's Journey

Shonda Rhimes

Shonda Rhimes Teaches Writing for Television

In 6+ hours of video lessons, Shonda teaches you her playbook for writing and creating hit television.

Learn More


Make Great Television

When Shonda Rhimes pitched Grey’s Anatomy she got so nervous she had to start over. Twice. Since then, she has created and produced TV’s biggest hits. In her class, Shonda teaches you how to create compelling characters, write a pilot, pitch your idea, and stand out in the writers’ room. You’ll also get original pilot scripts, pitch notes, and series bibles from her shows. Welcome to Shondaland.

Watch, listen, and learn as Shonda teaches you how to write, pitch, and create a hit TV show.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Shonda will also respond to select student questions.


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

Love how clearly Shonda broke down her workflow. Lots of fantastic tips in here.

I took the class in hopes of gaining excitement for writing for tv or movies, and this class has accomplished that. My next step is to start over, this time with a purpose.

Thank you for offering Shonda Rhimes' class to MasterClass. The class was honest, informative, and inspirational and complete. She covered all the questions I wished I could ask her in person. MasterClass has excellent instructors who share and teach their crafts. Thanks for sharing, Ms. Shonda Rhimes.

Dear Shonda, thank you thank you thank you! I was dying to see what you would share in this class as I was already a big fan of your work. Your masterclass with all its knowledge, insight, transparency, personal stories and inspiration was absolutely incredible. I'm very sad it's over. I'll never look at tv or story the same way again.



Unfortunately I haven't seen either of these shows so it's difficult to connect with what is being taught.

Nia E.

Thanks for another powerful lesson. Sharing - Crafting unforgettable characters.

Natasha P.

Since I know these characters from watching all seasons of Grey's and Scandal.... this discussion made complete and total sense! I have always struggled with Character development. A few things just clicked. Great session!

Rose M.

I LOVE defending my characters in the story and being protective caring that they are doing okay! Millie's hootch was hilarious!

Meghan F.

The symbolism can play off of the characters and their foil characters. For instance, with Olivia and Mellie in Scandal. The writing can demonstrate the dramatic irony of what will happen. The audience may have a different opinion of what should happen versus what the character does. The writer should have intention of what happens next, and for character development. Character development should be natural. What has been some memorable moments in TV for you the viewer, that had great character development?

Beth B.

Learning a lot so far but my show is so different in that its one character every week with different situations and new characters. ( think High Maintenance) they have to develop in one short episode. Definitely not an ensemble. Wonder of there is a different approach.

Dee M.

Way to drop that Wizard of Oz reference on us, Shonda! I absolutely love it and it opens my mind to any other inside joke/pop culture reference lingering in other shows I love. Amazing.

Monya W.

I never would have thought of the Wizard of Oz. But as I think about the analogy I get it.


The Wizard of Oz reference - extremely clarifying! I just realized what each of my four characters truly wants (emphasis on 'truly'), and when you reach that epiphany, you write from there, always! Thanks, Shonda!

Jay H.

I have watched Grey's Anatomy all the way through 3 times, and I never noticed the Wizard of Oz thing until she said it here. I'm blown away. I also love the advice of the alcohol as emotional cues. You see this device in all types of shows, but I suppose when it's well written you don't notice it, but you know that it signals an emotional benchmark. I haven't yet written a show for television, but this is actually helping me edit and revise the novel that I have written.


When I'm developing an ensemble of characters, I don't necessarily think this character has to be like this or this character has to be like this. It's a little bit like putting together a band. You want everybody to sort of harmonize well together. And not in a sense that everybody has to get along, but that there has to be a tune going on there that's interesting. So if we think about Scandal, you have Olivia, who is sort of your lead singer, and she works really well. But then you have to have Huck, who's odd but wise, and I always call him her you know attack dog, but he's odd but wise. He really does provide all kinds of strange wisdom. You have Abby, who is loyal, especially in the pilot, loyal and quiet and sort of there. Harrison, who's the smart one, who's sort of saying everything fast and sort of leaning into everything; Quinn, who's new. You have everybody sort of working in concert with one another so that you can sort of see who they are. And when you put them all together, they form a very nice group of people. I think when you're forming an ensemble, it's important to have somebody in that ensemble who is the voice of-- I don't want to just say dissent for the main character, but you need somebody for the main character to both be able to talk to and somebody who sort of makes sure the main character knows what they're doing wrong. And that doesn't necessarily have to be the same person, but you do need those two people in that world. You also need the person who's going to make sure that we know what is right and what is wrong in the world. On Grey's, that person is the chief. Anything the chief says, you believe without question. It's very interesting. He can say the sky has turned purple and everybody's like oh yeah, the sky's purple. But if Alex said it you'd be like, mm, I think he's lying. It's very interesting. You have the sort of moral compass people. Dr. Bailey is the person who can sort of fight with Meredith and tell her what she thinks she's doing right or doing wrong. Alex is the person that Meredith speaks to, and she tells her secrets to. So you have to have those people or else it doesn't necessarily lay out. And in a lot of shows, it looks very different. It can be kind of a total stranger that somebody talks to. It can be their, you know, kidnapper. It can be somebody in prison with them. It's always a very different look, but you need those people or else you're not hearing what's going on for real. It's just somebody talking to themselves. It's really interesting when you watch some shows and you realize that for a lot of characters, things happen around them, but they don't happen to things. Try to make sure your characters are happening to things. They are the ones making things happen. For better or for worse-- they could be destroying the world around them accidentally or on p...