All it took was placing a character in the most challenging setting he could be in.
They are given specific, unique traits, such as Dory’s memory problems or Wall-E’s infatuation with Hello, Dolly! These original, specific decisions are key to making main characters entertaining. But for them to compel an audience, you must also endow them with a deep passion for something…anything. We care because they care. Woody cares deeply, almost obsessively, for Andy.
Andy, as far as Woody can see, is his reason to live, and he takes great pride in being Andy’s toy. This emotion is at the basis of every conflict Woody has throughout the series. It is why he is threatened by Buzz in Toy Story. It is why he gives up fame in a museum to return to Andy in Toy Story 2. It is what makes him manipulate Andy to give the toys to Bonnie at the end of Toy Story 3 so that the toys can serve a new owner. Woody’s belief that toys exist for their owner’s enjoyment is tested again and again. This seems obvious, but it is calculated. If toys were indifferent to their owners or to whether they were played with, you wouldn’t have much of a story. Woody wouldn’t even mind that Andy tossed him aside in favor of Buzz. He’d retire happily.
She believes that Merida’s strength as a princess is the key to keeping the kingdom together and preventing a war like the one they had in the past. She honestly thinks that people can’t escape the roles appointed to them, so it’s best to be as prepared as possible to fulfill those roles. As Queen Elinor says, “We can’t just run away from who we are.” Elinor cares about Merida’s manners because she has strong opinions about duty, diplomacy, and governing. Why is this so important? Because it amplifies dramatic effect. Later in the movie, Merida rips her formal wear and shoots arrows—quite unlike a princess—and humiliates her suitors. As a mere act of teenage rebellion, this is interesting, but we’ve seen scores of teenage-rebellion scenes (though admittedly not in this setting). Merida and Elinor’s deeply-held opinions transform the scene into a clash between ideas of freedom versus duty, and honest expression versus tactful diplomacy. These things mean a great deal more to the characters, and by proxy, to us. As you can see from this example, strong opinions are fuel for conflict.
You don’t need to flash back to fifth grade to explain every attitude your character has, but strong opinions are often shaped by a character’s past. It’s even better if that past is rife with conflict and tension.
Sometimes it takes only one line to give us all the background we need. In The Incredibles, Helen is vehemently opposed to Bob’s attempts to relive his glory days. She thinks they should keep a low profile and not be outed as “supers.” During their argument, she says, “It is a bad thing, Bob. Uprooting your family again.” This single line implies the hardship they must have experienced in previously displacing their family and parting with friends, neighbors, schools, and jobs.
Do It Yourself: Think about the characters in your story. What is important to them? What do they believe about love, friendship, death, freedom, and happiness? Why do they believe these things? How can you use their values and history to give the events of your plot a stronger impact on your characters?
When we see a character truly desire something, we almost immediately take their side and hope they obtain it. Why? Because we hope to have our goals met just like the character does.
It’s not enough to know only what a character wants. As storytellers, we must also know (and convey) why they want it. Remy the rat is obsessed with the human world. He wants to read, cook, and taste. He is inspired by humans and their ability to create and wants to be a creative cook, like his human hero, Gusteau. He wants these things despite the ridicule of his father, the misunderstanding of his friends, and the mortal danger involved in every trip to a human kitchen. Why? Remy is so motivated because he was born different, with an evolved sense of smell and taste. This gift makes Remy an outsider.
This is especially important when designing antagonistic characters. Consider Henry J. Waternoose, the boss at Monsters, Inc. He condones the torture of Boo because he is desperate to find ways to create more energy for Monstropolis. Waternoose is burdened with the responsibility of keeping Monstropolis running. This desperate motivation causes him to do terrible things.