What do Ebeneezer Scrooge and Annalise Keating have in common? They’re both dynamic characters—from the beginning to the end of their stories, they’ve undergone a significant transformation. Here’s what to know about dynamic characters and the best ways to develop complexity for a role.
A dynamic character is one who changes over the course of the story. There must be a fairly marked shift; run-of-the-mill growth or maturation doesn’t necessarily make a character dynamic, if it’s done on the same trajectory they started on.
Dynamic characters:
- Undergo a significant change: While many times this change is for the better, it’s not always a good thing. Some characters, like Walter White from “Breaking Bad” or Daenerys Targaryen from “Game of Thrones,” change for the worse. Regardless, the change must be present and monumental.
- Are fully realized: Most round characters are dynamic. You’d be hard-pressed to find a flat dynamic character, since having an overarching journey requires depth.
- Can serve any function: You can find dynamic characters anywhere. They can be primary or secondary, heroes or villains, or any other character type you can imagine.
What’s the difference between dynamic and static characters?
Dynamic is the opposite of static (a character who’s the same at the beginning and the end of the story). Static doesn’t mean boring or one-dimensional—just that they don’t undergo the complicated moral or personal shift necessary for the dynamic character arc.
Scrooge, “The Muppet Christmas Carol” (1992)
One of the most obvious examples, the main character from Charles Dickens’ 1843 novella “A Christmas Carol” is as dynamic as they come. Callous, miserly, and cruel, the deeply unlikeable Scrooge—played by Michael Caine in “The Muppet Christmas Carol”—does a complete personality change over the course of the story, learning to be more jovial, generous, and kind. While most dynamic characters’ transformations are sparked by real-world interactions, Scrooge has the distinction of being scared out of his bah-humbug ways literally overnight by three ghosts.
Dorothy Gale, “The Wizard of Oz” (1939)
Played in the film by a young Judy Garland, Dorothy Gale emerges from her adventure transformed. Unlike similar young heroines whose adventures amount to no more than a fun outing (such as Alice in “Alice in Wonderland” or Wendy in “Peter Pan”), Dorothy does have a noticeable change of heart. She goes from wishing to be anywhere but Kansas to stating triumphantly that “There’s no place like home!” While Dorothy is Oz’s most obvious dynamic character (it’s her story, after all), her three traveling companions fit the bill as well. By the end of the story, the Scarecrow, Tin Man, and Lion all have a better understanding of their own intellect, heart, and courage, respectively.
Carrie White, “Carrie” (1976)
The title character of Steven King’s 1974 novel “Carrie” and its iconic Brian De Palma film adaptation is certainly dynamic—albeit in a way that’s less “morality play” and more “villain origin story.” Subjected to bullying and torment at school and religious fanaticism at home, the downtrodden Carrie (Sissy Spacek) eventually has the last laugh, channeling her rage into a telekinetic murder spree that takes down her entire school, her mother, and eventually herself. Bleak as it sounds, the horror novel has been adapted several times beyond the 1976 film, including a 1988 cult classic musical. The endurance of Carrie’s story proves that even a revenge fantasy villain arc can be deeply satisfying.
Captain Von Trapp, “The Sound of Music” (1965)
Though not as dramatic as the above examples, Captain Von Trapp—played by Christopher Plummer in Robert Wise’s film based on the 1959 musical—does undergo a noticeable change. At first he’s cold and serious, treating the younger Von Trapps more like soldiers than his own children. After Maria (Julie Andrews) leaves the convent to be a governess for his children, Von Trapp is forced to come to terms with his strict ways. He eventually softens, reigniting his love for music and, in turn, his own kids.
Annalise Keating, “How to Get Away With Murder” (2014–2020)
Played by the great Viola Davis, the law professor and razor-sharp defense attorney Annalise exudes unshakeable confidence—at least at the beginning of the highly addictive show. As the series goes on and characters get away with murder (with varying success), however, her veneer of control is slowly stripped away, revealing a questionable morality and a vulnerability founded in severe trauma. She moves from ruthless manipulation one moment to profound empathy the next, making her one of the most dynamic characters on TV (with Davis garnering multiple Emmys).
Character Development: A Guide for Actors1. Start at the beginning.
It’s important to really understand where your character starts the story, and then to isolate it and keep it separate from their eventual destination. Be sure not to telegraph the ending!
2. Find your “why.”
Understand what the motivation is for your character’s change. Is it due to necessity? A learned lesson that leads to a new lease on life? Whatever it is, as an actor, it’s your responsibility to comprehend that better than anyone else.
3. Maintain the stakes.
To build a character who is truly dynamic usually requires that they reach a transformative breaking or turning point. This point may be blatantly obvious (Carrie getting blood dumped on her head, Scrooge being shown his own grave) or more subtle (Captain Von Trapp singing for his children for the first time in years). Regardless, it’s important that you’re able to pinpoint that moment and maintain the stakes for the character, as this is literally a life-altering event for them.
4. Land the finish, but don’t rely solely on the text.
Just as you need to understand where your character starts, you also have to know exactly where they end. Though the text may tell the audience that your character has changed, they’ll need a little help from you to really believe it. It can help to start with your body: How does this transformation affect your character, and how is that reflected in their physicality and demeanor? Are they lighter on their feet or more weighed down by the world? Are they more confident or grounded? Take the time to reflect on your character’s metamorphosis and apply that to your portrayal.