Interview with Steve Harper, TV Writer and Producer
In this insightful conversation, Steve Harper shares his thoughts on character development, the importance of flaws, and how to create relatable characters that resonate with audiences. With experience in writing for shows like *Tracker* and *D.C.’s Stargirl*, Steve dives deep into the nuances of crafting compelling narratives.
How soon in the writing process will you know what your character wants?
Pretty early on, I will know generally what my character wants. Partly because it comes out of that obsession space. If I’m dealing with some large theme that they are pursuing, then I will know what they want. At the same time, I will rewrite my log line. I will write some material and come back to it, saying to myself, do I really know? Can I make it sharper? I’ll do that quite a bit. But I think pretty early on, I have characters who come to mind, who are headed for something pretty specific. Sometimes I just need to drill down on what that looks like in this particular universe. But it comes pretty quickly.
Can you talk about character flaws and why every character has to have them?
Character flaws make characters fun, sweet, dear, and interesting. It’s the way they stumble over themselves to do whatever it is they’re trying to do. As a kid, I always felt envious of characters who knew what to say. I wished I was like that in real life. Over time, I’ve come to appreciate my own stumbling around and love to see that with characters I watch. Those moments—emotionally and dramatically—are where I lean in and want to know how we come back from mistakes. Having characters be imperfect makes them more human and real.
The question for me then becomes: what is the flavor of the imperfection of this particular character as opposed to another? What are they good at and what are they not so good at? I’m really interested in that.
You mentioned Tony Soprano; what do you love about him?
One of the reasons I love watching Tony Soprano is that he’s in therapy and knows, to some extent, that his life isn’t working for him. I’m not a fan of the antihero archetype because I often think about the moral imperative. What do we care about? Where is the space for trying to get it right? Tony grapples with whether he should be this way with his family and career. I find that relatable. Characters who get away with murder and are happy about it don’t resonate with me. However, watching someone like Tony go to therapy feels real.
Do you think having a character that feels guilt is fascinating to watch?
Absolutely. It’s fascinating because we’ve all been there in some way. There’s a certain swath of characters that don’t go there. Seeing a character navigate that middle ground—trying to determine what’s good and what’s not—is really interesting to me.
How does a writer get inside the head of their character?
Getting inside a character’s head is an exercise in empathy. It connects to acting work—soaking up the given circumstances and asking myself, what would it feel like if I could do X or Y? For example, what’s the intoxication of power if I’m the CEO of a company? How would I relate to people? What would I demand? What would I expect from those around me? All these questions help me lean into the character’s perspective.
Is it more about showing character traits versus telling, especially as a screenwriter?
Yes, it’s about showing little ticks and mannerisms that reveal what’s inside the character’s head. I’m really interested in languaging—how things are spoken about, and what characters are willing or unwilling to say. It’s not just about what a character can demonstrate, but also about what they leave unsaid. We can write everything out in a draft and then refine it in rewrites by taking out unnecessary dialogue or actions.
Can you elaborate on pouring emotions into characters?
Pouring emotions into characters involves tapping into imagination and considering what has happened before. In the writer’s room, I often think about emotional responses to events, like a betrayal. How will the character react when they see the person next? Will they resolve things or avoid confrontation? I aim to understand what feels natural for the character in that circumstance.
Using the example of Joe at a gas station, what can we infer about his emotional state?
If we assume Joe is buying cigarettes after being downsized from his job without telling his wife, we can infer heaviness in his actions. When he walks in, he may either pretend he’s still been going to work or finally confess the truth. This scenario offers multiple emotional layers to explore, making it a juicy scene to write and experience.
What’s the takeaway for writers looking to create relatable characters?
The key is to focus on character flaws and emotional depth. Characters need to be relatable through their imperfections and their struggles. It’s about crafting a narrative that feels authentic and allows audiences to connect with the characters on a deeper level.
FAQ
What is the importance of character flaws?
Character flaws make characters relatable and interesting. They allow for growth and development, making the characters feel more human.
How can writers effectively show character emotions?
Writers can show character emotions through dialogue, actions, and reactions to situations. It’s essential to consider the character’s past experiences and how they influence their current behavior.
Why is empathy crucial in character development?
Empathy allows writers to understand their characters’ motivations and emotions, leading to more authentic and relatable storytelling.
What can writers do to improve their character-building skills?
Writers can improve by studying real-life experiences, practicing writing exercises focused on character development, and engaging in workshops or discussions with other writers.
For more insights into writing and character development, check out Steve Harper’s work on Harper Creates and his appearances on The Secret Writer Podcast.
