WEBVTT

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[MUSIC PLAYING]

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So the most interesting thing about your improv character

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isn't what they do.

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It's why they do it.

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We spend a lot of time trying to come up

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with actions that make people laugh or really clever lines.

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But the most important thing to create characters

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that an audience really connects with,

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the ones that are believable and memorable,

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lie in the concept of point of view.

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A character's point of view or their POV

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is a lens through which they see the world.

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It's their unique filter of beliefs,

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of emotions, of experiences.

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And it's the most important element

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to create a character that feels real.

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It's what separates some kind of cliche

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from a believable and compelling human being,

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even if that human being is acting kind of unusual and wild

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on stage.

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So today, you're going to learn exactly what point of view is

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and why it's so important for grounding your scenes.

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And I'll give you four distinct methods,

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each with its own practice exercise

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that you can do with a group or on your own

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to start building strong and consistent POVs

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in your own performances.

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Hi, I'm Jen DeHaan, and this is Your Improv Brain.

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I'm an improviser who creates and produces podcasts,

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including improvised ones at StereoForest.

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I've also taught and coached improv

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at a few different theaters, and I

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love sharing what I've learned and continue

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to figure out about how our brains do this thing we love

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called improv.

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Because you probably love doing improv, too,

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if you're here listening to me right now, I guess.

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And as we go through this episode,

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a big question might come up.

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How do you build a holistic character in a world

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without doing some boring monologue about their

backstory?

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But stay listening to this episode

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because I'll get to that fourth method.

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And that's where I'll explain a simple mental tool that

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can help you do just that very thing.

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And it's something that you can start using the very next

time

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that you improvise.

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Now, before we get into the how for giving your character

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a point of view, let's first have a clear definition

explained

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of what this POV thing actually is.

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So you have a solid foundation to build on today.

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And it's much more than just an opinion that your character

has.

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So what is point of view for an improv or a scripted character

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that you want to create?

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It refers to that character's perspective.

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Their personal philosophy, their system of beliefs,

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and how they filter emotions.

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The POV is their internal operating system

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that determines how they see and react to the world

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that you build in the scene, in the set, or in the script.

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Now, the POV also includes the character's wants, their

needs,

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and their own personal logic, whether it's

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unusual or if it's grounded.

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It makes that character make sense,

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even if for when they might be illogical.

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And it can also involve their lived experience,

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even though we might not build that out completely in a

scene.

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For example, you don't want to say,

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need a monologue about your character's entire backstory

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to establish their POV.

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But the fact that they say once rehabilitated feral dogs

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in rural Manitoba might be a very relevant detail,

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or even maybe a short monologue, if it's

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called for, to share when, say, their training

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elephants to swim in a lake.

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That might actually come up in a scene.

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So basically, you only share what the audience needs

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for context.

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Everything your character says and does

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is filtered through the lens of that POV.

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It affects the game of the scene.

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It determines whether you're playing a more, say, grounded

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character or an unusual character

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with their own strange logic.

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That's how you get it in there.

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And this is important because it makes your characters

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and their relationships go from being, say, lifeless and

drab

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or cliche to being really relatable and believable.

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And people can get invested into that character.

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You can get invested into that character.

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It also helps ground a scene or ground the world.

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And once you establish it, it's important that you be

consistent.

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So your audience and you are more invested in that character

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because it has a clear and understandable POV.

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Now, they don't have to agree with it.

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And they don't have to have had those same experiences.

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But they need to recognize it as realistic for that person,

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the character that you're creating.

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So now that we know what it is and why it's important,

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let's look at the first of our four methods

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for establishing POV in a scene.

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So this first one starts with the most fundamental part

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of being human.

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The first way to establish POV is through emotion.

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So how your character feels about things

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is a clear and immediate indicator

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for what their perspective is.

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So a strong and clear emotional reaction

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is a fast way to tell your audience who this person is.

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And the audience has to be able to see it,

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this emotion, not just hear about it,

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to make it really believable.

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So practicing expressing clear and sometimes even

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extreme emotions can be a really big help

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in establishing your character's POV.

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And the key thing to remember is that consistency.

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If your character is, say, terrified of mice

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in the first minute, they should still

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be terrified of mice 10 minutes later,

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unless something happens in the scene to change that POV.

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So here's an exercise to practice this.

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So two players are up.

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Player one gives that initiation.

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Player two reacts to that initiation

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with a huge emotional reaction.

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It can be a sound like a gasp or a sob

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or a single emotionally charged line.

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The key is that it has to be significantly oversized

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for this one response, at least.

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Then line three and onwards, just see where the scene goes.

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Play that scene out.

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Remember that this oversized emotion in line two

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is just for practice.

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You can dial back these kinds of emotions for performances

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to whatever feels right for the scene.

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But for this exercise, you learn that you can react to a line

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or to a choice from a place of strong feeling.

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And you get to practice huge emotions safely in a class

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or with a coach, which is pretty great.

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Now, before we move on to the next method, which

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focuses on listening, let's be clear why emotion is so

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effective.

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An emotional reaction is a choice that instantly defines

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how your character relates to the world,

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giving you this really strong foundation for every choice

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that then follows.

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Now, let's look at how to build that foundation

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through careful observation.

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So the second method is through observation and listening.

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A person's wants, their needs, and their experiences

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all influence their POV.

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You can build a character's POV by carefully observing

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what your scene partner gives you and use that to inform

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your own character.

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So to practice this, you can make a simple checklist of

things

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you want to observe about a character.

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It could be just a few things like figuring out,

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what do they want?

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Or what are they afraid of?

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Or even what do they think about family or crowded spaces

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or nature or the gym and so on?

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So start using this checklist on people

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that you know are fictional characters in shows and books.

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Like, what do you know about their POV

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and what don't you know?

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And for the things that you don't know,

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how could you find them out in a scene?

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What would you ask them to further define their

perspective?

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You might do this internally for your own character.

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What connections can you make?

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So that's a solo exercise that you can do to practice this.

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For a scene work-based practice, you

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can do an exercise that I like to call, What's Your Deal?

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In a two-player scene, each player

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decides on their character's deal

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before the scene begins or the coach can give them one.

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It can be a simple archetype, even a cliche to explore,

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like Sharon is a know-it-all about fine wine.

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And the coach can give a setup for these two character

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archetypes that allows them to explore and perhaps even

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challenge their individual POVs.

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This kind of focus practice is so very important.

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Now, if you're finding this episode useful,

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do me a favor and subscribe to the improv update newsletter.

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I send out improv resources, including downloads

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and neurodivergent perspectives on improv

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that you will not find anywhere else other

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than that newsletter.

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Now, before we get to our next method, which

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is all about justification, think about how observation

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and emotion work together.

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Your emotional reaction gives you a starting point,

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and your observation of your partner

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gives you something to react to.

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And together, emotion and observation

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create a dynamic in the relationship and the scene.

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So now, let's add the logic that holds it all together.

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So the third method for establishing POV

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is through justification.

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Why did your character do something?

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Why did something happen in the scene?

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And when you answer these kind of questions

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as a justification within the scene, for example,

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you do something unusual, and then you

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give the reason why you did that unusual thing,

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that information that you put in there

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often becomes a core part of your character's point of view.

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But remember, however you justify has

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to make sense for the character and the scene.

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And also remember, you don't need to justify everything

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that comes up, even as fun as that might be for some of us.

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Justify enough so the audience knows

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what they need to know about your character,

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and they can infer the rest.

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Now, one of the simplest justification exercises,

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this is really more of a warm-up,

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involves one player making a statement, something

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that needs a justification, which is then done by player

two.

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So player one could pose it as a question,

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like, why did you steal Fred's car?

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Player two then has to justify that choice

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with another choice or belief.

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For example, because I believe in equal opportunity

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for transportation.

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You can let the scene go on if you want,

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but it can stay at a warm-up and just be that.

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Anyways, for this exercise, it's great to avoid justifying

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with external circumstances, like, because Fred has two

cars

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or because I'm poor.

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Justifying with something related to your character's

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internal belief system is a part of their POV.

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And this always leads to more interesting, relatable

scenes.

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You can quite easily do this exercise on your own, too.

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So watch for strange, unanswered questions out there,

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and then pause the show or stop reading or whatever,

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and come up with an internal justification

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for that character.

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Or if you want a real one, go to a coffee shop or somewhere,

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and internally, this is very important,

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state something unusual, like, it

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looks like that person lives in a log house 30 miles from

town.

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And then come up with their internal motivation

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to do so or an internal justification for something

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that you're watching.

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Again, do this one inside your head for practice only.

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So now that we have these tools, let's

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look at a framework that ties them all together,

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helping you expand your character's POV

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and maybe even get a scene unstuck.

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Now this brings us to our fourth and final method,

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maybe my favorite.

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If you've ever taken any UCB style classes,

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you might have heard the phrase, if this is true,

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what else is true?

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Now this is a useful tool for strengthening

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your character's POV.

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So let's say you just justified a choice that you made.

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To round out your character and ground the scene,

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you can internally ask yourself this question.

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If my character thinks or feels a certain way

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about this one thing, what else must they believe?

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How else might they react or feel?

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What is true for them?

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For example, if my character believes

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that cats are the physical embodiment of evil spirits,

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what else is true about them?

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Well, they might also really hate a lot of Halloween decor.

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They might be very superstitious.

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Maybe they donate every April to the Adopt a Street Cat

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campaign, which maybe they started,

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but they never attend the events themselves out

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of unbridled fear because the cats are around.

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Thinking this way can also help a scene that has stalled out,

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because it can build on justifications

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that you made earlier in the scene

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and lead to further discovery.

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And discovery is really good improv, right,

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instead of writing the scene.

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To practice a character-based version of this in a group

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or by yourself, pick one strong core belief held by someone,

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anyone.

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This is now your character's core belief.

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Now walk around a bit as that character.

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Try to embody them, their mannerisms, their voice.

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Now start asking yourself, if I believe this,

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what else do I believe?

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What else do I do?

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What else have I done?

00:16:19.560 --> 00:16:21.080

And then when you come up with something,

00:16:21.080 --> 00:16:26.600

state that new belief or activity out loud as your

character,

00:16:26.600 --> 00:16:33.360

in character, and keep going as long as you can or as you want.

00:16:33.360 --> 00:16:35.440

And that's a really good solo exercise.

00:16:35.440 --> 00:16:37.160

You can do it as a group warm-up, too,

00:16:37.160 --> 00:16:39.960

if you're in a group situation.

00:16:39.960 --> 00:16:44.120

And this final tool is what answers that question

00:16:44.120 --> 00:16:46.320

from the beginning of this episode.

00:16:46.320 --> 00:16:50.560

How do you build out this rich inner life for your character

00:16:50.560 --> 00:16:53.320

without delivering some boring old monologue

00:16:53.320 --> 00:16:55.520

about their backstory?

00:16:55.520 --> 00:16:58.720

If this is true, what else is true?

00:16:58.720 --> 00:17:02.480

That allows you to build out a whole network of beliefs

00:17:02.480 --> 00:17:05.680

and experiences in your own mind connected

00:17:05.680 --> 00:17:11.760

to that first big choice or that justification or

justifications

00:17:11.760 --> 00:17:14.760

plural that you made as your character.

00:17:14.760 --> 00:17:18.080

And those connections, we love them.

00:17:18.080 --> 00:17:20.280

We love connections and improv.

00:17:20.280 --> 00:17:23.760

Now you don't have to state all of your character's beliefs.

00:17:23.760 --> 00:17:27.400

You don't even need to get specific and stuck in your head

00:17:27.400 --> 00:17:28.200

either.

00:17:28.200 --> 00:17:31.800

Practicing all of these exercises in this episode

00:17:31.800 --> 00:17:37.240

makes this process faster and easier to feel and understand

00:17:37.240 --> 00:17:38.560

when you're in the scene.

00:17:38.560 --> 00:17:41.800

But you'll be ready to inform your character's reactions

00:17:41.800 --> 00:17:44.760

and choices in the scene when they come up.

00:17:44.760 --> 00:17:47.200

And this gives your character depth.

00:17:47.200 --> 00:17:48.160

It rounds them out.

00:17:48.160 --> 00:17:52.200

Bits of your character emerge organically through action

00:17:52.200 --> 00:17:55.080

rather than through exposition.

00:17:55.080 --> 00:17:57.720

And you'll find so many new possibilities

00:17:57.720 --> 00:18:02.280

thinking this way for and as your character.

00:18:02.280 --> 00:18:07.160

And finally, through all of this, you must commit.

00:18:07.160 --> 00:18:11.720

Commit to your character and commit hard.

00:18:11.720 --> 00:18:15.280

Whether the POV belongs only to them

00:18:15.280 --> 00:18:19.000

or it's based on a piece of your own lived experience,

00:18:19.000 --> 00:18:25.880

commit fully and consistently whatever you put into the

scene.

00:18:25.880 --> 00:18:27.360

So thanks for tuning in.

00:18:27.360 --> 00:18:31.480

And remember to subscribe to the newsletter at

improvupdate.com

00:18:31.480 --> 00:18:36.080

for a bunch of additional stuff about the improvs.

00:18:36.080 --> 00:18:39.480

And I'll be back next week for the next episode.

00:18:39.480 --> 00:18:42.320

And oh yeah, that dog thing, it wasn't rural Manitoba.

00:18:42.320 --> 00:18:45.200

It actually really happened a couple hours drive

00:18:45.200 --> 00:18:48.000

outside Pune, India at a rural farm.

00:18:48.000 --> 00:18:49.160

That's all I have.

00:18:49.160 --> 00:18:50.000

I'm still recording.

00:18:50.000 --> 00:18:53.720

[MUSIC PLAYING]

00:18:53.720 --> 00:18:56.440

You have been listening to Your Improv Brain,

00:18:56.440 --> 00:18:58.480

a StereoForest production.

00:18:58.480 --> 00:19:02.000

This show is created and is written, edited, and produced

00:19:02.000 --> 00:19:05.360

by Jen of StereoForest.com.

00:19:05.360 --> 00:19:08.760

You can find show information, show notes, transcripts,

00:19:08.760 --> 00:19:12.000

and contact information at the show's page

00:19:12.000 --> 00:19:15.800

at stereoforest.com/improvbrain.

00:19:15.800 --> 00:19:16.760

Thanks for listening.

00:19:16.760 --> 00:19:20.000

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