If you've seen "Adaptation" or you know much about screenwriting, you've heard of Robert McKee, famous screenwriting lecturer. If you don't live in LA, don't feel like being yelled at or don't have $500 to spend, you can get the gist of one of his story lectures here. For instance, here's a brief outline on writing a supporting character:

1. The Confidant: The person to whom the hero reveals himself, rather than tells his concerns. MIAMI VICE

2. The Catalyst: People who provide information or initiate an event that pushes the hero into action.

3. The Backdrop: Iluminate the hero or antagonist in some way to help us understand who's important (bodyguards, security men, chauffeur, assistants, etc.) Provide mass and weight to a character.

4. Comic Relief: Lighten up the story and release audience tension. Danny DeVito's character in ROMANCING THE STONE and R2D2 and C3PO in STAR WARS

5. The Foil: The character in contrast with the hero who helps us see the hero more clearly because of the differences between them; they yield high relief.

6. Thematic Characters: Characters which convey the theme of the film. OUT OF AFRICA, A PASSAGE TO INDIA, THE COLOR PURPLE. Balancing function.

a. "Voice Of" Characters: WITNESS: Eli is the voice of Amish nonviolence. Usually one-dimensional, they express one aspect only of the theme. Their ideas are conveyed through attitude and action.

b. "POV" Characters: STAR WARS: Obi-Wan Kenobi and Yoda are the philosophy of the Force.

c. "Audience POV" Characters: Lets us know how we should feel or think about a situation. Often used to answer audience questions about possibility and "incredible" material, such as the supernatural, UFOs, psychics, reincarnation, etc.

D. SUPPORTING CHARACTERS AND SUBPLOT: The SCs are used to dimension-alize the Story Values. They give differing perspectives of the Main Idea.

E. CAVEATS

1. Complexity: They are, necessarily, less complex than the main character.

2. Not Better Than Hero: Don't make the SC more appetizing than the hero.

3. Polar Relationships Are Best: Never have two characters who react the same and have the same attitudes. This maximizes the conflict.

F. BIT PLAYERS: Written flat on purpose, so as not to take attention away from the main character.