Although I haven’t watched “Wreck-It Ralph,” I have read the (highly recommended) screenplay, and it sparked some musings about characters and their jobs.
“I gotta say, it becomes kinda hard to love your job… when no one else seems to like you for doing it.”
Wreck-It Ralph, as an anti-hero and video-game villain in his day job, is in fine company. In his book What Foreigners Need To Know About America From A To Z, Lance Johnson provides surveys that list some of the service industries and related jobs Americans rank as lowest and complain about the most:
- Oil companies
- Real estate agents
- Tobacco companies
- Auto dealers
- Cell phone companies (contracts)
- Collection agencies
- Auto repair
- Mortgage brokers
If your characters hold a profession everybody hates, that makes your job as a writer more challenging, but in the case of Wreck-It Ralph, it can also be a rewarding journey. Everyone (including, ahem, writers) can relate to days in which no one appreciates what you do. Yes, Wreck-It Ralph is about Generation X, the video game and most maligned recent generation, but it is also about our jobs and our livelihoods.
Does the job define the character?
Does the job define the person? In our society, yes, it does.
Does the job define the character? In the case of cop dramas, legal dramas, political dramas, hard-boiled police procedurals, stories about sex workers, stories set in the entertainment industry, stories about teachers, even family dramas in which Mom and Dad are the (toughest of all) job titles (what parent hasn’t felt unappreciated at some point?), the answer is yes.
Whether it’s Detective Olivia Benson on “Law & Order: Special Victims Unit” who lives for the job, Sherlock Holmes, Captain Kirk (when the movies prompted him to admiral and took him away from the Enterprise, that sparked major character conflict and a four-movie arc), there are many examples in which the job defines the character. But it’s also the character’s relationship to the job that creates drama and conflict.
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In Wreck-It-Ralphs’s case, he just wants to be a part of society and be valued. His external goal is to get a medal, but in the course of “going turbo” and leaving his game, he develops other relationships.
This works for true stories, too: If your client has a job that the public has preconceptions, especially negative, about, such as the mortgage industry (Confessions of a Subprime Lender), IRS agents, Hollywood agents (sorry), salespeople, or politicians (if you land such a gig), your job is to make the case as to why the reader should care: Is it a tell-all? A personal struggle with illness? A friendship or love story that changes lives? A how-to book on consumer advice? A cause that’s bigger than the job?
Yes, it is hard to separate people from their jobs, because one of the first questions we ask is, “What do you do?” Why would your characters, including in nonfiction, be any different? Also, other than their stated job title, characters have different jobs to do in your story. Hero, comic relief, best friend, messenger, shapeshifter, mentor, sidekick…
Don’t knock the villains (even though we all love to). In my follow-up post, I’ll give some love to the antagonist/villain’s job and why, in Ralph’s words, “I’m bad, and that’s good. I will never be good, and that’s not bad. There’s no one I’d rather be than me.”
Back to the job!
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