Don’t Fix the Story, Tell it

Ever notice how drama and conflict just seem to go hand-in-hand? They’re really inseparable. Interesting characters are flawed characters, and not all of those flaws will be relatable, understandable, or forgivable.

As actors, it can be incredibly tempting to judge the characters we play. And we know it’s tough, but truly stepping inside the hearts and minds of each one means letting go of judgment. If we’re judging our character, it creates distance. It’s impossible to honestly inhabit a role if we’re p***ing judgment on it.

What You’ll Find in This Article

Thinking about joining Casting Networks? Sign up for a free trial today!

When the Story Needs a Nudge (Not a Fix)

Closely tied to this temptation to judge is the urge to “fix” the story. This conversation has a lot of nuance. For example, if you’re adapting an older work, such as one of Shakespeare’s, for modern film or theater, it may contain outdated, harmful language that has no bearing on the actual plot. In cases such as these, word changes or cuts can really help move the story forward by making the work more accessible and not distracting the audience in a way that was never supposed to be the focus of the story. To continue this example, you can’t tell the story of The Merchant of Venice without the antisemitism and racism. They are central to the plot and Shylock’s motivation. Whether you tell the story at all is a valid question, and one to carefully consider before you sign a contract. Once you’ve been hired to play a character and tell a story, your job is to play the character and tell the story on the page, not the version of them you wish they were.

Your Lane, Your Freedom: Trusting the Text

As an actor, there can be some freedom in this. The big picture and connective tissue are the director’s responsibility. This isn’t to say you can’t or shouldn’t collaborate. But sometimes we subconsciously fight the text, and honestly—it rarely ends well. If you’re finding yourself in a place where you’re pushing and pushing and throwing ideas at the wall and nothing is sticking, ask yourself, “Am I telling the story, or am I trying to fix it?”

The True Reward: Leaning into Discomfort

Not every story should be told. Not every story will be yours to tell. But if you agree to tell it, apologizing for it, sugarcoating it, or holding it at arm’s length is doing a disservice to the audience, the creative team, and ultimately, yourself and your acting. Moreover, you run the risk of missing an opportunity to discover comp***ion and nuance for characters you may not have seen at first glance. Some of the most rewarding work is the most challenging, and while I advocate for actors to keep themselves safe, unsafe and uncomfortable are two separate things. Valuable work can be found weeding through discomfort. When in doubt, go back to the text. Return to the character. Tell the story.

Final Takeaways

Actors have a complex relationship with the characters they portray, and it’s important to embrace your character’s flaws without judgment. There is a delicate balance between honoring the original story and knowing when minor adjustments can help modern audiences connect. Leaning into discomfort is the path to deeper understanding and more authentic performances.

Here are some of the main points you want to remember:

• Drama and conflict are inseparable because flawed characters drive compelling stories, even when their flaws are hard to relate to or forgive.
• Actors must resist judging their characters to fully inhabit their roles and create authentic portrayals.
• While adapting older works may require sensitive changes for accessibility, the core story and character motivations should remain intact.
• Actors should trust the text and their director’s vision, avoiding the urge to “fix” the story themselves.
• Leaning into discomfort can lead to greater comp***ion and nuance, making challenging roles some of the most rewarding work.

You may also like: