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How to Write an Interesting Comeback Character

By Eric Owusu · January 15, 2015

Much like the underdog, the comeback character is one that cinema audiences can relate to and love to hail. From the foul-mouthed unapologetic protagonists in Anchorman and Top 5 to the once promising combatants who felt like they never amounted to much until they won in The Fighter, comeback characters exude a range of different characteristics, desires and flaws, making them unpredictable and enthralling. 

The following are a few suggestions for how to develop a screenplay where a protagonist shines as a flawed comeback character. 

 

Establish their situation and the height from which they fell

The audience cannot know where the comeback character is trying to return to if the writer doesn't establish it. Establish the story of their downfall early in the screenplay. In Birdman, the protagonist's inner voice/demon is the first voice that speaks and says "How did we end up here?" – in reference to the protagonist Riggan Thomson in a small dingy dressing room. Immediately, the audience knows that the protagonist used to be in a bigger, brighter, better place but that's not their current situation. 

We are later told that Riggan was a huge Hollywood star and fell off the A-List, much like the protagonists in Chris Rock's screenplay Top 5. In the beginning of Top 5, news anchors talk about Andre Allen and how he starred in a blockbuster hit, but isn't where he used to be, as indicated by the news' focus on his reality star fiancé and their upcoming wedding. Establish your protagonists and their tales as early as possible because it effectively lets the audience know who they're dealing with.

 

Set them up as their own worst enemy

Neither Andre or Riggan are nice people. They are disgruntled and selfish, mainly chasing their best interests. Their best interests, however, don't necessarily seem to be what's best for them. Andre and Riggan want to be taken seriously as actors and do serious roles. Ron Burgundy of Anchorman wants to be the better news anchor when compared to his new female co-anchor. These desires are out of reach for these characters because they are flawed. They do things to get in their own way. Andre doesn't want to cooperate with the media powers that be. If he did, it would make things much easier. Riggan keeps letting theater mishaps deter him, wanting to cancel the show after every incident. 

The struggle to do their own thing on their own terms makes the situation comeback characters are in infinitely more interesting. It'd be one thing if they did everything correctly and didn't get what they want. But their stubbornness, their need to go against the grain with everything and almost everyone around them while chasing goals, is an interesting characteristic to watch play out. It makes the endings less predictable. Will they implode? Won't they? Why do they keep getting in their own way? However your comeback character's troubled ways pan out, you can generate even more interest if you…

 

Give them supportive supporting characters

The spouses, ex-spouses, children, relatives, friends and love interests of flawed comeback characters make their ascension more interesting. The audience will see try to see what the comeback protagonist's point of view is and why they doubt themselves, but they can also identify with characters who are supportive of the protagonist as voices of reason. 
 
The character Chelsea Brown in Top 5 is a journalist conducting a walking interview with Andre and asks intrusive questions, getting him to be honest with her and himself. She helps him come to terms with himself and his roadblocks, encouraging him to come back to being a good performer. Riggan's daughter Sam has a similar effect on him. She argues with him at one point and tells him that despite his desire to be relevant and respected again, he doesn't matter and that nothing matters. It's a tense moment, but it definitely gets Riggan to take the production on as a whole and enjoy himself. We see that when Sam storms out and he finishes the joint she was smoking. 
 
 
Show them fail and continue forward, despite the odds
 
The comeback characters are written as stubborn but determined. We see what they're made of when they try and fail. As with Riggan and his theater complications, Andre has a relapse, Micky and Dicky can't seem to stay out of trouble, and Ron burgundy's climb back to the top keeps getting derailed by his ego and naiveté. Even though it looks hopeless, our comeback heroes press on and eventually get back on track. They wouldn't be very good comeback characters if they didn't. Create characters and stories that pit your protagonists against obstacles, especially their own doubts, fears and insecurities. And make it look like they're going to fail towards the end. But towards the end of the final act, have them do what they were written to do: 
 
Come back.