What’s not to love about frameworks? They help us improve our craft and inspire us to create better stories. At the most basic level, they allow us to face the dreaded blank page.
Character introductions are an integral part of any story. Therefore, being able to rely on a practical approach to assist in this process can only help. Inside Out, written by Pete Docter, Meg LeFauve, and Josh Cooley, features a vivid sequence introducing a series of characters quickly and efficiently. A model can definitely be taken out of it and adapted when writing your own stories.
That being said, no framework should be taken too seriously. It is simply an additional tool in a writer’s toolbox. It is a facilitator, a process starter, and a way to approach things under a different angle.
But first things first, the sequence in question is below. In this section, which spans six pages, the emotions are introduced: Joy, Sadness, Anger, Disgust and Fear.
The Sequence
BLACK.
JOY (V.O.)
Do you ever look at someone and wonder, “What is going on inside their head?” Well, I know. I know Riley’s head.
WHITE. FADE IN…
INT. HOSPITAL – DAY
A newborn baby swaddled in a blanket, held by her parents. Push in… and ZOOM IN TO HER HEAD.
INT. HEADQUARTERS
Out of the blackness steps a glowing figure. This is JOY. The room is black except for a bright CONSCIOUSNESS SCREEN.
JOY
Hmm?
In front of Joy is a single large BUTTON. She pushes it.
INT. HOSPITAL – CONTINUOUS
The baby gurgles and wiggles happily.
JOY (V.O.)
And there she was…
INT. HEADQUARTERS – CONTINUOUS
ON THE CONSCIOUSNESS SCREEN:
MOM
Hello, Riley.
DAD
Oh look at you. Aren’t you a little bundle of joy?
A GOLDEN GLOWING SPHERE rolls from behind the screen. It’s a MEMORY of what we just saw: Mom and Dad cooing at Riley.
JOY
Whoa.
Joy rolls the memory on its track, illuminating the room. She turns back to the button and pushes it again.
INT. HOSPITAL – CONTINUOUS
Baby Riley gurgles happily.
JOY (V.O.)
It was amazing. Just Riley and me, forever…
INT. HEADQUARTERS – CONTINUOUS
Baby Riley CRIES.
JOY (V.O.)
…for 33 seconds.
Joy looks to her side. There’s a new, droopy, blue character touching the button.
SADNESS
I’m Sadness.
JOY
Oh, hello. I’m Joy.
Joy tries to muscle past Sadness to press the button.
JOY (CONT’D)
Can I just… if you could… I just want to fix that. Thanks.
The two struggle.
JOY (V.O.)
And that was just the beginning. Headquarters only got more crowded from there.
INT. MINNESOTA HOUSE – DAY
Riley, now age 3, barrels through the house pulling a wagon.
INT. HEADQUARTERS
ON THE SCREEN: Riley’s POV as she runs through the house. Fear “supervises” Joy, who drives.
FEAR
Very nice. Okay, looks like you got this. Very good, sharp turn…
Riley approaches a POWER CORD on the ground.
FEAR (CONT’D)
Ahh! Look out!!! No!
Fear leaps to the console.
JOY (V.O.)
That’s Fear. He’s really good at keeping Riley safe.
INT. MINNESOTA HOUSE – CONTINUOUS
Riley stops. She cautiously steps over the power cord.
FEAR (O.S.)
Easy… we’re good! We’re good.
INT. HEADQUARTERS
A fear memory (purple) rolls in.
JOY/SADNESS
Whew!/Nice job.
FEAR
Thank you! Thank you very much.
Joy jumps back into driving position.
JOY
And we’re back!
INT. MINNESOTA HOUSE – CONTINUOUS
Riley continues her sprint through the house.
Suddenly she’s picked up.
INT. KITCHEN – CONTINUOUS
PLOP into highchair. Bib. Tray. Bowl.
DAD
Here we go. Alright, open.
Dad lifts a spoonful of food to Riley’s mouth.
INT. HEADQUARTERS
JOY
Hmm. This looks new.
FEAR/SADNESS
Do you think it’s safe?/What is it?
ON THE SCREEN: a spoonful of broccoli.
DISGUST enters.
DISGUST
Okay, caution! There is a dangerous smell, people. Hold on, what is that?
JOY (V.O.)
This is Disgust. She basically keeps Riley from being poisoned, physically and socially.
DISGUST
That is not brightly colored or shaped like a dinosaur… Hold on guys… It’s broccoli!
Disgust GAGS and pulls a lever.
INT. KITCHEN
YOUNG RILEY
Yucky!
Riley swats the broccoli. It flies into Dad’s face.
INT. HEADQUARTERS
A disgust memory (green) rolls in.
DISGUST
Well, I just saved our lives. Yeah. You’re welcome.
INT. KITCHEN
DAD
Riley, if you don’t eat your dinner, you’re not going to get any dessert.
INT. HEADQUARTERS
ANGER looks up from reading his newspaper.
ANGER
Wait. Did he just say we couldn’t have dessert?
JOY (V.O.)
That’s Anger. He cares very deeply about things being fair.
ANGER
So that’s how you want to play it, old man? No dessert? Oh, sure, we’ll eat our dinner, right after YOU eat this! GrrrraaaAAHH!!!!
Anger takes the controls as FLAMES blast out of his head. An anger memory (red) rolls in.
INT. KITCHEN
Riley throws a fit. Dad distracts her.
DAD
(’flying’ the spoon)
Hey, Riley, Riley, here comes an airplane!
INT. HEADQUARTERS
Anger stops screaming.
ANGER
Oh, airplane. We got an airplane, everybody.
DISGUST/FEAR/SADNESS/JOY
Ohh!/Ahh!
INT. KITCHEN
Dad “lands” the food into Riley’s smiling mouth.
INT. HEADQUARTERS
A happy memory (golden) rolls in.
The others leave Joy alone at the console with Sadness.
JOY (V.O.)
And you’ve met Sadness. She… well, she…
FLASH CUTS of Riley crying: broken toy, spilled ice cream, tantrum in the supermarket, wanting out of her car seat.
JOY (V.O.)
I’m not actually sure what she does. And I’ve checked, there’s no place for her to go, so she’s good, we’re good. It’s all great!
An Inside Out Framework
This framework is appropriate for the introduction of multiple characters in a timely manner, providing incredible rhythm to the sequence.
The Framework’s Elements
The framework consists of six interlinked elements: Setup, Character’s Introduction, Conflict, Narrator’s Description, Resolution, and Effect and Reactions. Not all elements are mandatory for each character, and the order in which these appear is largely flexible.
Setup
First and foremost, the sequence must be introduced. We need to set up the basis for what’s to come. Everything else will unfold from here, triggering a chain of relevant actions and reactions. This, obviously, is the setup.
In Inside Out, each character is set up differently, providing the perfect initial situation for that specific character. For Joy, the birth of Riley launches her introduction. Sadness’ setup is marked by a tearful baby Riley. The little girl running through the house provides the ideal situation for Fear to appear and Disgust’s introduction is set by the possibility that Riley may be about to eat broccoli. As for Anger, dad’s threat to withhold dessert is enough to set him up on fire, literally. Clearly, each setup is driven by the character’s personality and role in the story.
Character’s Introduction
Once the setup is in place, the character is introduced. It is the first time we see and hear the character in the story. It can be a simple introduction, or a more elaborate one. Either way, it is a follow-up to the setup. The character may be described physically, the way Joy is “a glowing figure” or Sadness is “a new, droopy, blue character”, but it is usually also accompanied by an action and/or dialogue. Joy and Sadness work their magic on the console, Fear supervises Riley as she runs through the house, Disgust enters after detecting a “dangerous smell”, and Anger is distracted from his newspaper as he hears Dad’s threat. These introductions are certainly a natural follow-up to the setup.
Narrator’s Description
Allocating a temporary narrator throughout the characters introduction sequence provides a solid structure, which facilitates the succinct debut of all the characters. In Inside Out, the main character, Joy, serves that purpose as the emotions are presented according to their role in Riley’s life, as well as the opinion the narrator has of them. Every character is viewed positively by her, explaining the utterly important part they play in Riley’s life. Fear prevents Riley from getting hurt, Disgust protects her from getting poisoned, and Anger champions for justice in her life. However, Joy doesn’t view Sadness, who can be considered her nemesis given their opposite roles in Riley’s life, with the greatest esteem. At least in the beginning. One of the story conflicts is therefore revealed through the narrator’s description of Sadness as she mentions her uncertainty as to what Sadness’ role is and the fact that even though she has checked, there is no other place for Sadness to go. Visibly, the narrator’s description delivers valuable information as the viewer/reader becomes acquainted with the story’s characters.
Conflict
There is no story without conflict. When a less than desirable situation arises, characters will act accordingly, aiming for a positive resolution. Where there is conflict, there is an action/reaction to it. The character introduction sequence in Inside Out features many small conflicts and the manner in which each character reacts to them helps solidify his/her personality in the eyes of the viewer/reader.
For Joy and Sadness their conflict lies in their opposite roles. Indeed, Sadness actions go against Joy’s primary objective, which is to keep Riley happy. Therefore, both characters struggle to control the console and provide the “right” emotions to Riley. For Fear, a conflict appears with the sudden advent of what could be considered a dangerous situation as the girl nears a power cord full speed ahead. Disgust on the other hand has to face the impending ingestion of broccoli by her protégé. As for Anger, conflict arises through his response to the setup, pushing Riley to throw a fit.
Resolution
Where there is a conflict, there is a resolution. Fear makes sure that Riley steps over the power cord prudently, keeping her safe. Disgust propels Riley to smack the food out of her dad’s hands, avoiding the unthinkable act of eating broccoli. Anger’s tantrum prompts Riley’s dad to distract her with an “airplane” spoon, ensuring a nice ending to the injustice. In this sequence, resolution is indeed always positive.
Effect & Reactions
Characters’ actions and conflicts have an effect on the story world. Joy’s ability to make baby Riley gurgle and wiggle prompts a happy (golden) memory to roll out. Keeping Riley safe brings out a fear (purple) memory, Disgust’s rejection of broccoli causes a disgust (green) memory, and Anger’s flaming reaction draws an anger (red) memory. Their actions have therefore an effect on the world they live in.
Not only that, but they also elicit reactions from the character itself or the others. Joy pushing a button on the console makes Riley happy. Saving the girl from danger earns Fear congratulations from his fellow emotions. Disgust boasts about saving their lives, and Anger’s tantrum ceases as he brings his peers to notice the “airplane” spoon, calming everyone down.
The Order
As mentioned previously, it isn’t imperative to use every single element for each character, and with the exception of the setup which obviously always comes first, and the character’s introduction always coming second, there isn’t a definitive order for these elements either.
Therefore, the choice of elements and their order of appearance can be adapted to fit other stories.
The following section presents their order in Inside Out:
The Main Emotions
Joy – The Main Character & Narrator
Sadness – The Nemesis / Part I
The Secondary Emotions
Fear
Disgust
Anger
** For Anger, the Effect & Reactions are intertwined with the Conflict and the Resolution.
Sadness – The Nemesis / Part II
We return to the nemesis to conclude the sequence.
INSIDE OUT DECONSTRUCTED
Joy
Setup
BLACK.
JOY (V.O.)
Do you ever look at someone and wonder, “What is going on inside their head?” Well, I know. I know Riley’s head.
WHITE. FADE IN…
INT. HOSPITAL – DAY
A newborn baby swaddled in a blanket, held by her parents. Push in… and ZOOM IN TO HER HEAD.
Character Introduction
INT. HEADQUARTERS
Out of the blackness steps a glowing figure. This is JOY. The room is black except for a bright CONSCIOUSNESS SCREEN.
JOY
Hmm?
In front of Joy is a single large BUTTON. She pushes it.
Effect & Reactions
INT. HOSPITAL – CONTINUOUS
The baby gurgles and wiggles happily.
JOY (V.O.)
And there she was…
INT. HEADQUARTERS – CONTINUOUS
ON THE CONSCIOUSNESS SCREEN:
MOM
Hello, Riley.
DAD
Oh look at you. Aren’t you a little bundle of joy?
A GOLDEN GLOWING SPHERE rolls from behind the screen. It’s a MEMORY of what we just saw: Mom and Dad cooing at Riley.
JOY
Whoa.
Joy rolls the memory on its track, illuminating the room. She turns back to the button and pushes it again.
INT. HOSPITAL – CONTINUOUS
Baby Riley gurgles happily.
JOY (V.O.)
It was amazing. Just Riley and me, forever…
Sadness – Part I
Setup
INT. HEADQUARTERS – CONTINUOUS
Baby Riley CRIES.
JOY (V.O.)
…for 33 seconds.
Character Introduction
Joy looks to her side. There’s a new, droopy, blue character touching the button.
SADNESS
I’m Sadness.
JOY
Oh, hello. I’m Joy.
Conflict
Joy tries to muscle past Sadness to press the button.
JOY (CONT’D)
Can I just… if you could… I just want to fix that. Thanks.
The two struggle.
JOY (V.O.)
And that was just the beginning. Headquarters only got more crowded from there.
Fear
Setup
INT. MINNESOTA HOUSE – DAY
Riley, now age 3, barrels through the house pulling a wagon.
Character Introduction
INT. HEADQUARTERS
ON THE SCREEN: Riley’s POV as she runs through the house. Fear “supervises” Joy, who drives.
FEAR
Very nice. Okay, looks like you got this. Very good, sharp turn…
Conflict
Riley approaches a POWER CORD on the ground.
FEAR (CONT’D)
Ahh! Look out!!! No!
Fear leaps to the console.
Narrator’s Description
JOY (V.O.)
That’s Fear. He’s really good at keeping Riley safe.
Resolution
INT. MINNESOTA HOUSE – CONTINUOUS
Riley stops. She cautiously steps over the power cord.
FEAR (O.S.)
Easy… we’re good! We’re good.
Effect & Reactions
INT. HEADQUARTERS
A fear memory (purple) rolls in.
JOY/SADNESS
Whew!/Nice job.
FEAR
Thank you! Thank you very much.
Disgust
Setup
Joy jumps back into driving position.
JOY
And we’re back!
INT. MINNESOTA HOUSE – CONTINUOUS
Riley continues her sprint through the house.
Suddenly she’s picked up.
INT. KITCHEN – CONTINUOUS
PLOP into highchair. Bib. Tray. Bowl.
DAD
Here we go. Alright, open.
Dad lifts a spoonful of food to Riley’s mouth.
INT. HEADQUARTERS
JOY
Hmm. This looks new.
FEAR/SADNESS
Do you think it’s safe?/What is it?
ON THE SCREEN: a spoonful of broccoli.
Character Introduction
DISGUST enters.
DISGUST
Okay, caution! There is a dangerous smell, people. Hold on, what is that?
Narrator’s Description
JOY (V.O.)
This is Disgust. She basically keeps Riley from being poisoned, physically and socially.
Conflict
DISGUST
That is not brightly colored or shaped like a dinosaur… Hold on guys… It’s broccoli!
Disgust GAGS and pulls a lever.
Resolution
INT. KITCHEN
YOUNG RILEY
Yucky!
Riley swats the broccoli. It flies into Dad’s face.
Effect & Reactions
INT. HEADQUARTERS
A disgust memory (green) rolls in.
DISGUST
Well, I just saved our lives. Yeah. You’re welcome.
Anger
Setup
INT. KITCHEN
DAD
Riley, if you don’t eat your dinner, you’re not going to get any dessert.
Character Introduction
INT. HEADQUARTERS
ANGER looks up from reading his newspaper.
ANGER
Wait. Did he just say we couldn’t have dessert?
Narrator’s Description
JOY (V.O.)
That’s Anger. He cares very deeply about things being fair.
Conflict
ANGER
So that’s how you want to play it, old man? No dessert? Oh, sure, we’ll eat our dinner, right after YOU eat this! GrrrraaaAAHH!!!!
Anger takes the controls as FLAMES blast out of his head. An anger memory (red) rolls in.
INT. KITCHEN
Riley throws a fit. Dad distracts her.
Resolution
DAD
(’flying’ the spoon)
Hey, Riley, Riley, here comes an airplane!
INT. HEADQUARTERS
Anger stops screaming.
ANGER
Oh, airplane. We got an airplane, everybody.
DISGUST/FEAR/SADNESS/JOY
Ohh!/Ahh!
INT. KITCHEN
Dad “lands” the food into Riley’s smiling mouth.
Effect & Reactions
INT. HEADQUARTERS
A happy memory (golden) rolls in.
** As previously mentioned, we can see that for Anger the Effect & Reactions are intertwined with the Conflict and the Resolution (highlighted in black).
Sadness – Part II
Setup
The others leave Joy alone at the console with Sadness.
Narrator’s Description
JOY (V.O.)
And you’ve met Sadness. She… well, she…
FLASH CUTS of Riley crying: broken toy, spilled ice cream, tantrum in the supermarket, wanting out of her car seat.
JOY (V.O.)
I’m not actually sure what she does. And I’ve checked, there’s no place for her to go, so she’s good, we’re good. It’s all great!
Afterword
Writing stories is hard. Fortunately, incredible ones abound. They are an invaluable source of knowledge, offering impactful blueprints from which we can build upon. The sequence we find in Inside Out features a strong structure which facilitates the introduction of multiple characters in such a succinct matter. It is hard to imagine the Inside Out emotions being presented any other way. By the end of the sequence, we know who they are, what they do, and how they do things. We understand their personality, as well as their role in the story.
Obviously there are a myriad of ways characters can be introduced in a story, but playing around with this framework when writing your next story or revising an existing one might bring new insights and provide a starting point to let the imagination run free.