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I have found it works both ways for me. Sometimes the character arrives on their own from the world or from someone I know, so I do not have an actor in mind at all. Other times I imagine a specific performer, especially when I need help visualising the rhythm or physicality of a character. When I cannot clearly picture a face, using an actor as a starting point makes it easier to write the scenes. But it can also feel limiting. When I lean too heavily on a real actor, I sometimes shape the character around what that person would do rather than what the story needs. When that happens, I have to shake off the influence and let the character breathe again. On the other hand, those limitations can spark depth. Starting with a known type or energy can help me dig into the backstory more clearly, especially when the story grows or moves into later stages. Characters in long running stories often begin with a very specific vibe or archetype, and then the writers take them further in sequels or later arcs. You see it in characters like Bond or Indiana Jones, where the early defined traits give you something to push against, expand, or even subvert later. The foundation becomes a springboard. So for me it shifts from project to project. Sometimes the actor helps anchor the character, and sometimes I need to keep the character free so they can surprise me.

Welcome to the community @Jef Kuebler

@Brittany Wright Thanks for reading it so quickly and responding. Glad it resonated. 🙂

@Diane Whiddon cheers Diane. Loved the session today.

What an amazing sizzling session! Great to see and hear from such vibrant energies. Thank you @David Stem for the space to get cooking.