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Tag: character

Range of Change

Characters can develop in two ways. A text can provide new information about a character that cuases readers to see the character differently and in more depth, or the events of a story can actually change characters, make them more complicated.

The Pleasures of Children’s Literature, Perry Nodelman and Mavis Reimer

If you’re in the middle of writing something and find that you’re second-guessing your thumbnail character descriptions, see The Always/Only Test by Andrea Phillips and realise you’re not the only one.

In reading for character, readers conventionally use their knowledge of the way people in the world around them usually behave to assign traits to characters, to guess about their motivations, to reconstruct their past, or even to predict what they might do after the end of the story.

Reading in this way implies that fiction is a kind of gossip. It assumes that authors say a little bit about the characters they describe so that readers can have the fun of guessing about all the aspects of character and experience they are not told about. […] But, like gossip, guessing about literary characters can misrepresent them by fitting them into categories readers already possess. Readers who want the pleasure of perceiving something more than or something different from what they already know or believ about human nature have to work with a different assumption: that authors carefully select what they choose to say, and that their choices–both what they say and what they don’t say–define what they wish readers to understand.

– The Pleasures of Children’s Literature, Perry Nodelman and Mavis Reimer

3 Questions To Ask Of A Main Character In Your Story

  1. What will my hero learn at the end?

  2. What does she know at the beginning? No character is a completely blank slate at the start of the story. She believes certain things.

  3. What is she wrong about at the beginning? Your hero cannot learn something at the end of the story unless she is wrong about something at the beginning.

– from John Truby

 

The Anatomy Of Story John Truby

 

Developing Characters In Stories

Goodreads to Anne Tyler: You are noted for your skill in writing character-driven novels. Do you consider yourself a student of human behavior? When working on character, do you turn to people watching or daydreaming—looking outward or inward for inspiration?

Anne Tyler: I figure we’re almost all students of human behavior. That’s how we get along in the world—by trying to make sense of the people we have to deal with.

When I’m working on character, I search my memory for telltale traits or gestures that I may have noticed in some random passerby. For instance, the other day I met a delightfully scatterbrained woman who was wearing a plastic bracelet the size of a giant bagel. When she tried to write a note, her bracelet was so thick that her fingers couldn’t reach the pad of paper she was resting her wrist on. I loved that; I thought it said reams about her.

Goodreads

Here’s what Robert McKee has to say about characterisation in stories:

  • Characters are not people. Whereas people constantly change and are difficult to pin down, characters in stories stand for things about human nature that are unchangeable through the ages.
  • Be mindful of the difference between ‘characterization’ (age, looks, IQ, job etc.) and ‘true character’ (that behind the mask).
  • True character can only be expressed through choice in a dilemma. How a character chooses to act under pressure will reveal the most interesting things.
  • Make sure you understand your character’s desires.
  • Don’t reduce characters to case studies. ‘Generally, the more the writer nails motivation to specific causes, the more he diminishes the character in the audience’s mind.’
  • What other characters say about your character is more revealing than what main characters say about themselves.
  • To create 3D characters, what you do is give them complexity by contradiction. The trick is to make the contradictions of their character consistent.
  • The protagonist has to be the most complex character in the story.

Catherine Tate was asked once, ‘Where do you get your characters?’ She told the journalist that there was a shop on such-and-such-a-street.

As Dean Norris said of his character Hank Schrader on Breaking Bad: “I knew all about my character before I’d read a thing.”

From an acquisitions editor:

Here is a problem I find in my own writing and one I see in a lot of submissions:
 
Characters so focused on their own agendas that they don’t react like normal human beings to what is going on around them.
Cardboard Characters from Novel Rocket

PSYCHOMETRIC PROFILING

  1. Making use of Myers-Briggs Personality Types;
  2. How to Use Psychometric Testing to Create Believable Characters from Writer Unboxed.

Other Useful Links

4. Creating Authenticity in Fiction – Where do authors draw the line? a thought-provoking article from Carly Watters.
5. Why Your Novel Characters Need Real Flaws at Rachelle Gardner’s blog
7. What Is Character? Books which debunk the myth of fixed personality from Brainpickings
8. Under Development: Ways to Create Characters, from The Other Side Of The Story
9. Take Your Characters To Therapy from Writer Unboxed
12. CHARACTER DEVELOPMENT TEMPLATE FOR HEROES (based on Christopher Vogler’s The Writer’s Journey)

Must authors know their audience?

It is not seldom that writers misjudge their audience. Writers may declare that they write for boys and girls between ten and twelve, while the implied readers of the novels may have to be slightly older and more mature to understand the character, or the character’s experiences will only appeal to girls, or the particular settings and events of the novel presuppose a certain knowledge of the British public school system in the nineteenth century, or the intertextual links address reader with substantial reading habits. All this does not necessarily prevent real readers from enjoying a text that postulates a different implied reader.

– Maria Nikolajeva in The Rhetoric of Character In Children’s Literature

*

A lot of writers say that they don’t think about the reader at all. I’m a complete fucking whore for the reader. If someone picks up my book, they’re really doing me a fucking turn, and I want to give them a good time on many different levels. So I try to make every page and sentence pop. And that causes weird technical difficulties as a writer. It makes your work very intense as a reading experience.

Kevin Barry at The Millions

Gods, Heroes and Ordinary Characters In Children’s Fiction

 The conventions of literary fiction are that the bourgeois hero (more likely the heroine) be vulnerable, prone to shame and guilt, unable to fit the pieces of the larger puzzle together, and on the same banal moral plane as the “average reader”: sympathetic, in other words, someone we can “identify” with, who reflects our own incomprehension of the world, our helplessness and inability to effect change.

– an example of why we need to read about amazing characters, in an opinion from Anis Shivani

 

Gods, Heroes, Ordinary Kids

 

Roman Mars of the 99% Invisible Podcast has an interesting discussion with the author of a biography of Superman. It’s episode 82, here. Like me, Roman Mars finds Spiderman a far more interesting character, but as is pointed out, Superman was never meant to be relatable. Before he was known as ‘Man Of Steel’ he was known as ‘Man of Tomorrow’, in a much more optimistic age when it was thought that humankind is making its way closer to the ideal mindset of altruism for altruism’s sake.

This raises an interesting question: Where are we headed? Are humans becoming more kind or more harsh toward others? Steven Pinker thinks we’re getting less violent, for one thing. This is the main argument in his book: The Better Angels Of Our Nature.

Listen to him speak on iTunes U, in a podcast from the School Of Humanities and Sciences from Stanford.

Related

A Psychoanalysis Of Clark Kent (from Emory University on YouTube)

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