1. Fiction Writing
Characterization

2. Direct Characterization
Direct characterization is when the author directly tells the reader what a character is like or what/how a reader should think about a character.

3. Direct characterization example
From: “Rip Van Winkle”, Washington Irving
He was a simple, good-natured man; he was moreover a kind neighbor and an obedient, henpecked husband.
This description directly tells the reader about this man's personality using words like simple, good-natured, kind and obedient. There is nothing left for you to infer or conclude on your own

4. Direct characterization activity
Using direct characterization, write 2 sentences that describe yourself.

5. Indirect Characterization
Indirect characterization: author allows the reader to make decisions about what a character is like through the actions, thoughts or other influences. Can be from other characters or that character directly.

6. 5 methods of Indirect characterization
1. Speech: What does the character say and how does he/she speak?
2. Thoughts: What is shown about the character through his/her private thoughts and feelings?
3. Effect: What effect does the character have on other people? How do they feel or react to him/her?
4. Actions: What does the character do? How does the character act in different situations?
5. Looks: What does the character's appearance say about his/her personality?

7. Example of Indirect characterization
If a mother calmly tells her son it's time for bed and he responds by saying, 'No, I don't have to do what you say! I'm staying up all night!' then we can infer that this young boy is angry, obstinate and may have authority issues. The author is not telling us directly what type of personality the boy has; instead we must decide this based on the author's use of speech.

8. “The Scarlet Ibis”, James Hurst
I jumped up, knocking over my chair, and had reached the door when Mama called, 'Pick up that chair, sit down again, and say excuse me.
What does this say about the son and the mother?

9. Indirect Activity
Create an example of indirect characterization using the 5 methods.

10. Flat and Round Characters
Flat characters: embody one characteristic, personality trait, role or function
Round: reveal several sides to a character, can see complexities and contradictions

11. How flat and round are used:
Most realistic stories involve both round and flat characters.
Too many "round" characters will tend to crowd a story and make it difficult for the reader to empathize with a particular central character.

12. Dynamic and Static Characters
Static characters do not change during the course of the story. They learn nothing important about themselves and they do not substantially change their opinions of the other characters.
Dynamic characters, on the other hand, are capable of change, growth, and insight. The main characters of realistic stories are usually (for obvious reasons) dynamic characters.

13. Dynamic/Static Character Activity
Using novels and short stories you have read (preferably in English Classes), create a list of notable dynamic and static characters

14. Normative Characters
A Normative character exists to embody the values of the reader’s culture: he or she is the character whom the reader would consider “normal” and with whom the reader would thus be likely to empathize.
If the main character is relatively unique or eccentric, it's logical to provide a normative character, someone we can relate to easily. It's also a common technique to have the normative character tell the story.

15. Sympathetic Characters
Fiction allows readers to see the characters as if they were real people. Our enjoyment of a story is founded on our willingness to accept characters as real and to sympathize with their problems and aspirations.
A sympathetic character is one to whom our sympathies are drawn: usually, the main character of a story is also the sympathetic character.

16. Character Foils
A foil character is a character who resembles but is to some degree different from the main character.
Stories are very often built around the use of these parallel or contrasting characters. It's much easier to reveal a character's personality by contrasting him or her with another character than it is to develop the character in isolation.

17. Character Foils Cont.
The importance of using foil characters can't be overstated: characters are representations of "real" people; they are also, however, structural elements within the "architecture" of the story. You can build your story around a set of parallel or contrasting characters.

18. How do I develop characters?
Characters are usually developed gradually throughout the narrative. The process involves supplying "character indicators" at various points in the story. A character indictor might be something the character says (or how he or she says it), an action, a lack of sympathy for another's characters problems, or something as simple as a way of dressing, a gesture, a preference in food or hobbies.

19. Developing Characters cont.
As is often the case, we can learn quite a bit about how to develop characters in fiction by considering how we get to know people in life. Developing a character in fiction is often similar to getting to know someone.

20. 6 ways to develop a character
1. appearance (attraction/repulsion, grooming, stature, apparent health, dress, age) 2. dialogue: what we say (and do not say) reveals our character to others; so the way we say it (accent, dialect, slang, formality, etc.) 3. body language (demeanor, stance, gestures, personal space) 4. opinions and judgment (his/her opinion of others) 5. reputation (other characters' opinion of him/her) 6. actions/behavior (dramatic presentation)

21. Common Character Problems #1
Inconsistent characterization
If a character changes, we have to understand what made him or her change. A character cannot be cruel and uncaring one minute and generous and sympathetic the next unless we've made the reasons for the transformation clear to the reader.

22. Common Character Problem #2
Implausible characters
Characters have to seem plausible in the context of the story. A mutant with telekinetic powers might work perfectly in the context of a sci-fi story, but that character would be absurd and distracting in a work of realistic literary fiction. Conversely, portraying a psychologically-complex figure in a melodrama such as a suspense novel might not work either. You have to make the character fit the genre.

23. Common Character Problem #3
Too many characters
A common problem with short stories is an over-abundance of characters. In a short story, a couple of major characters is usually enough. Other characters should usually be minor, "flat" characters who perform a specific function or who are part of the background. Too many names will be confusing to readers, and too many people will clutter the scenes.

24. Common Character Problem #4
Too few characters
Quite a few stories are built around two or three characters. It's difficult, however, to build a story around just one character. There's no opportunity for interaction, no dialogue, and probably little occasion for dramatic action. Writing a story with one character is like painting a picture in one colour: it's possible, but it's difficult and probably not a good idea.

25. Common Character Problem #5
Disappearing characters
If a character is important to the beginning of a narrative, he or she should probably be important to the end of the story as well. Characters who simply wander out of the plot leave readers feeling unsatisfied and confused. If a character dies or leaves (and that event is crucial to the plot) then he or she could be replaced by a similar or contrasting character so that the pattern of important figures remains the same

26. Common Character Problem #6
"Pop-up" characters
Just as it's important not to let major characters wander out of the story, it's also important not to introduce a new major character late in the plot. This is particularly crucial in a short story, where the major elements, including characters, almost always have to be introduced early in the narrative.

27. Common Character Problem #7
Nameless characters
Name your characters right away. The standard formula for a short story lead goes like this: start with the main character's name, then show us him or her doing something. Providing the reader with the character's name makes it easier for the reader to visualize and empathize with the character, and it also prevents the confusion that can arise from referring to more than one character as "he" or "she". This sort of "pronoun fog" is extremely irritating and usually completely unnecessary.

28. Character Writing Assignment #1
Assignment #2: Character/Setting Sketch Step 1. Visualize a person whom you know. List at least ten words or phrases which could be used to describe that person's physical appearance. Describe his or her clothing, using the same method. Consider how you might use gestures or expressions to convey the character's mood.
Step 2. Visualize a place in which the person you've just described might commonly be found. List ten words or phrases which describe the place. Step 3. Using at least some of the words or phrases you've come up with, write a descriptive sketch in which you show us the person in the place. Try to communicate a specific mood or aspect of the character's personality in your description of the place. Concentrate on showing, not telling! Avoid clichés--no tear-stained cheeks or laughing eyes, please!

29. Example Physical Traits:
Short brown hair, silky. Small round face, small freckles. Tall, pale green eyes. Layered clothing, oversized sweaters, earth colors. Pulls hand through hair to keep out of face. Bird like fingers, long and lean. Short ankle boots, infectious laugh. Short and sharp

30. Place:
Small, quiet bookstore. Musty smelling, dim lighting. One light burnt out. Books-leather bound, cracked binding. Faded gold lettering. Glass of wine, small round tables. Twisted wired backed chairs, narrow space between shelves

31. Character Exercise #2
Write a brief ( words) description of a well-known public figure (politician, actor, singer, etc.). You can do this as a set piece or use simultaneous development, showing the person performing some sort of action. Don’t tell us the character's name. Read it to us; we'll all try to guess whose portrait it is.