The definition of character (in fiction) is pretty much exactly what you would expect. It refers to any of the literary beings (humans, animals, robots, ghosts, etc.) that interact within the work in question. Character Characters

But more specifically... Characters are the persons presented in works of narrative or dream who convey their personal qualities through dialogue and action by which the reader or audience understands their thoughts, feelings, intentions and motives. (As defined by the University of Victoria)

So what is characterization? Characterization is everything that the writer does (or refuses to do) to give characters life.

Round Characters are complex and realistic; they represent a depth of personality which is imitative of life. They frequently possess both good and bad traits, and they may react unexpectedly or become entangled in their own interior conflicts. These characters have been fully developed by an author, physically, mentally, and emotionally, and are detailed enough to seem real. A round character is usually a main character, and is developed over the course of the story. Round Characters vs. Flat

Flat Characters are distinguished by a lack of a realistic personality. Though the description of a flat character may be detailed and rich in defining characteristics, it falls short of the complexity associated with a round character. James Patrick Kelly describes round and flat characters in his article "You and Your Characters" (Writing Science Fiction & Fantasy) as "someone who is characterized by one or two traits. Flat characters can be summed up in a sentence. Gollum from Lord of the Rings is a character who is absolutely flat in that his character is determined solely by his obsession with the recovery of the ring. Round Characters vs. Flat

Static vs. Dynamic Characterization Dynamic characters are the ones who change significantly during the course of the story. Changes considered to qualify a character as dynamic include; changes in sight or understanding, changes in commitment, and changes in values. Changes in circumstance, even physical circumstance, do not apply unless they result in some change within the character's self. Prime examples of dynamic characters are Walt Kowaltsky (Clint Eastwood’s character in Gran Tourino), and the most recent characterizations of Batman. By definition, the protagonist is nearly always a dynamic character. In coming-of-age stories in particular, the protagonist often undergoes dramatic change, transforming from innocence to experience. Antagonists can also be dynamic as well, and this is becoming an increasingly common trait of modern literature.

Static vs. Dynamic Characterization Static Characters do not undergo significant change. A static character is a literary character that remains basically unchanged throughout a work. Whether round or flat, their personalities remain essentially stable through out the course of the story. This is commonly done with secondary characters in order to let them serve as thematic or plot elements. Supporting characters and major characters other than the protagonist are generally static, though exceptions do occur, such as in Anthony Burgess' A Clockwork Orange, which is narrated by an exceptionally static antihero, Alex DeLarge, though this is true only in the American version, since Alex is a dynamic character in the British version because of the extra chapter that shows his eventual change.

What is a Character Type? A ‘character type’ is a flat or static character that has become common enough for mainstream society to witness it as a recurring (yet shallow in terms of characterization), character which appears in a wide range of works. Some examples of character types are: The Vice The Clown The Trickster The Evil Villain The Mad Scientist The Damsel in Distress The Knight in Shining Armour

The degree to which characters are given roundness and individual complexity depends upon their function in the plot – some only need to be seen at a distance, like strangers or acquaintances, rather than be known intimately. Even fully-rounded characters can often be seen as developments of types. Heath Ledger’s interpretation of the Joker, for instance, is a rounded character who is essentially an amalgamation of character types. Why would anyone bother creating characters that aren’t ‘Round’?

The Vice (a Type): The Dark Knight’s Joker: The Vice The Clown The Evil Villain

Just like every other device or term we discuss in class, the lines between ‘flat’ and ‘round’ characters can become blurred. Two methods of characterization often distinguished are those in which the author shows without comment a characters' words and actions, implying rather than describing their traits; or tells the reader directly about the characters--explicitly, even intrusively guiding the audience's understanding of characters through commentary and evaluation. Modern narrative tends to develop character indirectly, whereas many nineteenth century novelists chose to explain their characters directly. Characterization – More than meets the ‘I’

Your Task: For this task you will be working in a group of four. Your group will choose and research a character type that you are particularly interested in. You will find examples of your type in a variety of genres ( literature, music, movies, television, gaming, comics, anime, graphic novels, etc.) Each group will be responsible for sharing its findings with the class in a seminar format. All presentations must use a range of media sources, and must clearly define what your character type is, and how it has been used in the arts. Each presentation must be between 10 and 20 minutes, and must be capable of instructing fellow classmates about the role and significance of your particular type. This assignment will be due on Monday, April 27 th. Assignments will be evaluated out of a possible /100 marks

Research and Knowledge of Type:/25 marks - Group must identify sources used for research and samples, and must have strong understanding of historic and modern roles of the type. Amount and Strength of Samples:/25 marks - minimum of five well-defined samples of writing (or art) which can be deeply analyzed. Effectiveness of Class Discussion:/25 marks - Group must run an efficient and effective class discussion which involves strong analytical skills and effective lines of questioning. Analysis and Strength of Responses:/25 marks - Group must display strong knowledge of type, its history, and its implications in literature, and must clearly display this understanding in response to questioning. Seminar Expectations: