chapter four: The flesh made word
As a continuation from the last chapter, chapter four discusses characterization and the direct methods of character presentation. These methods are forms of “showing.” Another one of those methods is Appearance. It’s like when making a first impression of someone due to how the person sees them. People use their sight to judge a person’s character, and like in stories the reader uses the senses provided by the writer to come to their own conclusion of how they perceive the character. Using their eyes, a person is able to receive a great amount of information. What a person is wearing and how they carry themselves can reveal their inner selves. These other aspects of the characters can be the religious, political, social, and other views and values they hold. The reader then interprets this information to form a relationship with the character.
Action is a significant quality that a writer must display in any fiction story. It is not just the movements of the character but the action that is able to move the plot forward. Stories show the process in which a character goes through to change. The change may be of the character’s own decision or through a discovery. Despite which change occurs, either has the ability to create tension. Writers try not to be obvious when creating their techniques because they want readers to come to their own conclusions. And when the reader becomes surprised with their own revelations, the tension it creates is able to form a stronger bond between the story and reader.
Thought is another method that can offer information. It is also able to set the pacing, mood, themes, and express desires in a story. The desires of a character reveal a lot of who they are to a reader. In this section is a reference to Aristotle who believed thought was a process that could be used to plan steps that needed to be taken in order to achieve one’s goals. Through thought, these goals are subject to change. All readers wish to gain something from what they read.
Using indirect methods of character presentation, the author is able to “tell” the reader how the character should be viewed. One method is for the author to give the background of a character. The advantage of this is that the author is able to be godlike and only give the information they want to the reader. However, the reader is less engaged in the story which can cause them to become disinterested. The other method is the interpretation of a character through another character. Here the author is able to portray two characters at once; the reader considers the opinions of a character and is able to create their own opinions both of them.
An author is able to create tension when there is conflict between methods of presentation. If the character doesn’t have conflicting sides then they often fall flat and therefore can be uninteresting. The Universal Paradox can seem quite confusing and writers often get the wrong idea of how to create a character. If the writer tries to focus on their character as being one that is relatable and well known to people, the character then tends to seem full of themselves and it comes off stale. It is important for a reader to connect with the character, but that is better achieved when the writer focuses on the individual and unique aspects of a character.
Credibility is another important aspect of a character. Different characters act differently, but the actions for each character must fit. A writer must be capable of creating a character with a personality and behavior that seems believable to the reader. The audience needs to be presented with information – such as gender, age, and race – fairly soon in order for them get a sense to identify the character. This need to provide information so fast can be frightening to beginning writers. Ways to ease this fear is finding certain details and a variety of forms to present the information. A writer who doesn’t find this task easy will have to take time to think through different scenarios and possibilities. And while this may seem time consuming, it provides results. *See Fulkerson
Purpose is something a character needs to have. Because of it, a reader is able to identify with the character and story. It is how the reader sees the character and decides whether they are good or bad. Readers become immersed in the story and the character itself and are able to see his/her point of view. However, if there is a lack of purpose, readers become bored as the story seems to lack its own purpose. And therefore there is no point to reading it.
Complexity of a character is a great tool to provide credibility and purpose. Having contradicting actions and thoughts causes tension, conflict, and drama. The author creates the character from what they have seen in life and what they imagine. Writers should experiment with writing what they know and what lies just beyond their knowledge in order to develop new identities that can be applied to characters. But one major importance of having a complex character is the opportunity for change.
Change happens throughout life and thus in stories, too. To new writers, the idea of change is something that happens suddenly, but this is hardly the truth. Small and subtle shifts do occur, but a total change cannot – or if it does it is not credible. It is through the small decisions of a character that a greater conflict can arise and the change can occur.
There is always a need for Reinventing Character – to make the character new and exciting to read. Tips for writers to accomplish this would be through exercises. Taking a person, like a friend, a writer can incorporate some of their personality but change their appearance. Another idea would be to observe a stranger and have the writer infuse their own personality within this new character. The probability is that the author’s experiences will be those relatable to his/her readers. The connection of the writer to character shows a relationship on the page that will create a better character.
Creating a Group of Crowd can be overwhelming for some writers. New writers can instantly want to give details on every individual. Although these details may seem beneficial, they are actually quite harmful and time consuming. Like in a movie, it would be best to scan over the group and then highlight certain individuals at times. When focusing on only one character, the reader loses sight of the group. A technique to help creating credible characters, whether in groups or not, is to keep a Character Journal. Using a journal to keep track of different characters allows the writer to create one. Later, the writer has the ability to go back and add to it in order to develop it and provide a complex and credible character. *See Fulkerson
Action is a significant quality that a writer must display in any fiction story. It is not just the movements of the character but the action that is able to move the plot forward. Stories show the process in which a character goes through to change. The change may be of the character’s own decision or through a discovery. Despite which change occurs, either has the ability to create tension. Writers try not to be obvious when creating their techniques because they want readers to come to their own conclusions. And when the reader becomes surprised with their own revelations, the tension it creates is able to form a stronger bond between the story and reader.
Thought is another method that can offer information. It is also able to set the pacing, mood, themes, and express desires in a story. The desires of a character reveal a lot of who they are to a reader. In this section is a reference to Aristotle who believed thought was a process that could be used to plan steps that needed to be taken in order to achieve one’s goals. Through thought, these goals are subject to change. All readers wish to gain something from what they read.
Using indirect methods of character presentation, the author is able to “tell” the reader how the character should be viewed. One method is for the author to give the background of a character. The advantage of this is that the author is able to be godlike and only give the information they want to the reader. However, the reader is less engaged in the story which can cause them to become disinterested. The other method is the interpretation of a character through another character. Here the author is able to portray two characters at once; the reader considers the opinions of a character and is able to create their own opinions both of them.
An author is able to create tension when there is conflict between methods of presentation. If the character doesn’t have conflicting sides then they often fall flat and therefore can be uninteresting. The Universal Paradox can seem quite confusing and writers often get the wrong idea of how to create a character. If the writer tries to focus on their character as being one that is relatable and well known to people, the character then tends to seem full of themselves and it comes off stale. It is important for a reader to connect with the character, but that is better achieved when the writer focuses on the individual and unique aspects of a character.
Credibility is another important aspect of a character. Different characters act differently, but the actions for each character must fit. A writer must be capable of creating a character with a personality and behavior that seems believable to the reader. The audience needs to be presented with information – such as gender, age, and race – fairly soon in order for them get a sense to identify the character. This need to provide information so fast can be frightening to beginning writers. Ways to ease this fear is finding certain details and a variety of forms to present the information. A writer who doesn’t find this task easy will have to take time to think through different scenarios and possibilities. And while this may seem time consuming, it provides results. *See Fulkerson
Purpose is something a character needs to have. Because of it, a reader is able to identify with the character and story. It is how the reader sees the character and decides whether they are good or bad. Readers become immersed in the story and the character itself and are able to see his/her point of view. However, if there is a lack of purpose, readers become bored as the story seems to lack its own purpose. And therefore there is no point to reading it.
Complexity of a character is a great tool to provide credibility and purpose. Having contradicting actions and thoughts causes tension, conflict, and drama. The author creates the character from what they have seen in life and what they imagine. Writers should experiment with writing what they know and what lies just beyond their knowledge in order to develop new identities that can be applied to characters. But one major importance of having a complex character is the opportunity for change.
Change happens throughout life and thus in stories, too. To new writers, the idea of change is something that happens suddenly, but this is hardly the truth. Small and subtle shifts do occur, but a total change cannot – or if it does it is not credible. It is through the small decisions of a character that a greater conflict can arise and the change can occur.
There is always a need for Reinventing Character – to make the character new and exciting to read. Tips for writers to accomplish this would be through exercises. Taking a person, like a friend, a writer can incorporate some of their personality but change their appearance. Another idea would be to observe a stranger and have the writer infuse their own personality within this new character. The probability is that the author’s experiences will be those relatable to his/her readers. The connection of the writer to character shows a relationship on the page that will create a better character.
Creating a Group of Crowd can be overwhelming for some writers. New writers can instantly want to give details on every individual. Although these details may seem beneficial, they are actually quite harmful and time consuming. Like in a movie, it would be best to scan over the group and then highlight certain individuals at times. When focusing on only one character, the reader loses sight of the group. A technique to help creating credible characters, whether in groups or not, is to keep a Character Journal. Using a journal to keep track of different characters allows the writer to create one. Later, the writer has the ability to go back and add to it in order to develop it and provide a complex and credible character. *See Fulkerson
chapter five: Far, far away
Place and Atmosphere is necessary in fiction because without it a character will be unable to exist. Atmosphere consists of setting and tone and is created by the authors use of diction, syntax, rhythm, and other literary devices. The atmosphere not only sets up the place for the character but also affects how the reader feels.
Harmony and Conflict Between Character and Place is created by their similarities and differences. It is possible to create a variety of atmospheres by using images of Place and Character. An example would be describing a character’s bedroom. Showing this place allows the reader to make assumptions of the identity of the character. This technique is interesting because although the reader may feel confident in who the character is, it will be that much more surprising when the character acts in a conflicting way.
Place and Emotion are also connected. Different scenes and settings have the power to create emotions in the reader due to their own experiences. The best way to create emotion from a place is when it’s done subtly. When the imagery is overdone the reader tends to skip over the section. Readers also skip when there is unnecessary imagery – created when an author uses description that invokes little emotion and is too generic.
Symbolic and Suggestive Place can be created by an author who wishes to draw a relationship with their story to another story or an object in the world. A character, their actions, and the world around them can hold deeper meaning which excites and creates interest in the reader. These parts in the story can also create foreshadowing. *See Elbow
Although readers like to be comfortable with aspects of a story, there is a valid importance to have both Alien and Familiar Place. The writer needs to create a new way to explain the ordinary. If not, the reader becomes bored listening to descriptions meaning the same old things and then there is no element of surprise. It becomes easy for the reader to become disinterested in the story. A writer doesn’t have to change every meaning of an object – but by implying (for certain objects) that there is something more it can keep the readers on their toes.
Harmony and Conflict Between Character and Place is created by their similarities and differences. It is possible to create a variety of atmospheres by using images of Place and Character. An example would be describing a character’s bedroom. Showing this place allows the reader to make assumptions of the identity of the character. This technique is interesting because although the reader may feel confident in who the character is, it will be that much more surprising when the character acts in a conflicting way.
Place and Emotion are also connected. Different scenes and settings have the power to create emotions in the reader due to their own experiences. The best way to create emotion from a place is when it’s done subtly. When the imagery is overdone the reader tends to skip over the section. Readers also skip when there is unnecessary imagery – created when an author uses description that invokes little emotion and is too generic.
Symbolic and Suggestive Place can be created by an author who wishes to draw a relationship with their story to another story or an object in the world. A character, their actions, and the world around them can hold deeper meaning which excites and creates interest in the reader. These parts in the story can also create foreshadowing. *See Elbow
Although readers like to be comfortable with aspects of a story, there is a valid importance to have both Alien and Familiar Place. The writer needs to create a new way to explain the ordinary. If not, the reader becomes bored listening to descriptions meaning the same old things and then there is no element of surprise. It becomes easy for the reader to become disinterested in the story. A writer doesn’t have to change every meaning of an object – but by implying (for certain objects) that there is something more it can keep the readers on their toes.
chapter six: long ago
Summary and Scene are great methods to use when distinguishing time in a story. Although these two words go hand in hand, a writer must be able to know when it is appropriate to use each one. A summary can span over a long period of time, but delivered in the story in a short amount of writing. A scene does the opposite – it takes a short period of time but is written out more. Summary uses its vivid details to involve the reader. If the summary is too general and bland then it won’t hold the interest of the reader. In a scene the reader is able to feel in the moment and experience the moment with those in the story. Using scene and summary back to back can help create tension and move the story along. It also heightens readers’ emotions and draws a stronger reaction from them. However, if the transitions between story and scene aren't clear, then the reader will be too confused to follow the story. *See Elbow
When Revising Summary and Scene, there are some important things to look for. One of the most common problems writers have is over or under summarizing. A writer may over summarize in order to feed the reader a lot of background information. However, they can provide this information by using other techniques like a dialogue for characters to reference the moments in their past. Another problem is when writers have incomplete scenes. Often they avoid certain moments in their stories because they find those moments uncomfortable. But if a writer does not go through the experience of putting themselves in the scene (in order to write a better description) then the reader won’t connect to the story through those experiences either. *See Shaughnessy
Flashback is a useful technique to use because it allows the writer to manipulate time and place. However, when used incorrectly it can create many problems. Inexperienced writers tend to use a flashback (unnecessarily) to give background information. This problem continues to get worse when the writer creates flashbacks within flashbacks. The reader cannot keep up and gets lost in the confusion. There are ways to fix flashback problems. Keeping a journal to write all of the basic background information can help the writer realize what he/she can discard from the story. The use of dialogue, brief summary, and small details are also capable of revealing the past and can be used in place of flashbacks. To help the reader follow where a flashback begins and ends can be as simple as repeating an image from the previous section of the story.
Slow Motion is used when the writer wants to focus on what the character is going through. As time seems to slow down it is due to the great detail that highlights how the character is feeling and shows descriptions of their every move. Through this the reader is able to experience everything that the character is and that pulls them deeper into the moment. For a writer, accomplishing this skill is very beneficial to build that connection with the audience. *See Shaughnessy
When Revising Summary and Scene, there are some important things to look for. One of the most common problems writers have is over or under summarizing. A writer may over summarize in order to feed the reader a lot of background information. However, they can provide this information by using other techniques like a dialogue for characters to reference the moments in their past. Another problem is when writers have incomplete scenes. Often they avoid certain moments in their stories because they find those moments uncomfortable. But if a writer does not go through the experience of putting themselves in the scene (in order to write a better description) then the reader won’t connect to the story through those experiences either. *See Shaughnessy
Flashback is a useful technique to use because it allows the writer to manipulate time and place. However, when used incorrectly it can create many problems. Inexperienced writers tend to use a flashback (unnecessarily) to give background information. This problem continues to get worse when the writer creates flashbacks within flashbacks. The reader cannot keep up and gets lost in the confusion. There are ways to fix flashback problems. Keeping a journal to write all of the basic background information can help the writer realize what he/she can discard from the story. The use of dialogue, brief summary, and small details are also capable of revealing the past and can be used in place of flashbacks. To help the reader follow where a flashback begins and ends can be as simple as repeating an image from the previous section of the story.
Slow Motion is used when the writer wants to focus on what the character is going through. As time seems to slow down it is due to the great detail that highlights how the character is feeling and shows descriptions of their every move. Through this the reader is able to experience everything that the character is and that pulls them deeper into the moment. For a writer, accomplishing this skill is very beneficial to build that connection with the audience. *See Shaughnessy
scholars referenced:
Fulkerson's description of expressivists in "Four Philosophies of Composition," are that they want to create "interesting, credible, honest, and personal voice" in their writing. He also goes on to say that they participate in keeping journals to help their writing process.
Shaughnessy's essay "Introduction to Errors and Expectations," she has a section in which students need to learn how to fix their errors. Without students being able to fix their errors, they are unable to build a good relationship with their audience.
Elbow's article, "A Method for Teaching Writing," displays the writer as someone who wants to create a work that brings out specific reactions and emotions from the audience. He also warns that students cannot place blame for being unable to write well; it is something that must be worked at.
Shaughnessy's essay "Introduction to Errors and Expectations," she has a section in which students need to learn how to fix their errors. Without students being able to fix their errors, they are unable to build a good relationship with their audience.
Elbow's article, "A Method for Teaching Writing," displays the writer as someone who wants to create a work that brings out specific reactions and emotions from the audience. He also warns that students cannot place blame for being unable to write well; it is something that must be worked at.