Where Readers and Authors Mingle
Let’s Pretend Characterization
Part 2
By Dorice Nelson
Mild disclaimer—to give credit where credit is due: Much of the following is
my interpretation of how I have used Alice Orr’s workshops on “Writing
Characters from the Inside Out.”
Last month, we worked on the “Beginnings of a
Biological Life.” You have learned that the writer must pretend to be the
actual character of interest. You are practicing your learning with your
main (protagonists) and important secondary characters. Don’t forget your
villains (antagonists). They provide the conflict and tend to spur on the
actions of a book.
Remember: You are to assume the character. Let’s
pretend you are that character. You will be writing your text, using the
word, “I”. To illustrate, I will use the hero, Gerek, from my novel CLAN
GUNN: GEREK, set in 1650 Scotland: It is Gerek who is speaking, using the
method of Let’s Pretend.
“I was an extremely large baby and caused my mother irreparable
harm in
delivering me, so I have no other siblings. I was born in
the
Highlands of Scotland, in Gunn Country, at the castle called Killearnan. My
mother was not married and was frowned upon by
most of the
ladies of what was considered a court. I never learned
who my
father was, although there were many rumors.
I became the
bastard heir to the chiefdom. Many in the Clan were discomforted by my lack
of a father, in case he was a powerful
person in
the government, but it didn’t bother me all that much,
until my
mother died. I spent much of my early childhood following
my
grandfather, who was then the Clan’s chief. I followed that
wonderful
man until he had to send me away. I was only twelve
at the
time.”
In Part 2 of the articles on characterization,
you will explore the physicality of your main character-or the character you
have chosen to use while practicing this technique. As we read novels, much
of a character’s physicality is learned from the perceptions other
characters have of that character. We are given hints and verbal pictures of
the character. Here, you will explore and discover what characters feel
about themselves, about their perceptions as to their general appearance.
We all have delightful thoughts and built-in
prejudices about bodies, hair coloring, height, weight and numerous other
things that affect the outward look of our bodies. We are attracted to those
whose physicality is something we admire or are looking for—in ourselves or
in others. It is the physical that catches our attention at the beginning of
any relationship—friendship or otherwise. It takes us a while to form a
complete picture of a person or to judge some of the person’s attitudes and
judgments.
Often, we
try to fit ourselves into what is sometimes considered society’s norm. We
consider ourselves, too fat, too short, too tall, too freckled, too
whatever. Those feelings, our own perceptions, shape our personalities. It
is the same with our characters. Their feelings about their physical
appearance and the world’s perception of them shape their personalities and
their lives.
If your character had to describe what s/he
looks like, what might be the first thing the character would mention? And
what might be even more important is why those character traits stand out in
their minds. This is an example of a character’s description of herself, as
taken from my novel, SARATOGA SUMMER: 1863. The heroine is thinking as she
did in the novel.
The overbearing humidity settled on Sinead’s
head, her
shoulders
and clung to her narrow frame. With a deep sigh,
she longed
for cooler places, less-confining garments and no
tension.
Moisture gathered on her brow and slithered down the side of
her face.
She brushed at it with one hand then pushed the
unruly hair
back up into the tightly coiled back loop where it
belonged. A
drop of wetness trickled into the valley between her
breasts.
She shoved a cloth between them and her too-tight
corset,
hoping her dress wouldn’t show a stain. It was important
to keep up
appearances.
Next, I would consider what the character
believes other people find most striking and memorable about his/her
appearance. Have the character state those beliefs, using “I think people
find my. . . Why does the character feel that way? Have others made comments
in front of them? Have others hurt his/her feelings with some inappropriate
remark? Have others made mention of what they think best for the character
to do in order to become a more attractive person?
The difference between what the character thinks of him/herself and what
others think of them is extremely important. Those differences create a
great deal of contrast and conflict in a novel and make the character far
more interesting. As an example, we’ll take Sinead, the heroine in the above
novel, and show thoughts or appearance through a scene:
“And you look your usual charming self, Jane,”
Mrs. Dewitt said,
with the
emphasis on ‘usual.’
Sinead
stopped. “I don’t under. . . ”
“My dear,
certainly, you are not planning on going to the docks
by
yourself.” She paused and clucked her tongue. “It would be
distasteful
for you to go alone.”
“I’ve been
to the docks before—before I lived here.” Sinead stared
at the
floor, knowing the lecture was coming next, but stammered,
“As I girl,
I went—”
“How often
must I tell you? You are no longer that girl. As
Robert’s
nursemaid, you have a position to maintain, dear.”
In the first
of the two scenes from the Saratoga novel, you can tell Sinead’s state of
mind and her lack of confidence. She finds heat overbearing and settling on
her narrow frame, her corset too-tight and her hair an unruly mess. She
hopes her dress won’t stain for it’s important to keep up appearances. In
the second scene from the Saratoga novel, we see some of the reason for her
feelings. We realize that Mrs. Dewitt calls her ‘Jane’ as if the given name
of ‘Sinead’ was too unacceptable. We can see the attitudes of both
characters.
Now, let’s pretend some more. Tell me what you,
as the character and using “I”, feel about what you are like as a person,
such as, “I would say that I am…” Fill in the blank, as if you were the
character. Then give a brief description, reasons, for why the character
feels as s/he does.
How would your character describe his or her
temperament? Would your specific character consider him/herself
even-tempered and calm while the rest of the world considers the same person
high-strung and frenetic? Can you see the contrast that would be there?
How might your character talk about his/her
personal habits? Would they consider themselves neat, while their mothers
think they are the sloppiest people around? Do they keep themselves clean,
shower every day or like many historical characters, wash often but not
bathe fully in a tub until Spring.
Your character’s attitude toward their religion
and the religion of others is important in shaping a character’s
personality. Also, one look into the political leanings of the character
might be. Here, you must take into consideration the time in which your
novel is written. A contemporary character would have much different feeling
about religion or politics than a historical one. The times were so
different.
The lack of TV tends to be important in historical times, when the only way
to learn what was going on was to hear it word of mouth or to read it in a
paper of some kind. Generally, it was rumor. Those very differences make a
character’s general religious and political attitudes important. Today, we
have cell phones, computers and other devices to get the news to us—that is
not to say that the news is any more truthful than before.
You must
match the times with the characters. If you are aware of your character’s
background, you novel will ring true—even though you will not use all the
information you gather about a character. Just dig deep.
Now, take a step back. I want each of you to
consider one important factor in any character’s psyche. Remember, a
character is always the hero of his/her own story, even a villain. Everyone
feels that s/he knows the right way to live, the right ideas—no matter how
bizarre they are—and that we are masters of our own fate. Yet, with
everything you have learned in life, you must realize how truly fragile life
can be and how little we control our own lives. We can only control the
lives of our characters, by digging deep into what they think about
themselves.