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Posts Tagged fascinating characters
This week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. In previous posts I’ve discussed three/four-act structure, endings and characters who are either bland or too disturbing to write. When I posted on Tuesday I forgot there would also be an Undercover Soundtrack to disturb the sequence, so here, slightly later than trailered, is Masterclass Snapshots part 4.
Regional accents to make a character sound distinct
One writer had his characters encounter people with strong local dialects. He asked how he should render their speech.
We discussed why he wanted to do this. He explained that it was to include a flavour of the setting and emphasise that the main characters were in unfamiliar territory. The odd speech was one good way to show this – with caution. Strange spellings or contractions will trip up the reader if overused. We discussed other ways of achieving this effect – perhaps by showing local customs and attitudes, lifestyles and so on. All of this will create a sense of a different culture.
This led to another good discussion – how do you make characters look distinct through their dialogue? Favourite phrases are useful, and that might be a way to show foreignness too. Habitual gestures are also good.
Humour styles are a very interesting way to differentiate people. (Curse words too, but some writers might not explore this very thoroughly.) I often see manuscripts where writers have given all their characters the same sense of humour, which makes them look like clones. In reality, you could take any group of people and they’ll all have their individual ways of expressing humour. Some enjoy wordplay. Some will try to grab attention and be the joker of the group. Some will be understated and enjoy the odd ironic quip. These are all ways to use dialogue to create a three-dimensional, distinct character.
(There’s more about this in Writing Characters Who’ll Keep Readers Captivated, including a discussion of phonetic Glaswegian.)
Thanks for the pic Lee Carson
Tomorrow: editing is more than tweaking the language
Have you had difficulty making your characters sound distinct? How have you tackled this?
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This week I’m running a series of the sharpest questions from my Guardian self-editing masterclass. In previous posts I’ve discussed three/four-act structure and endings. Today it’s two questions about difficulties with characters.
The bland friend
One romance writer had a character who was the supportive friend for the protagonist. She worried that, in all the scenes of tea and sympathy, the friend was bland. I suggested giving her a rough edge that showed the limits of this tolerant soul. I drew inspiration from Dave’s mother, easily the most accommodating person I ever met. But she couldn’t abide spiders, and would not have been bothered if you squashed one while removing it from her presence. Suppose, I said to my romance writer, your nice lady is so mortally afraid of spiders that she always stamps on them?
The antagonist you’re afraid to write
Another lady had an antagonist who made her feel inhibited. She knew he should have more darkness than she had written but she feared to explore it. She also recognised this was cheating the book. What if, I said, she put that worry into another character, let them act out her discomfort? Would that free her to unlock the antagonist? She seemed to feel that would do the trick. I also encouraged her to look for the kernel of good that let him feel positive and justified about himself – and maybe even disturbed him.
Thanks for the pic, heyjoewhereareyougoingwiththatguninyourhand
Tomorrow: accents in dialogue
I’m really curious about this question of the character who upsets us so much we feel inhibited when we write them. Have you had experience of this? Let’s talk.
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