Workshop: An Introduction to Writing for Children and Young Adults
“It is important to remember that character is plot, that the plot
has to grow out of the characters, not be imposed upon them.” Jane Yolen
Characterization
In order to grow this kind of depth it is
necessary to know each key character thoroughly from the inside out, and to
know each minor character for the primary detail they contribute to the story. Whether
or not their personality, or moral character, will reflect or oppose their
external portrait first impressions matter.
Whether we mean to or not we often begin to
assess a new person from the moment we see
them. In addition to the basic criteria of size and age and gender we
consciously or unconsciously begin to make assumptions or at least make a
surface impression based on external details.
These external tags can silently add
atmosphere and focus with just a few specific phrases. What does their overall appearance
or choice of clothes suggest—are they sloppy or neat? What make you think that?
How does their speech indicate level of
education or geographic region? Are they friendly or do they scowl. What other possibilities
do their mannerisms suggest? What about attitude—do they appear shy or quiet—what
makes that difference. How do you indicate arrogance by tilt of head or
demeanor?
Each character needs one or two of these tags
to personalize themselves and your main protagonist and antagonist will need
more.
Minor Characters
Use a single, easily, identifiable
characteristic that is unique but not complex. Choose whether the character
should be flat or round. For example a bus driver may simply be flat because he
only drives the bus. However, if he has a stronger role then he, or she, might
smile or crack a joke or warning to your character as they pay, which adds
personality to them as a person. Conversely some minor characters may need to
be made flat because they really do not contribute to the heart of the story.
Whether you will use all the detail information
or not, each character needs at least a physical work-up for your own ‘visual’
impression. Is the cook young/old/from another culture? Why might any of those
versions matter or add to the plot?
Prepare to
be surprised as you write. Unexpected characters might show up and might become
minor characters instead of a flat one, or vice versa. Once you have a sense of
who your character is then you can use a chart or other methods to build up a
sense of who they are. Barely any of this will go into your story plot but you
will know them thoroughly, as well as a sibling or friend. And because you do
know them so well you will be able to pick out a telling characteristic exactly
when needed.
Remember that real character have good and
bad qualities. And they change. Pippi is not considered to be a real child by
some because she never changes throughout all her stories.
We’ll look at internal details next week but
we must be able to identify the emotional core in your character. Choose a single core quality to focus
on at first. This is where the character will change and it comes about as a
result of what happens in the story. For example a clumsy dog saves the day.
But to begin with the reader first only sees a dog getting into trouble because
of his clumsiness. Later thought that same clumsiness causes a victory. It’s a
showing external key that grows the plot.
The key is to provide convincing motivation
for their behavior, whether helpful or destructive or contradictory. The
protagonist doesn’t need to be likeable, but must be someone the reader can
identify with, or at least be sympathetic to. Remember even the ‘bad’
characters believe they’re right. Their external details can be a mirror of their
personality or a disguise or a hint of another possibility.
Action Steps:
Develop
the look of four characters using each of the methods below for each one.
Choose two major characters and two minor ones.
1.Brainstorm
from scratch using a character chart and fill in the basics such as height,
weight, hair, skin tone, age and other basic facts.
2. Cut out
pictures from magazines and write a background for them. Or look for a person
that looks like your idea.
3. Take two
people you knew or know. Make a list of their characteristics. Now make a
single character mix and matching from their attributes. Reverse their
personality.
4. Or take
someone past or present. Change their age, their sex and completely reverse
their appearance style.
5. Bonus:
Sit in a public place for about five minutes and see whom you notice first.
Write down the physical or action characteristics that caught your attention.
Share: Which version did you find most
creative.
Read deep, marcy
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