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PWC 2015 The Novel: Character

Novel Writing Creating Character – Suzanne Palmieri suzyhayze@gmail.com
“The story is a character.” Sounds great, but does it help? A better approach would be to write a description of yourself. (First day’s homework) Narrate yourself for a little while. It will help with character description. You can also look in the mirror and compare yourself: to what you used to be, to what you want to be.
While doing so, try to do it with one word descriptors. An excellent example, from Shirley Jackson, “the house was vile.” Jackson obviously didn’t tell you anything about size, or color, or state of repair but you know all you need to know about that house.
I’m Suzanne. I always hated my name. Until five minutes ago. The word until automatically makes every reader know who she is. Get to the essence of who the character is w/o many words.
Use the science of Sociology to help create real and rounded characters. [Suzanne’s formal education includes a Master’s in Sociology and her day job (I presume) is based on that knowledge. However, it is hard to use Sociology, unless one knows Sociology.[Disclaimer: my daughter is a professor of Sociology so I could always ask her.]
Understanding that depth of character will come from the depth of understanding you have of yourself. [This goes to the first homework assignment. It also echoes parts of Sara Shepard’s opening remarks. (And what a remarkable career she has had) Her first book, which started her “Pretty Little Liars” series, had four characters, and all four were different versions of her, ie., at different times, the start, middle and end of high school. Shepard obviously had a pretty good idea of who she was]
Finding the balance between narrated description and the readers imagination. [I think here she means that you need to respect the reader’s intelligence and allow them to fill in the blanks. “The house was vile.”]
Breaking the rules. Allowed in the creative process. [Yeah. Why else do people make rules?]
When looking at character creation and using ‘real people,’ keep in mind that real people maybe a bit too complex to be characters. But you will do well if you stay with the essentials questions: who? What? Where? When? How? WTF? Stay true to these, figure out which are important to YOU and remember, it’s your world, your rules.
If the character doesn’t care about himself, why should anyone else.
Have you ever disliked someone?
If no one likes them (a specific character), they shouldn’t be in the book. [This is an interesting point, as it applies to baddies. Can they be all bad? Will we stop reading if they are. In Game Of Thrones Joffrey is despicable. I expected he would last till the end and then I would read/watch (I have dome both) while he gets what he deserved. The Hound was also bad, but in a very different way.]
Characters should be able to take criticism. Important when creating criticism in your characters.
Internal dialogue is important
if you find out something about a character that the character does yet not know, the reader will not be able to put the book down, ie., a character who is a rapist and doesn’t know it. [Not sure how that would work, but you get the idea.]
Basically Suzanne says you should look at yourself, your flaws, etc. and that will help you develop and describe, as well as give depth to those characters.
Give characters an issue. A conflict.
The ‘dream’ is on layaway. It is already yours, you are making payments and eventually you can go pick it up. [This refers to writing and becoming a published author]
Great inspirations. The way to get around work stoppages is through good characters because they make us write, they make us invested in them. She starts with a setting (shades of Solomon Jones).
Pinterest. https://www.pinterest.com/ the site is all about pictures, with no captions. Instantaneous image searches. It allows you to find pictures of whatever your character is wearing or where she lives or, whatever.
Music is important to her, instrumentals.
Listen to things out of your purview.
Soundtrack to games are designed to not distract you.
Dialogue – if you have to put descriptors, ie., he said, you said, then you don’t know the characters really well. A character done well has their own voice so no attributions are needed.
Audience suggestions:
What does a character carry in his/her pockets, ie., To kill a Mockinbird.
Every villain is a hero in his own mind.
Bumper stickers on your car.
Look at what toxic people have as posters and paintings and things on their desk, on their fridge. [This person may have some issues with people near her]
Every character needs to have a motivation, a purpose. Something that they want.
Purpose means…we kill characters because they have a role or they push the plot forward and we get scared. Rule breaking gets to be a need. A small role, single appearance character can serve to make us understand the main character.
Suzanne mentioned the conversion of a bunch of characters into a single one, for instance a bunch of kids can become a single character, ie., ‘the boys,’ they play cards, drink wine, go to war, etc. No need to go any deeper than that.
Give a character a Myers-Briggs
Make a character a horoscope reader.

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