Write About What Hurts and Don't Worry About Upsetting your Mother!
If you want to create a great character, you have to abandon your own inhibitions.
Ideally,
the result will be a character the reader can identify with. The
human personality is a mix of ambiguities and idiosyncrasies
that make characters real and often endearing.
The best-ever writing advice comes from Ernest Hemingway: "Write loud and clear about what hurts." It's worth developing this important concept when it comes to great characterisation.
Your
characters can be composites of several different people.
Most Creative Writing lecturers advise against hijacking a whole, real person as a
model for a central character, as it seldom works. If you have a
specific motivation for your central protagonist and s/he is based on
a real person, this might inhibit you from developing your character
in the way you have planned. Whatever method you use to people your
fiction, remember that without that all-important sense of
recognition, your reader may not become emotionally involved.
We need
at least one character to root for.
Also, remember, the reader
becomes more involved when left to make his/her own judgments, rather
than being told what to think.
Body
Language
Body
language can suggest what a person is thinking or feeling and can be
used to show how your character operates. People say one thing, but
mean, think or feel something quite different. Observing body
language is a more accurate barometer of human intention than speech,
as explained in Body
Language by
Allan Pease, and although most of us subconsciously recognise and
react upon these mannerisms in others, we're not always able to
define them. Surf the Internet for a book about body language to help
you make full use of it in your writing. Besides Body
Language,
Allan Pease has written other excellent books on closely-related
subjects and can be found on Amazon.
Forget
About Upsetting Your Mother
Making
your characters deal with real-life uncomfortable, embarrassing,
painful or confrontational situations presents a different challenge,
often demanding a degree of personal bravery. On a Diploma Course in
Creative Writing held in my home county, students were told: "Write
for yourself, without restraint. Forget about upsetting your mother."
(Actually, I think most mothers cope reasonably well, contrary to
what their children believe.)
You
cannot write to the best of your ability and the depth of your
understanding if you are constantly worried about who you are
upsetting with your emotional honesty. It's restricting to feel you
cannot adopt a confrontational voice. Emotional honesty helps promote
human understanding. If we never acknowledge dark forces at work in
our psyche, our sense of awareness becomes diminished; we are less
rounded as people, as writers. Issues can be highlighted and opened
up for discussion, helping us to know we are not alone in our
anxieties.
Examine
all motives from an informed viewpoint, avoiding what is contrived or
self-conscious. Whatever your personal writing goal, it will always
work better if it strikes the reader as sincere, real, written
straight from the heart and devoid of restraint or false sentiment.
Sources:
-
Wolff, J. Your Writing Coach, (2009) Nicholas Brealey Publishing.
-
Multiple Contributors, The Creative Writing Handbook, Edited by Julia Bell and Paul Magrs. (2001) MacMillan.
-
Pease, A. Body Language, (1988) Sheldon Press.
Comments