For example, I recently read an article on how Dostoevsky's characters were psychologically accurate

Yes, but I'd say that's because Dostoevsky's amazing at how humans tick, and psychology tries to dissect that too. Just because we might argue that Hamlet has an Oedipus complex doesn't mean Shakespeare was a time traveller who interviewed Freud.

I think psychology texts books might be a great tool for a fiction writer, but only when read generally, to enlarge your general understanding of the human condition, not to provide material directly. When I wrote a whole chapter with my 15th century narrator's love dying of septicaemia, I thought it was wonderful and moving until after its quarantine period, and then found I had to re-write most of it, to get rid of the stench of the library and the lecture-theatre.

One of my novel's two narrators is a veteran of Wellington's Army, including Waterloo. I did my research into the practicilities of what soldiering was like, got to know him well, wrote him passionately. But it was someone else who said, 'He's got PTSD, hasn't he?' He had, of course, mildly, and when I re-read it I could see the symptoms in him, but I hadn't written them as that, I'd imagined him and his life. I'm absolutely sure that he wouldn't have come of the page so well - he's the one that everyone who's read the book falls for - if I'd set out with a list of symptoms and then thought, 'Now, what shall I make him do which will bring those out?'

Emma

Traveller

You still seem to be keen on the psychology angle. I worked in mental health for a while perhaps you might want to read a book on transactional analysis called 'I'm ok, you're ok'? It explains how people act and the roles we take on through our interactions with other people. It might help to get inside your characters. Hope it helps. S

Re drama and writing, has anyone else read "Year of the King" by Anthony Sher?

It's all about how he prepared for Richard III - I was lucky, I got to see that, one of those mind blowing experinces - but it's a fascinating account of how he created the character and a fascinating read.

I first read it when I was more interested in acting than writing - interesting how many of us have backgrounds in drama to a lesser or greater extent.

The role play is all part of the fun in writing - I guess the writing is almost more fun because you get to use your own words?

I think I dipped into one psychology book when writing Vayl - all to do with addiction -which was helpful - but the character came first and it was more of a reference check. Someone once said, so has he got XXX condition and I said probably but I can't remember what it was!

I suppose I get all my psychology from fiction which is possibly dangerous?

Sarah

Yes, I've read The Year of the King, it's a fascinating book.

Emma

Emma,

When I was at college we had tickets for a preview - Ian McKellan in "Coriolanus" - because Peter Hall was ill the opening was delayed so we got a call saying the preview was cancelled but we could have a refund and come in and watch it as a rehearsal - which of course we did!

I think it was the first rehearsal on the set in the Olivier - there's a bit where he gets caught the wrong side of the gate and due to a technical glitch it nearly decapitated him. He got up and said quite calmly, "will someone make a note about that gate?"

We all thought he was wonderful anyway!

BTW - bone to pick(!) - advice to take a handkerchief to "Brokeback Mountain" woefully inadequate. I think that has to be the first time I've walked out of a cinema, got into the car and howled. I'm still in shock.

Sarah

Heart-breaking, isn't it! But sort of life-affirming too. Sorry I didn't warn you enough. I saw it at a BAFTA showing, full of hardboiled industry members knowing their votes were being solicited, and when it ended the whole cinema was absolutely silent for what felt like several stunned minutes, punctuated only by sniffs.

I love your McKellen story - how wonderful to see them undressed, as it were. I did Coriolanus for A level, and though I don't like it nearly as much as others, I'd have given a lot to see what McK did with it. I saw Alan Howard's, who was rather a disappointment after I'd been painfully in love with him years earlier as Henry V.

My mother was at a production of Cymbeline and when Hymen descends in a chariot at the end to sort everything out, the chariot stuck mid-speech, half-way down. He dangled there for ages while they tried to sort it out, and eventually had to come down a rather wobbly ladder. Once on terra firma, he cleared his throat, and said 'As I was saying - ' and continued the speech.

Emma

Oh, I just didn't get Brokeback Mountain at all. I mean, I went expecting this big gay love story, something to relate to, and it just didn't move me all that much.
I couldn't see why Heath Ledger was wearing that big ape suit and standing on top of the Empire State Building, punching planes. Is that some kind of metaphor for homosexuality? Ok, so it started well, but somewhere around the jungle part, with Jack Black hefting a film camera everywhere, I just lost it. I couldn't get the subtle 'gay' reference anywhere. Maybe it was in the script and I just missed it. Or maybe I went through the wrong screen door or something....

JB

Emma, I was teasing, it's just that I don't usually cry at films(!) Honest...

I think I missed the ape suit somewhere - perhaps I dozed off at that point? Also the jungle sequence doesn't ring a bell either.

We probably get a different cut of the film in Hull?

Sarah

What's always helped me with characterisation (not that I'm a well of experience) is to think of people in terms of 'wants'.

For example, your skinhead stepping over the body of his victim. Is he doing that becasue he wants to get to the door? Why? Does he want to leave the body, or does he want to be somehwere else (with his old mum perhaps)?

People are easily broken down like that. Think about them like a child would. I don't know if you've got children, but they've got an amazing ability to really make you think.

"What is that man doing daddy?"
"Eating a burger."
"Why?"
"Probably becasue he's hungry."
"Why's he hungry?"
"Maybe because he hasn't eaten today."
"Why hasn't he eaten today?"
"Umm, maybe he had to leave the house in a hurry this morning."
"Why was he in a hurry?"
"Look, are you going to keep asking me these questions or shall we just enjoy our lunch?!"


You get the idea. In 4 questions a kid can turn a complete stranger into someone who we guess was in a hurry as he left the house and consequently got himself a burger at lunchtime. Okay, so that was fabrication, but it's always what we want that defines what we do, and in turn it's what we do that defines who we are.

For instance. If I read a book, and it was stated (or shown) that a character was a racist skinhead with a sensitive side, that doesn't engage me. It doesn't tell me anything but who he is supposed to be in the eyes of the author. However, if I am shown that he grew up in a rough area, that he's always wanted to free himself of the shackles of poverty, frustrated at the lack of oppertuinities to do so, he's left feeling a failure, so in the desire for acceptance he falls in with a bad crowd, but maintains that kernal of the creative, only shown an outlet when the guitar and him become one, we start to get a picture of what drove him to be what he is, and what drives him to keep being what he is.

Now I'll add a caveat, I'm no authority on the subject, so I can only tell you what I know from personal reading, writing and a phychology A-level. People become characters when we understand what drives them to do what they do and therefore be what they are.

I can't attribute this quote, but it sticks in my mind: "When I used to teach creative writing, I would tell the students to make their characters want something right away even if it's only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time."

Don't know if that helps, but it's the best I can do...

When I used to teach creative writing, I would tell the students to make their characters want something right away even if it's only a glass of water

Which is why that's the hero/heroine's first number in most musicals - what they want. And why can't they have that glass of water? The plot proceeds from there.

Archgimp, the way you've pinned this question down makes me realise it's partly a question of show-don't-tell. If you make a character a mouthpiece, it's telling masquerading as showing. Really showing is about making them behave in a way that makes us, the reader, deduce what's not being said directly, about why they do what they do (soft side and all).

Emma

One of the most important things to think about when creating characters is the idea of conflict. All well-rounded characters suffer some sort of conflict - just look at Hamlet, or Macbeth, or all the characters in Jonathan Franzen's The Corrections (for me one of the best examples of well-rounded characters). Every main character should have some trait which rubs against another trait, such as a German general in the second world war who thinks nothing of sending Jews to their deaths, but is a good family man (as many of them were).
An excellent book which deals with this is the rather craply titled 'How to Write Damn Good Fiction' by James N Frey.

Every main character should have some trait which rubs against another trait

Put like that, I think this is a bit prescriptive. I'm much more convinced by conflict that emerges from a character with a fully imagined history and nature, rather than imposing such a structure on them. The conflict will arise quite naturally as they move through the world you've put them in.

DJC, I'm so glad someone else enjoyed The Corrections. I thought it was a terrific book, but seem only to have met people who hated it.

Emma

Yes, maybe 'rubs up against' is a bit prescriptive. But if we're dealing with the creation of believable characters, they all have to have some flaw or redeeming quality, or they're just boring. Every character should have different facets.

Emma - have you read 'The Time of Our Singing' by Richard Powers? Another candidate for 'Great American Novel' of this century. Closely followed by Roth's latest, 'The Plot Against America'.

I read Roth's 'The Human Stain' and thought it was admirable, expecially for the quality of the prose, even enjoyed it, but I have to say finished it thinking mainly, 'Good, I've read a Philip Roth. Duty done.'

Emma

To make a character believable, first you have to believe in them.
Kat