Writing About Character and Characterization When writing about characterization the senior English student should make several determinations. Who are the characters in the story? Who are the major characters (protagonist and antagonist)? Which of the minor characters are important? Are they important for plot or theme? Rather than focussing on character description, the student should focus on how the character is developed and for what purposes. Thus, the student needs to pay attention to presentation. Does the author reveal information directly or indirectly? What are the most important thoughts, feelings, actions of the main characters? What do conflicts, crises, dilemmas reveal about the character? How does point of view affect what we learn about the characters? The student needs to focus on what motivates the characters and how consistant are they throughout the story. Thus, What constitutes the motivation? Does the author or first-person narrator reveal this directly or indirectly? Can the narrator (if first person) be trusted or is he biased? Does the character change and how consistant is this change? By the end, the student should be able evaluate how effectively an author has portrayed the growth of a dynamic character. That is, has the author created effective characterization? One of the first and perhaps most important function of literature is to depict human nature. Characters in fiction are interesting as studies in themselves and as representatives of universal traits embodied in theme. In grades 8 and 9 students describe characters and identify the protagonist, antagonist, and minor characters. In grade 10 students should be focusing on how the reader learns about character: actions, dialogue, narration,and so on. By grade 11 students should be making intelligent analyses on character and characterization; is he plausible, consistent, motivated ,or how is the character presented. Student writing should also reflect this increasing sophistication and abstraction about characterization. In addition, English 11 students should be discussing how point of view adds to the effectiveness of the author’s characterizations. Why is first person narration more suitable for certain stories? How is a character’s growth depicted. One cannot really appreciate theme if he does not comprehend the protagonist’s motivation. Thus, motivation must be revealed in the context of the story, not through the author just telling us. In grade 12 students will begin to actually evaluate how successfully authors do reveal elements like motivation. For example, students often question the plausibility of Paul’s suicide in “Paul’s Case.” They should be encouraged to reread such stories several times to ponder why the character feels and thinks the way he does. Paul’s aesthetic passion (or perhaps obsession) is detailed in many scenes and internal dialogues. By closely examining Paul’s hopes, desires, fixations, etc. the reader cannot fail to acknowledge Paul’s overwhelming Eng 12 - Writing about Characterization

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hunger for the aesthetic life. The thought of returning to the dreary grey confines of Pittsburgh is not an option. As in the discussion of theme, student writing about character in grades 11 and 12 should be more than just description or definition. It should be a clear analysis of how and why the character is developed the way he is. Moreover in English 12 students should be able to locate some heroes and protagonists in the realm of myth or legend. They should have the opportunity to compare fictional characters with those they already know from movies, comics, current events. The concept of the antihero for example can be classified with numerous characters in movies as far back as the Pink Panther series right up to the Police Academy series. Similarly the rogue hero that goes back in English fiction to Tom Jones and Tristan Shandy is personified today by Randall Patrick McMurphy and numerous other “rebels” with a cause. In the two essays below students attempt a discussion of character in the Canadian classic short story “ Always a Motive’. The first is a fairly successful attempt by a grade 11 student to deal with characterization. His focus is somewhat narrow however compared to the second effort by a grade 12 student. How to Begin to Write about Characterization The following suggestions and questions will help you get started. • Who is the major character? What do you learn about this character from his or her own actions and speeches? From the speeches and actions of other characters? How else do you learn about the character? • How important is the character to the workʼs principal action? Which characters oppose the major character? How do the major character and the opposing character(s) interact? What effects do these interactions create? • What actions bring out important traits of the main character? To what degree is the character creating or just responding to events? • Characterize the main characterʼs actions: Are they good or bad, intelligent or stupid, deliberate or spontaneous? How do they help you understand the protagonist? • Describe and explain the traits, both major and minor, of the character you plan to discuss. To what extent do the traits permit you to judge the character? What is your judgment? • What descriptions (if any) of the characterʼs appearance do you discover in the story? What does the appearance demonstrate about the character? • In what ways is the characterʼs major trait a strength-or a weakness? As the story progresses, to what degree does the trait become more (or less) prominent? • Is the character round and dynamic? How does the character recognize, change with, or adjust to circumstances? • If the character you are analyzing is flat or static, what function does he or she perform in the story (for example, by doing a task or by bringing out qualities of the major character)? Eng 12 - Writing about Characterization

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• If the character is a stereotype, to what type does he or she belong? To what degree does the character stay in the stereotypical role or rise above it? How? • What do any of the other characters do, say, or think to give you insight into the characters you are analyzing? What does the character say or think about himself or herself? Whis does narrator say? How valid are their comments and insights? How helpful in providing insights into the character? •

Is the character lifelike or unreal? Consistent or inconsistent? Believable or not believable?

English 12: Character Development in “Always a Motive’ (Doe Not Meet Expectations) Authors use a variety of ways to present their characters. In “Always a Motive” the author first tells us that the main character is “young and shabbily dressed”. He uses other description so we get a good idea who this kidnapper is: ‘his hair was jet black and curly and his face was pale and wore a haunted look.’ When he is arrested we learn more about his personality. He seems kind of stunned, like he doesn’t care if he’s going to jail, or not. He doesn’t make much effort to clear himself. He just says he is innocent and then lets the police accuse him. Finally, a witness comes forward and we learn that he is not the kidnapper and that he just found the kid after all. We have sympathy for the man because he just seems lost. Finally there is a climax of sorts. We learn the ultimate motivation for the man’s actions. He has lost his own child and can’t resist spending some time with the child he would never have again. He is obviously still deeply in grief for his dead son: His face became even more plae ... he answered in a montone. “He was killed by a truck.” This shows that he is after all a plausible character. The policeman and the reader feel sorry for the man. It is very sad when someone loses a child. It shows that he is not a bad person even though he did not return the child immediately. It makes him a more interesting character. This essay discusses the protagonist clearly but there is not enough discussion of character and the elements of characterization. The following essay discusses the same topic in a more, sophisticated, coherent way.

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English 12: Character Development in “Always a Motive.” (Meets Expectations) Good writers use a variety of techniques to develop their characters. Often the characters portrayed are so intriguing that the character himself becomes the focus of the story rather than theme or plot. ‘Always a Motive’ is such a ‘character’ story. The opening of the story contains some traditional character description. The character is made more plausible by giving him a physical presence: “young and shabbily dressedÖhair was jet black and curly and his face was pale and wore a haunted look.” This is almost a stereotyped criminal type except for the word ‘haunted’. The protagonist has dropped off a kidnapped baby and arrested for kidnapping. A close reading reveals that there is something hidden that suggests a ‘confused state of emotions.’ For the next few pages we are given what is an objective point of view. We don’t know what is in his head at all. We are given a verbatim version of the police questioning which reveals little except he claims to be innocent of the kidnapping charge. We finally learn a crucial piece of information, indirectly from a minor character: the suspect has lost his own child a short while ago. On a superficial level the case is solved and the story is over. It’s almost a clichÈ: the grieving parent steals a child to replace the one he has lost. However his alibi appears; he couldn’t have taken the child. We are as confused as the police. If he, in fact, just found the child why didn’t he just take it immediately to the police? In what is literally the final bit of information (and virtually the only thing he reveals about himself in the whole story) reveals his ultimate motivation and everything else falls into place: I wanted to see the face of a father who has lost his kid and got it back. This is a great story because nothing is given away. We only know as much as the police do. The ultimate truth is saved until the very end. His character is fully rounded with this crucial bit of information. This is much more subtle than the ‘surprise’ ending of a story like ‘Gold Mounted Guns’ at the end of which we learn (improbably) that the ‘bad guy’ is really the sheriff. In ‘Always a Motive’ and other quality interpretive stories like ‘Lather and Nothing Else’ the climax is not a physical event but a revelation of character

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Quick Scale: Grade 12– Writing About Characterization This Quick Scale is a summary of the Rating Scale that follows. Writing is usually required to be carefully revised, edited, and proofread. Aspect

Not Yet Within Expectations

Meets Expectations (Minimal Level)

Fully Meets Expectations

Exceeds Expectations

SNAPSHOT

The writing features problems with style, form, and mechanics that make it difficult to determine the purpose and meaning. Reflects little knowledge of characterization and writing conventions and techniques.

The writing is generally clear, with a beginning, middle, and end. Development may seem uneven. The writer has difficulty controlling the form and style. Tends to tell about characters rather than “show” them.

The writing is clear and carefully developed, with some sense of audience and purpose. Some variety and engaging features. May overexplain in places, telling rather than showing.”

• little sense of audience

• some sense of audience;

• sense of audience; some

The writing creates an impact, with a sense of vitality, economy, and finesse. Features some complex, engaging ideas, language, structures, and techniques. Relies on “showing,” not telling. Good comprehension of characterization. • strong sense of audience; engaging • clear if not provocative thesis; strong sense of direction • efficiently developed around relatively mature understanding of elements of character; attempts to interpret • well-chosen details, examples, and quotations • creates and sustains effective voice and tone; may use humour or irony • syntactic maturity • effective, economical word choice • takes risks, often showing originality and inventiveness

MEANING

• sense of audience • understanding of character • types • characteristics • development • presentation • support

STYLE

• voice and tone • syntax • word choice • techniques

• • • •

• little awareness of audience • simple sentences and coordination; limited range

• introduction • structure and sequence • transitions • paragraphing • conclusion

CONVENTIONS

• spelling • sentence structure and punctuation • usage

• •

•

make errors; repetitive as well as colloquial immature style

• beginning unclear • sequencing is often • • •

confusing few transitions; may seem disjointed paragraphing illogical or missing weak ending

little impact includes basic understanding of character easy-to-follow development with a simple understanding of character simple details, examples, or quotes sometimes linked to description of character

• voice and tone may be •

• basic vocabulary; may •

FORM

or purpose (unfocussed) may be too short with few examples and details no underlying structure or development (ideas not developed) inadequate material and understanding of character and its elements details, examples, or quotes not clearly linked to character description

• •

inconsistent some sentence variety; often problems with subordination some variety in word choice; not concise direct, conversational; difficulty expressing abstract ideas

• organization adequate but ineffective • connections among ideas often unclear • transitions awkward; paragraphs not well developed • conclusions often short or formulaic

• •

•

impact clear, focused thesis with sound understanding of elements of character clearly and logically developed demonstrating good understanding of character relevant details and examples support main ideas of the essay

• appropriate voice and tone • varies sentences • varied word choice; some complex vocabulary

• some risk-taking to create effects; uses a variety of stylistic or rhetorical techniques

• organization carefully and • • •

• structure appears

logically structure transitions make connections clear comptently developed paragraphing explicit, logical conclusion

natural and spontaneous • well-chosen transitions create unity •effective paragraphing creates continuity • ending has some “punch”

• frequent noticeable

• noticeable errors that

• few errors; these do not

• few errors; these do not

errors in basic sentence structure, spelling, and usage that distract the reader and may interfere with meaning

may cause the reader to pause or reread; often surface errors could be fixed by careful proofreading

affect meaning; appears to have been carefully edited and proofread

distract the reader (may only be noticeable when the reader looks for them)

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