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Module 005 Characters and POV: How To Develop A Character
Module 005 Characters and POV: How To Develop A Character
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Characters and POV
Direct Characterization
Last week, we looked at characterization as one of the elements of storytelling, for both
fiction and nonfiction. Usually, books that are directed to younger readers have a tendency
to use direct characterization, wherein the narrator blatantly tells the readers what the
character is all about.
For example:
Andrea’s grandfather is the best. He likes to climb trees even at seventy-five years old. This is
because he has always been used to physical activities.
This could have been shown in a particular scene, in which visitors are in awe of the old
man climbing a tree to gather some mangoes. However, the narrator has chosen to
directly inform the readers.
Examples, Anecdotes and Vignettes
Direct characterization does not have to be the bland, Sweet Valley way that goes
something like this: “Jessica and Elizabeth Wakefield are identical twins, with
blonde hair, aquamarine eyes, and a size six figure.” This was not copied verbatim,
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but you get the point. Some just like to give their characters a bio-data like approach
in terms of description. This may be helpful, but should be used sparely.
Examples, anecdotes, and vignettes may reveal both direct and indirect
characterization. Indirect characterization, after all, is done through words and
gestures. Anecdotes and vignettes may make use direct narration, as well as words
and gestures. These little tales about the character, possibly told by another
character, can reveal a lot about the topic character and the narrator.
Sandra Cisneros’ “The House on Mango Street” is a collection of autobiographical
vignettes. Instead of a plot, there are a series of little narratives that collectively
create the world of Mango Street. “
Here is a vignette from “Harry Potter and the Deathly Hallows”:
“Apparently wizards poke their noses in everywhere!” said Petunia, now as pale as she
had been flushed. “Freak!” she spat at her sister, and she flounced off to where her
parents stood. . .
The scene dissolved again. Snape was hurrying along the corridor of the Hogwarts
Express as it clattered through the countryside. He had already changed into his school
robes, had perhaps taken the first opportunity to take off his dreadful Muggle clothes.
At last he stopped, outside a compartment in which a group of rowdy boys were
talking. Hunched in a corner seat beside the window was Lily, her face pressed against
the windowpane.
Snape slid open the compartment door and sat down opposite Lily. She glanced at him
and then looked back out of the window. She had been crying.
In Creative Nonfiction
In creative nonfiction, direct characterization is also used. It speeds up the narrative,
especially since a premise should be established. Depending on who is writing and
how far back memory is being pushed, sometimes dialogue in verbatim can be
forgotten. The actual sequences of events may also become blurry in some cases.
However, there are truths that can never be changed. In the example above, Andrea’s
grandfather has always loved to climb trees.
While we are often advised to show and not to tell, the narration is accurate and the
grandfather could not have been completely different from the telling. However, the
motivation, when declared by an omnipresent, omniscient narrator in fiction, is
marked as fact. The motivation may be less confidently received if the narrator is
one of the other characters. How sure is the character that Andrea’s grandfather
climbs trees because he is used to it? Maybe he wants to do it to prove his
independence or to show his children the importance of physical activity? We would
have to go deeper into his gestures and words in order to know his motivations. We
can never be fully sure unless his thoughts are revealed. This will not happen in a
creative nonfiction piece, unless he is the narrator himself.
Gestures
It has often been said that actions speak louder than words. Even when words seem clear,
they don’t have to be true. That is what we learned from the figure of speech, irony. With
gestures, however, mannerisms are established. Mannerisms are little movements that a
person is used to doing even when he/she is unaware. These provide insight as to what
kind of person he/she is.
Creative Nonfiction - SHS
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Characters and POV
In Creative Nonfiction
If the biographer is in no way related to the person he is writing about, then he
needs to conduct extensive research. This is easy to do if he is writing about famous
dignitaries, whose videos are easily accessible. This is why it is easier to flesh out
movie stars and members of the royal family, compared to reclusive poets or
scientists. There are some biographers who can still successfully incorporate
gestures into their works even if they are writing about the latter set, but it requires
extensive research. Extensive research, in this case, includes not only a whole lot of
reading, but also a lot of interviews. The biographer has to talk to people who may
be directly or indirectly involved in the story he is about to tell. During the
interviews, he should also take note of the gestures of his interviewees, especially if
they are going to be part of the narrative.
In Creative Nonfiction
There is more at stake in creative nonfiction when it comes to letting the characters
talk. These are real people. The information that they are revealing is not enough.
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The way in which the words are expressed is key to showcasing characterization.
Monologues should be sparse, as well, if not completely absent. Some people may
have a tendency to talk to themselves, but usually they may just curse aloud or talk to
a laptop (it happens!) but if they start spouting out a whole long speech, some of
their friends and relatives may be alarmed. There may be some quirky characters
that will do this, but there aren’t a lot of them.
Keep this in mind the next time you read a nonfiction book. Try to find examples of
characters talking to themselves or saying things aloud while alone.
Character Growth
A character needs to show growth. Everybody changes, no matter how subtly. If a person
never learns a thing from the trials that life has to offer and remains the way he was at the
beginning of the story, then that in itself is characterization.
In Creative Nonfiction
In real life, growth is a necessary ingredient. People grow up, not just physically but
also mentally and emotionally. They learn things as they go along and apply those
learnings, albeit subtly, to change some of their gestures and deeds.
In morality tales, we often see some changes for the better or at least a realization at
the end for the character that has either learned a lesson or has been punished.
There are characters that do not change, with attitudes that are glaringly equal from
start to finish, but most characters have changed in one way or another.
Glossary
Anecdote: a short story about a particular incident or person, usually told in an amusing
way
Motivation: a character’s reason for doing something
Narrator: the storyteller
Omnipresent: someone who is everywhere; a description generally attributed to gods
Omniscient: knows everything; all-knowing
Vignette: a slice of life or verbal sketch
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