Writing Exercise: “Guess Who”
Writer Jean Kwok uses a Character Sketch Table in order to better develop and, subsequently, understand her characters. Whether or not she ends up using all the information in her final creative work, it helps her consider the ways that her characters move (and have moved) in the world. Prior to completing the following exercise, review this document and consider what sorts of information you would need to know about your characters. To begin the exercise, follow the next steps:
- Create two characters who identify as the same gender and use the same pronouns. Note: If you choose to create a transgendered character, please honor the gender and pronouns they have chosen, not those assigned at birth, e.g. Dan, a cisgendered man, and Colin, a trans man or Maria, a cisgendered woman, and Jamila, a trans woman, would be grouped together here.
- Create a quick character sketch in which you identify them by at least: name, age, occupation, interests/hobbies, life goals, and an old embarrassment. If there’s anything else you think your reader should know, you may also include it here. Avoid stereotyping based on race, sexuality, gender, ability, region, culture, religion, appearance, or age toward a complex person that’s more than any one of these identifiers.
- Write a paragraph-long description of a short interaction between only one of your characters and someone else—barista, boss, what-have-you, as long as it’s not your other sketched-out character. The only caveat is that you must only use this character’s pronoun and never identify them by their name or specifically identify their occupation.
- Read your peers’ pieces and try to guess which character appears in their scenes.
Writing Exercise: “Code Switch”
- Read a little bit about the linguistic concept of “code-switching.”
- Now, let’s apply it to your creative writing. Create a dramatic situation in which a first-person narrator has to switch between two different types of language in her narration and in her dialogue, e.g. her dialogue with her best friend is informal but, in telling the story to a wider audience, she uses proper grammar and more meditative language.
- For an added challenge, you can add in a third act of code-switching, i.e. your narrator might talk one way in her narration, one way to her best friend on the phone, and one way with her mother while they are out to lunch.
Note: Please take care to avoid cultural appropriation with this exercise in code-switching. To do so, you might try taking on acts of code-switching that are familiar to you and your discourses.
In “Backstabbing,” students are practicing their abilities in creating a scene that hinges on the drama of subtext, dialogue, and conflict.
For “Spin,” students will be negotiating subtext, rumor, dramatic irony, subjectivity, objectivity, and context in our readings and their own work. Students will discuss the elements of reportage and rumor in their icebreaker text, Harry Potter and the Goblet of Fire, and then discern the difference between Rowling’s subtext and the subtext, however erroneous, read into the actions of the protagonists by other characters. Students will likewise watch a clip from the 1966 film Who’s Afraid of Virginia Woolf? and identify elements of dialogue, actions, body language, and gestures that reveal subtext, and then they will do a writing exercise in which they describe the innocent actions of a character in public and then re-describe them in the point of view of a law enforcement official, private investigator, reporter, or suspicious bystander who misconstrues, willfully or automatically, the actions of that innocent person.
In the “Debate” writing exercise, students are asked to create two characters—political candidates—with unique syntax and diction in order to debate a phony issue, like whether muffins should actually be called cake, for example. In doing so, they learn how to format dialogue; to progress action through dialogue; and how to demonstrate a character’s values, motivations, and background through dialogue.
On The Atlantic, Lindsay Lynch writes about typesetting letterpress and the en space in “How I Came to Love the En Space”:
To understand letterpress printing, imagine that every letter you see on your screen is an object, a tiny piece of metal. Not only is every letter an object, but every space between every letter is also an object. Every space between words, every space between lines—every bit of white space is an object. When typesetting, a printer has to think about negative space as something tangible.
This is where the en space comes in. An en space is a rectangular piece of metal or wood whose primary purpose is to be smaller than the metal or wood type being printed. The en space isn’t type-high—it doesn’t sit proud like an ordinary character—so it doesn’t catch ink when it’s run through the press. It just holds printable type together in a tight grid, creating spaces between words. It is never seen, but without it, everything printed would be nonsense.
In “In Medias Res,” students write and re-write a scene in the three different points of view from a YouTube video of a man texting and running into a wild bear. They likewise create a character profile for their point of view character to navigate Anne Lamott’s suggestion of an “emotional acre.” In doing so, they negotiate the scope, immediacy, and language of each point of view, and consider how “in the middle of things” each point of view feels.