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.
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.
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.
Class: Introduction to Creative Writing (The College of William & Mary) Genre: Fiction Purpose: To explore Burroway’s concept of “Character as Image”; examine potential of non-verbal communication; and situate the reader to receive information along with a character Readings: Chapters 4 (“Character”) and Gabriel García Márquez’s “The Handsomest Drowned Man in the World” in Janet Burroway’s Imaginative Writing
Two characters come upon one another in the middle of a forest. Something bad—but not melodramatic*—has happened to one character and that character needs help. When the first character tries to tell the second what’s wrong, it’s revealed that the two characters don’t speak the same language. (This could include sign language.)
Write a scene from the point of view of the second character (first person “I”) while the first character tries to communicate the problem using only gestures, drawing, or other non-verbal communication. Additionally:
the second character cannot know what the problem is before the first character reveals it in this scene;
the second character should notice details throughout the interaction that reveal more about the first character (i.e. clothing, appearance, possessions, etc.)
the second character may or may not—or even cannot—help.
*Challenge yourself to come up with a problem that doesn’t involve far-fetched plot lines, flat characters, and easy conclusions. This means it would be best to avoid killers, aliens, and monsters. Think about more ordinary but equally tension-filled situations like a farmer whose lost a bull, a teenager who has a flat tire but doesn’t know how to change it, a hunter who accidentally shot his buddy in the foot, etcetera.
Class: Introduction to Creative Writing (The College of William & Mary) Genre: Fiction Purpose: To open up discussion about plot structure and significant details Readings: Chapters 9 (“Fiction”) and 6 (“Story”) in Janet Burroway’s Imaginative Writing
Write a summary of what happens in the video. (2 min.)
Now write a scene from the point of view of the bear or the man. Try to tap into their thoughts and moment-by-moment perceptions. Include as many details as you can in 5 minutes. Here’s the hitch: you must tell the story in reverse chronological order! (Tell the story backwards!)
Look at the inverted check mark diagram of pg. 173 in Burroway. Discuss how the check mark works for a chronological story compared to the story told in reverse. Where does the conflict fall in your scene? The crisis (climax)? Is there resolution? Were there any details you thought of telling the story backwards that you might not have thought of telling the story chronologically?