1. Characterization
Chapter 3

2. Characterization
More difficult than describing plot because human character is infinitely complex, variable, and ambiguous
Not a summary of what he/she has done but the analysis of who a person is

3. Commercial vs. Literary
Commercial: plot usually more important than in-depth characterization; may offer simple, two-dimensional characters or stereotypes
Clearly labeled good or bad characters
Characters created to carry plot forward, not explore human psychology and motivation
Literary: more concerned with complex characters than the mechanics of plot
Ever After: A Cinderella Story Trailer

4. Commercial Character Attractive or sympathetic Male
not perfect but fundamentally decent (honest, good-hearted, and preferably good-looking)
larger-than-life (dashing, daring, or gallant); may defy laws for « ordinary » people, which makes him even more likable because it’s for good reason
vices must not be minded by reader or may be enjoyable (i.e. James Bond’s sexual promiscuity)
Reader enjoys identifying with protagonist, vicariously sharing adventures, escapes, and triumphs
Mission Impossible clip

5. Literary Character May still be attractive or appealing
Less easily labeled than commercial
May be wholly unsympathetic, even despicable
Usually composed of both good and evil, like real people
Three-dimensional human beings that allow observance of complex human nature
Wuthering Heights clip

6. Direct and Indirect
Direct: author tells straight out, by exposition or analysis, what the characters are like or has another character in the story describe them
Good writers use it sparingly; less emotional impact
Indirect: shows them through actions or what they say or do; « show, don’t tell »
Characters dramatized: shown speaking and behaving

7. Three Principles of Characterization
Consistent with behavior
Characters’ words and actions spring from motivations the reader can understand and believe
Must be plausible or lifelike (not excessively virtuous or evil)

8. Flat vs. Round
Flat characters: usually only one or two predominant traits
Ivan in “The Most Dangerous Game” as the fearsome thug
May still be memorable with vivid detail of appearance, gestures, or speech (“Bah! Humbug!”) A Christmas Carol clip
Round characters: complex and many-sided
Huck Finn

9. Stock Character
Special kind of flat character; stereotype easily recognized because of reoccurrence in fiction
Strong silent sheriff, brilliant detective with eccentric habits, mad scientist who performs fiendish experiments on living people, glamorous international spy of mysterious background, etc.
Commercial writers rely on them because they can be grasped quickly and easily
Literary writers may use with individualized touches to make more memorable (Sherlock Holmes)

10. Static vs. Dynamic
Static: remains essentially the same person from the beginning to the end
Dynamic (or developing): undergoes some distinct change or character, personality, or outlook
May be large or small change, positive or negative
Something significant and basic, not minor change of habit or opinion
Epiphany: moment of spiritual insight into life or into the character’s own circumstances; usually defines the moment of the developing character’s change Grinch clip

11. Commercial vs. Literary
Commercial: changes likely to be superficial and intended to create happy ending
Literary: meets three conditions
Consistent with the individual’s characterization as dramatized in the story
Sufficiently motivated by the circumstances in which the character is placed
Story offers sufficient time for the change to take place and is still believable

12. Reading Check
Describe the significance of characterization in literary fiction vs. commercial fiction.
Distinguish between direct and indirect presentation of character in fiction.
Review the terms “flat,” “round,” and “stock” character.
Consider the difference between a static character and a dynamic character.