When we arrived, we were astounded to see a line of people stretching out of the theater lobby and deep into a nearby football field. The show was hilarious and the audience loved every minute.
The characters in our stories, songs, poems, and essays embody our writing. They are our words made flesh. Sometimes they even speak for us, carrying much of the burden of plot, theme, mood, idea, and emotion. But they do not exist until we describe them on the page.
Until we anchor them with words, they drift, bodiless and ethereal.
They weigh nothing; they have no voice. What they become, on the page, is up to us. Here are 11 secrets to keep in mind as you breathe life into your characters through description. He has green eyes and brown hair and usually wears khakis and oxford shirts. No identifying marks, no scars or tattoos, nothing to distinguish him.
He appears as a cardboard cutout rather than as a living, breathing character. When we describe a character, factual information alone is not sufficient, no matter how accurate it might be.
The details must appeal to our senses. Phrases that merely label like tall, middle-aged, and average bring no clear image to our minds. Since most people form their first impression of someone through visual clues, it makes sense to describe our characters using visual images.
Are they pale green or dark green? Even a simple adjective can strengthen a detail. If you use an adjective to describe a physical attribute, make sure that the phrase is not only accurate and sensory but also fresh.
Strengthen physical descriptions by making details more specific. Select physical details carefully, choosing only those that create the strongest, most revealing impression. One well-chosen physical trait, item of clothing, or idiosyncratic mannerism can reveal character more effectively than a dozen random images.
This applies to characters in nonfiction as well as fiction.
When I write about my grandmother, I usually focus on her strong, jutting chin—not only because it was her most dominant feature but also because it suggests her stubbornness and determination. When I write about Uncle Leland, I describe the wandering eye that gave him a perpetually distracted look, as if only his body was present.
As you describe real-life characters, zero in on distinguishing characteristics that reveal personality: Once your character is situated comfortably, he may relax enough to reveal his secrets.
Early environments shape fictional characters as well as flesh-and-blood people. We learn about Madame Bovary through concrete, sensory descriptions of the place that formed her.
In addition, Flaubert describes the book that held her attention during mass and the images that she particularly loved—a sick lamb, a pierced heart. Living among those white-faced women with their rosaries and copper crosses, never getting away from the stuffy schoolroom atmosphere, she gradually succumbed to the mystic languor exhaled by the perfumes of the altar, the coolness of the holy-water fonts and the radiance of the tapers.
Instead of following the Mass, she used to gaze at the azure-bordered religious drawings in her book. She loved the sick lamb, the Sacred Heart pierced with sharp arrows, and poor Jesus falling beneath His cross.Teaching critical thinking skills is a necessity with our students because they’re crucial skills for living life.
As such, every teacher is looking for interesting ways to integrate it into classrooms. This webpage is for Dr. Wheeler's literature students, and it offers introductory survey information concerning the literature of classical China, classical Rome, classical Greece, the Bible as Literature, medieval literature, Renaissance literature, and genre studies.
Old Familiar Faces: The Great Character Actors and Actresses of Hollywood's Golden Era [Robert A. Juran] on benjaminpohle.com *FREE* shipping on qualifying offers.
Biographies of supporting players in Hollywood in the s include b&w photos and filmographies for actors . ¶ 1 Leave a comment on paragraph 1 0 [posted on 25 June – release notes] ¶ 2 Leave a comment on paragraph 2 0 Nearly every successful television writer will point to character as the focal point of their creative process and how they measure success—if you can create compelling characters, then engaging scenarios and storylines will likely follow suit.
Most actors fail not because they lack talent, but because they don’t vigorously pursue their careers.
That means mailing out at least 20 headshot submissions a week, constantly reading about the business and craft of acting, watching television, film, and theater with a critical eye, and taking classes, workshops, and seminars as often as .
Commander James Bond, CMG, RNVR, is a fictional character created by the British journalist and novelist Ian Fleming in He is the protagonist of the James Bond series of novels, films, comics and video benjaminpohle.comg wrote twelve Bond novels and two short story collections.
His final two books—The Man with the Golden Gun () and Octopussy and The Living Daylights ()—were.