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fiction, the writer must show them doing and saying things, but a character must be defined by more than one single topic of conversation or by the character's accent. The character will have other interests or personality quirks as well. Although individual temperament is the largest determinant of what a character says, it is not the only one. The writer can make the characters' dialogue more realistic and interesting by considering several factors affecting how people speak: personality psychology, age, culture, family background, region, gender, education, and circumstances. Words characterize by their diction, cadence, complexity, attitude and fluency. Mannerisms and catch-phrases can help too. Considering the degree of formality in spoken language is also useful. Introverts tend to use more formal language compared to extroverts, who typically speak in a more casual and colloquial manner. Characters who spend a lot of their lives in a more formal setting often use a more formal language all the time, while others never do. Tone of voice, volume, rate of delivery, vocabulary, inflection, emphasis, pitch, topics of conversation, idioms, colloquialisms, and figures of speech: all of these are expressions of who the character is on the inside. A character's manner of speech must grow from the inside out. The speaking is how their essential personality leaks out for the world to see; it is not the sum total of their personality.
185:
types of configurations, and humans have never tired of using these configurations for their mythologies. This is an idea that uses the kaleidoscopic model on narrating for mythology. Another perspective holds that humans when reading or hearing a mythology do not dissect it into various parts, that when physically together humans do not tell stories by using limited components in a configuration, and that people and their cultures do change and thus this leads to new developments in stories, including characters.
193:
such as Stalin, Lenin, etc. in a new type of mythology. These figures often play the lead in tragic stories full of sacrifice. An example of this includes his character Tygyn, who on his quest for peace determines that the only way for peace to exist is to use military strength to enforce. The use of mythology is used in
Shakespeare's Hamlet as a device to parallel the characters and to reflect back on them their role in the story, such as the use of the Niobe myth and the twin sister of Gertrude.
211:
Caregiver, the
Explorer, the Rebel, the Lover, the Creator, the Jester, the Sage, the Magician, and the Ruler. However, Jung's notions of character archetypes have been considered problematic in a variety of ways. First, the use of these archetypes is often reductive and unhelpful for many writers since it simplifies character complexity into clichéd tropes.
225:
172:
different actors. Another major difference in drama is that it is not possible to 'go inside the character's head' in the way possible in a novel, meaning this method of character exposition is unavailable. Still another is that in drama, a character usually can be seen and heard and need not be described.
277:
is their manner of speech. Different characters use different vocabularies and rhythms of speech. For example, some characters are talkative, others taciturn. The way a character speaks can be a powerful way of revealing the character's personality. In theory, a reader should be able to identify
171:
Characters in theater, television, and film differ from those in novels in that an actor may interpret the writer's description and dialogue in their own unique way to add new layers and depth to a character. This can be seen when critics compare, for example, the 'Lady
Macbeths' or 'Heathcliffs' of
210:
may be considered so because they stick to a single archetype without deviating, whereas 'complex' or 'realistic' characters will combine several archetypes, with some being more dominant than others – as people are in real life. Jung's twelve archetypes are: the
Innocent, the Orphan, the Hero, the
192:
draws heavily from the native mythology of his homeland, the Yakut region in Russia and the Sahka people. In several of his stories, he depicts a main character that follows historic examples of heroism, but fashions the main character using Soviet examples of heroism, even using real life figures,
184:
that consists of several differing, limited archetypes, which is type of component. Multiple components, such as archetypes and other elements of a story, together form a type of configuration that results in fully realized myth. These configurations can be mixed and matched together to form new
281:
The manner of a character's speech is to literature what an actor's appearance and costume are to cinema. In fiction, what a character says, as well as how they say it, makes a strong impression on the reader. Each character should have their distinctive voice. To differentiate characters in
161:
The audience must infer for themselves what the character is like through the character's thoughts, actions, speech (choice of words, manner of speaking), physical appearance, mannerisms and interaction with other characters, including other characters' reactions to that particular
205:
identified twelve primary 'original patterns' of the human psyche. He believed that these reside in the collective subconscious of people across cultural and political boundaries. These twelve archetypes are often cited in fictional characters.
105:
that tragedy "is a representation, not of men, but of action and life." This view was reversed in the 19th century, when the primacy of the character, that is, a character-driven narrative, was affirmed first with the
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which character is speaking simply from the way they talk. When a character voice has been created that is rich and distinctive, the writer can get away with omitting many speech attributions (tag lines).
67:. This representation may include direct methods like the attribution of qualities in description or commentary, and indirect (or "dramatic") methods inviting readers to infer qualities from characters'
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Georges, Robert (1979). "The
Kaleidoscopic Model of Narrating: A Characterization and a Critique".
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The
Science of Writing Characters: Using psychology to create compelling fictional characters
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The
Science of Writing Characters: Using Psychology to Create Compelling Fictional Characters
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Mythological characters have influence that extends to recent works of literature. The poet
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The author literally tells the audience what a character is like. This may be done via the
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The Art and Craft of
Storytelling: A Comprehensive Guide to Classic Writing Techniques
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Mythological characters have been depicted to be formulaic and are a part of a
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McCollum, Cayla (2012). "Mirrors: Shakespeare's use of
Mythology in Hamlet".
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867: (archived November 11, 2007) by Dr. Marilyn H. Stauffer of the
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Plot versus
Character: A Balanced Approach to Writing Great Fiction
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Representation of persons in narrative and dramatic works of art
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427:"Folklore and Epic Traditions in Yakut Novels between Two Ages"
218:
110:, and increasingly later with the influential development of
917:
686:
Theatre as Sign-System: A Semiotics of Text and Performance
805:
Write Great Fiction: Characters, Emotion & Viewpoint
386:"Myth Creation in the Poetic Evolution of P. A. Oyunsky"
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146:, another character or by the character themselves.
850:. New York: Bloomsbury Academic. ISBN 1501357255
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703:The Concise Oxford Dictionary of Literary Terms
75:, or appearance. Such a personage is called a
2240:
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425:Myreeva, Anastasiya Nikitichna (2018-09-30).
8:
431:Journal of History Culture and Art Research
390:Journal of History Culture and Art Research
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126:can convey information about a character:
683:Aston, Elaine, and George Savona (1991),
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384:Romanova, Lidia Nikolaevna (2018-09-30).
48:(persons, creatures, or other beings) in
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1611:Types of fiction with multiple endings
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482:– via Academic Search Complete.
455:– via Academic Search Complete.
414:– via Academic Search Complete.
7:
882:accompanying PowerPoint presentation
619:
95:was introduced in the 19th century.
913:How to Create Compelling Characters
689:. London and New York: Routledge.
25:
2014:Third-person omniscient narrative
535:. New York: Bloomsbury Academic.
468:Journal of the Wooden O Symposium
245:and remove advice or instruction.
32:Characterization (disambiguation)
351:The Journal of American Folklore
223:
1402:Conflict between good and evil
908:15 Days to Stronger Characters
887:Character and characterisation
1:
751:. Chicago: World Book. 2015.
861:Outline on Literary Elements
768:Creative Writing for Dummies
2500:Articulation (sociological)
878:Western Kentucky University
876:by Professor Waters of the
869:University of South Florida
846:Pelican, Kira-Anne (2020),
529:Pelican, Kira-Anne (2021).
2557:
770:(uk ed.), Chicester:
495:"The 12 Common Archetypes"
261:
29:
2041:Stream of unconsciousness
1572:Falling action/Catastasis
787:Harrison, Martin (1998),
339:Harrison (1998, pp. 51-2)
44:is the representation of
1409:Self-fulfilling prophecy
444:10.7596/taksad.v7i3.1737
403:10.7596/taksad.v7i3.1729
262:Not to be confused with
2036:Stream of consciousness
1499:Suspension of disbelief
892:The UVic Writer's Guide
789:The Language of Theatre
766:Hamand, Maggie (2009),
748:World Book Encyclopedia
707:Oxford University Press
701:Baldick, Chris (2004),
122:There are two ways an
63:is sometimes used as a
1577:Denouement/Catastrophe
1558:Rising action/Epitasis
897:University of Victoria
18:Character's voice
1923:Utopian and dystopian
874:Lecture about Fiction
831:Writer's Digest Books
809:Writer's Digest Books
803:Kress, Nancy (2005),
791:. London: Routledge.
729:Writer's Digest Books
214:
61:character development
2541:Literary terminology
2256:Literary composition
1477:Narrative techniques
1257:Story within a story
1069:Supporting character
825:Lamb, Nancy (2008),
723:Gerke, Jeff (2010),
243:rewrite this article
197:Character archetypes
30:For other uses, see
2505:Composition studies
2454:Creative nonfiction
2319:Linguistic contrast
2312: / devices
2182:Political narrative
2024:Unreliable narrator
1881:Speculative fiction
1589:Nonlinear narrative
1537:Three-act structure
1397:Deal with the Devil
646:, pp. 106–108)
622:, pp. 184–185)
505:on October 21, 2019
118:Direct vs. indirect
2160:Narrative paradigm
2155:Narrative identity
2085:Dominant narrative
2031:Multiple narrators
1315:Fictional location
1158:Dramatic structure
292:Character creation
79:. Character is a
2518:
2517:
2510:Technical writing
2324:Literary contrast
2222:
2221:
2165:Narrative therapy
1599:television series
1544:Freytag's Pyramid
1387:Moral development
1290:Alternate history
1000:False protagonist
880:, especially the
840:978-1-58297-559-7
781:978-0-470-74291-4
758:978-0-7166-0115-9
738:978-1-58297-992-2
716:978-0-19-860883-7
670:, pp. 70–71)
586:, pp. 73–74)
542:978-1-5013-5724-4
275:character's voice
264:Grammatical voice
260:
259:
236:a manual or guide
215:Character's voice
208:'Flat' characters
201:The psychologist
16:(Redirected from
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2428:Rhetorical modes
2418:Grammatical mood
2372:Cut-up technique
2270:Characterization
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2145:Literary science
1688:Narrative poetry
1584:Linear narrative
1494:Stylistic device
1489:Show, don't tell
1452:Figure of speech
1242:Shaggy dog story
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745:"Literature".
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658:, p. 179)
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108:realist novel
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2204:Storytelling
2019:Subjectivity
2009:Third-person
1999:First-person
1633:
1442:Comic relief
1194:
1187:
1178:Flashforward
1145:
1119:Origin story
1101:
1064:Straight man
1019:
984:
903:Drama Theory
891:
847:
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804:
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767:
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584:Hamand (2009
531:
507:. Retrieved
503:the original
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241:Please help
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176:In mythology
170:
153:
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134:
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100:
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60:
41:
37:
36:
2531:Narratology
2484:Short story
2275:Description
2209:Tellability
2175:Metafiction
2170:Narratology
1942:Theological
1834:Pop culture
1715:Short story
1693:Epic poetry
1414:Time travel
1227:Red herring
1212:Plot device
1183:Frame story
1136:Cliffhanger
1079:Tritagonist
1054:Protagonist
668:Gerke (2010
656:Kress (2005
644:Kress (2005
632:Gerke (2010
608:Kress (2005
596:Gerke (2010
569:Gerke (2010
474:: 114–119.
59:. The term
2525:Categories
2479:Screenplay
2433:Stylistics
2392:Plagiarism
2367:Assemblage
2360:Prewriting
2310:Techniques
2290:Literature
2280:Exposition
2095:Continuity
1964:Nonfiction
1928:Underwater
1824:Picaresque
1799:Historical
1784:Epistolary
1656:Fairy tale
1567:Peripeteia
1549:Exposition
1305:Dreamworld
1247:Stereotype
1217:Plot twist
965:Antagonist
895:(from the
705:, Oxford:
678:References
620:Lamb (2008
551:1142394142
251:March 2022
112:psychology
46:characters
1986:Narration
1935:Superhero
1859:Chivalric
1844:Religious
1829:Political
1764:Adventure
1749:Biography
1671:Tall tale
1519:Structure
1504:Symbolism
1472:Narration
1372:Leitmotif
1300:Crossover
1295:Backstory
1252:Story arc
1202:MacGuffin
1173:Flashback
1114:Backstory
990:Confidant
970:Archenemy
957:Character
949:Narrative
499:SoulCraft
480:1539-5758
453:2147-0626
412:2147-0626
203:Carl Jung
97:Aristotle
91:The term
77:character
50:narrative
2423:Register
2401:Features
2387:Pastiche
2377:Diegesis
2192:Glossary
2187:Rhetoric
1994:Diegesis
1974:Creative
1947:Thriller
1896:Southern
1814:Paranoid
1809:Nautical
1720:Vignette
1678:Gamebook
1646:Folklore
1553:Protasis
1432:Allegory
1377:Metaphor
1335:parallel
1330:universe
1310:Dystopia
1267:Suspense
1153:Dialogue
1141:Conflict
1049:Narrator
1021:Hamartia
509:June 29,
286:See also
167:In drama
155:implicit
150:Indirect
144:narrator
136:explicit
73:dialogue
54:dramatic
2536:Fiction
2382:Mimesis
2348:Methods
2122:Prequel
2078:Related
2064:Present
1957:Western
1913:Science
1886:Fantasy
1854:Romance
1804:Mystery
1789:Ergodic
1754:Fiction
1710:Parable
1705:Novella
1635:Fabliau
1606:Premise
1457:Imagery
1447:Diction
1325:country
1282:Setting
1262:Subplot
1084:Villain
1037:Byronic
863:at the
162:person.
102:Poetics
87:History
69:actions
65:synonym
2474:Poetry
2329:Cliché
2295:Writer
2126:Sequel
2110:Retcon
2105:Reboot
2069:Future
1903:Horror
1891:Gothic
1876:Satire
1794:Erotic
1661:Legend
1563:Climax
1437:Bathos
1344:Utopia
1232:Reveal
1131:Cliché
1109:Action
1103:Ab ovo
1042:Tragic
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539:
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451:
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371:539386
369:
131:Direct
124:author
2469:Novel
2459:Essay
2447:Forms
2339:Trope
2334:Idiom
2133:Genre
2100:Canon
2051:Tense
1969:Novel
1952:Urban
1864:Prose
1849:Rogue
1774:Crime
1769:Comic
1730:Genre
1700:Novel
1651:Fable
1629:Drama
1594:films
1424:Style
1392:Motif
1382:Moral
1367:Irony
1359:Theme
1272:Trope
772:Wiley
367:JSTOR
303:Notes
57:works
2464:Joke
2438:Tone
2138:List
2059:Past
1918:Hard
1871:Saga
1779:Docu
1735:List
1666:Myth
1621:Form
1509:Tone
1482:Hook
1467:Mood
1462:Mode
1320:city
1207:Pace
1094:Plot
1032:Anti
1027:Hero
1010:Foil
835:ISBN
813:ISBN
793:ISBN
776:ISBN
753:ISBN
733:ISBN
711:ISBN
691:ISBN
547:OCLC
537:ISBN
511:2016
476:ISSN
449:ISSN
408:ISSN
52:and
1527:Act
889:in
439:doi
398:doi
359:doi
266:or
152:or
133:or
40:or
2527::
2124:/
833:,
811:,
774:,
731:,
709:,
576:^
559:^
545:.
519:^
497:.
472:12
470:.
447:.
433:.
429:.
406:.
392:.
388:.
365:.
355:92
353:.
273:A
114:.
83:.
71:,
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1733:(
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899:)
799:.
761:.
697:.
553:.
513:.
441::
435:7
400::
394:7
373:.
361::
270:.
253:)
249:(
238:.
34:.
20:)
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