Conceptualisation and Exposition: A Theory of Character Construction

Description

While the concept of the fictional character has been widely discussed at interdisciplinary level, a foundational theory of character creation is yet to follow. As a result, creative writing students and beginner writers refer to post-construction analysis, as well as the step-by-step advice often suggested by popular writing manuals. Aiming to fill this gap and at the same time reconcile approaches in writing and criticism, this book proposes a theory of character creation based on the in-depth analysis of the concept, as well its place within the narrative. The approach suggested herein consists of two interrelated stages: conceptualisation and exposition. Conceptualisation entails the in-depth understanding of what constitutes the fictional character, as well as the dynamics of its correlation with the reader, the author and its real counterpart, the human person; Exposition refers to the conveyance of such understanding on paper. Viewing creative writing as an art and craft, the author builds her theory on the notion that comprehension of the world and the concept of character itself is an essential prerequisite in order to construct consistent and believable fictional persons. Varotsi also introduces her four stages of creation: Observation, Perception, Empathy and Imagination to inspire a method of work according to which personal craftsmanship and artistry can be successfully combined with pedagogic technique. Cover Half Title Series Page Title Page Copyright Page Dedication Contents Acknowledgements 1 Introduction 2 The Fictional Character 2.1 Notions of Personality and Personhood 2.2 The Fictional Character: Concept and Function 2.3 The Character Schema 2.3.1 The Uniqueness of Character 2.3.2 Character as a Psychological Construct 2.4 Fictional Identities 2.4.1 Proper Name 2.4.2 Physical Embodiment 2.4.3 Past Identities 2.4.4 Society and Environment 2.4.5 The Inner Self 2.5 Summary of Conclusions 3 Character and the Reader 3.1 The Reader of Fiction 3.1.1 The Reader as an Active Participant 3.1.2 The Author–Reader Contract 3.1.3 Reader: Constant, Implied, Universal 3.2 Why Do Readers Read? 3.3 Reader and Emotional Response 3.3.1 Identification and Empathy 3.3.2 Emotional Response and Character Complexity 3.4 Summary of Conclusions 4 A Reference for Fiction 4.1 Is Fiction Inspired by Reality? 4.1.1 Reality and Fiction: Possible Correlations 4.1.2 Fiction, Reality and History 4.1.3 Character as the Narrator of History 4.2 A Dissension of Terminology 4.3 Truth in Fiction: The Significance of Consistency 4.3.1 Consistency and Suspension of Disbelief 4.3.2 An Account of Inconsistency 4.3.3 Consistency of Agent: The Lifelike Character Defined 4.3.4 Inconsistency of Agent 4.3.5 The Stereotype Explained 4.4 Summary of Conclusions 5 Character and the Author 5.1 The Author of Fiction 5.1.1 The Author Defined: Establishing an Identity 5.1.2 Is the Author Dead? 5.1.3 The Authorial Purpose 5.1.4 The Artist and the Craftsman 5.2 The Muse at Works 5.2.1 Drawing from Experience 5.2.2 The Authorial Experience 5.2.3 Apprehension via the Senses 5.2.4 Practical Research 5.3 The Author and her Characters 5.3.1 The Conception and Birth of the Fictional Character 5.3.2 The Character Delusion: Dispelling the Myth 5.3.3 The Absorption of Artifice: The Illusion of Free Will 5.4 Authors and Narrators 5.4.1 Point of View 5.4.1A Omniscient 5.4.1B First Person 5.4.1C Third Person 5.4.2 The Choice of Point of View 5.4.3 On Reliable and Unreliable Narrators 5.5 Summary of Conclusions 6 Character and the Narrative 6.1 Character and Characterisation: Construction versus Exposition 6.2 A Classification of Characters 6.3 Self-Creation of Character: The Concept of Character Arc 6.4 Character Expositors 6.5 Character Relations 6.6 External Stimuli 6.7 Summary of Conclusions 7 Afterword Appendix Bibliography Index