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This book presents a lot of good questions to consider for your characters, and Orson Scott Card isn't afraid to break some of those writer's rules you hear such as "show don't tell" (he explains the benefits of each) or that there is actually any such thing as a standard for "good characterization" (the optimal depth of your characters depends on the type of story you are trying to tell). For me the plot is something that usually either works or doesn't; it's fairly black or white. But characters lead me into that gray area where I'm never quite confident if other people are going to find them as interesting as I do. I originally picked up this book because Chris Paolini recommended it during his presentation at Comic-Con 2003 (and because I think Ender's Game is nothing short of genius). Good stuff. Orson Scott Card walks you through everything from what "makes" a character, to how characters change through the course of a novel, to the various point-of-view choices you have when telling a story. I just finished reading it, and I have to say it's a good one for any writer's toolbox. Honestly, I think characterization is one of the hardest things about writing.
Thank you. The book, though it did arrive a bit later than I would have liked, arrived in excellent condition.
At least I'll give the author of this book the benefit of a doubt regarding his constant movie references. Well, whether published or not, I want my story to satisfy me, and that is where this book has been very helpful. If he used two different names every time he gave an example, it might tend to be confusing. However, the book is rather meager in its treatment of POV, but still instructive.
Card's book was something different, and I found it very seminal in its effect on me, and not just something that confirmed what I already knew or thought I knew. Didn't bother me. I have this book and the Nancy Kress book on Characters, Emotion & Viewpoint. I decided to read Card's book first and to be honest, I didn't expect too much. Many reviews of this book have already described it in detail, so I will just confine myself to my own impressions of the book.Buy it. I don't think the advice is dated in any way.
Pete and Nora. And I can see what people mean when they mention the author's apparent fixation with movies. Many Americans don't have an extensive background in literature, but most of us are lovers of good movies. Granted, if we want to write, we should be familiar with what's written, but let's face it, there are so many books in our cultural background that it would be difficult to know them all. It's pleasant to read and full of good suggestions. Thus, the constant reference to movie stories might be more helpful for many would-be writers, especially young ones, who might miss the point if the author continually used classical short-stories and novels as a reference. I have read many "1-2-3, by-the-numbers" texts on the craft of writing so I was hoping for a more in-depth approach to some of the most vital elements in writing a good story, but perhaps I have become jaded by the many author's subjective opinions that have been presumably set in stone.Mr.
But I think that may have been deliberate. I think all writer-wannabes and curious readers will consider this book a worthwhile addition to their personal "writing" book-shelves. Every chapter gave me considerations and perspectives that had somehow eluded me and I was able to rush to my computer and make changes in a novel I've been working on and realize that I may never get published, since I am a senior who has no patience for playing the publishing game; I just love to read, and now find I want to tell a story that is set in the near future. I don't see how you can go wrong, especially in his chapters on character development and related considerations.
He tells you to ignore your instincts. This is the worst writing book ever. Don't trust what comes into your head. That's greener than burning it. It is so irritating, the style, the lack of detail in the explanations, the lack of intelligent insight into the questions the book is supposed to answer.I bought this looking for a solid way to flesh out characters so they would pop off the page. I hated this book. I wanted to cover mine with lighter fluid and destroy it. Ever think of a great character.
Too bad Agatha Cristy died before reading this master tome. Now I'm going to take my copy, rip it up into a thousand pieces, and flush it down the toilet. That is the WORST ADVICE I HAVE EVER HEARD. Just did. Period. By his account, it's a cliche. If you can't trust your instincts, you can't write, or do ANY art. Why.
What. I've never heard of something like this. What I got instead was an inhibiting experience from a man who assures me, and all readers, that any characters we come up with are a cliche. He's never seen it, doesn't know you, doesn't know how original your work is, yet he's telling you for sure, your character is a cliche.
This isn't a pleasure read though, this is really a textbook or literary workbook to guide you down the path to strong characters. It's a good book on how to develop people and places when you sit down to write your first (or fifty third) book.
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