Table Of ContentConceptualisation and Exposition
While the concept of the fictional character has been widely discussed at
an 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 of-
ten 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 as 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 consti-
tutes 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 a 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 con-
sistent 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 success-
fully combined with pedagogic technique.
Lina Varotsi is an independent academic Researcher, novelist and cre-
ative writing instructor. She holds a PhD in English & Creative Writing,
a Master’s Degree in Practical Filmmaking and a Bachelor’s Degree in
Journalism & Mass Media Communications. Her areas of interest lie
within creative writing and literary theory; screenwriting and film nar-
ratology; creative processes; and the implementation of creative writing
in education, cultural studies, socio-linguistics and theory of mind.
She is also the Editorial Director of Poua Publications, specialising in
parenting education and children’s fiction.Her debut novel is due to be
published in late 2019.
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Conceptualisation and Exposition
A Theory of Character Construction
Lina Varotsi
For more information about this series, please visit: https://www. routledge.
com/literature/series/LITCRITANDCULT
Conceptualisation and
Exposition
A Theory of Character Construction
Lina Varotsi
First published 2019
by Routledge
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and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an
informa business
© 2019 Taylor & Francis
The right of Lina Varotsi to be identified as author of this work
has been asserted by her in accordance with sections 77 and 78
of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted
or reproduced or utilised in any form or by any electronic,
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trademarks or registered trademarks, and are used only for
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Library of Congress Cataloging-in-Publication Data
Names: Varotsi, Lina, author.
Title: Conceptualisation and exposition : a theory of character
construction / Lina Varotsi.
Description: New York, NY : Routledge, 2019. |
Series: Literary criticism and cultural theory |
Includes bibliographical references and index. |
Identifiers: LCCN 2019005924 (print) |
LCCN 2019006637 (ebook)
Subjects: LCSH: Fiction—Technique. | Fiction—Authorship. |
Characters and characteristics in literature. | Fictitious
characters.
Classification: LCC PN3383.C4 (ebook) |
LCC PN3383.C4 V37 2019 (print) | DDC 808.3/97—dc23
LC record available at https://lccn.loc.gov/2019005924
ISBN: 978-0-367-18316-5 (hbk)
ISBN: 978-0-429-06076-2 (ebk)
Typeset in Sabon
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To Xanel,
Who came to change everything, and made me a better
everything.
Words will never be enough to express how much
I love you.
Contents
Acknowledgements xi
1 Introduction 1
2 The Fictional Character 6
2.1 Notions of Personality and Personhood 6
2.2 The Fictional Character: Concept and Function 10
2.3 The Character Schema 12
2.3.1 The Uniqueness of Character 12
2.3.2 Character as a Psychological Construct 14
2.4 Fictional Identities 15
2.4.1 Proper Name 16
2.4.2 Physical Embodiment 19
2.4.3 Past Identities 26
2.4.4 Society and Environment 28
2.4.5 The Inner Self 35
2.5 Summary of Conclusions 39
3 Character and the Reader 40
3.1 The Reader of Fiction 40
3.1.1 The Reader as an Active Participant 40
3.1.2 The Author–Reader Contract 41
3.1.3 Reader: Constant, Implied, Universal 42
3.2 Why Do Readers Read? 45
3.3 Reader and Emotional Response 49
3.3.1 Identification and Empathy 51
3.3.2 Emotional Response and Character Complexity 55
3.4 Summary of Conclusions 58
viii Contents
4 A Reference for Fiction 59
4.1 Is Fiction Inspired by Reality? 59
4.1.1 Reality and Fiction: Possible Correlations 59
4.1.2 Fiction, Reality and History 60
4.1.3 Character as the Narrator of History 62
4.2 A Dissension of Terminology 63
4.3 Truth in Fiction: The Significance of Consistency 66
4.3.1 Consistency and Suspension of Disbelief 67
4.3.2 An Account of Inconsistency 69
4.3.3 Consistency of Agent: The Lifelike Character Defined 69
4.3.4 Inconsistency of Agent 73
4.3.5 The Stereotype Explained 74
4.4 Summary of Conclusions 77
5 Character and the Author 78
5.1 The Author of Fiction 78
5.1.1 The Author Defined: Establishing an Identity 78
5.1.2 Is the Author Dead? 79
5.1.3 The Authorial Purpose 82
5.1.4 The Artist and the Craftsman 85
5.2 The Muse at Works 88
5.2.1 Drawing from Experience 88
5.2.2 The Authorial Experience 90
5.2.3 Apprehension via the Senses 91
5.2.4 Practical Research 94
5.3 The Author and her Characters 95
5.3.1 The Conception and Birth of the Fictional Character 96
5.3.2 The Character Delusion: Dispelling the Myth 97
5.3.3 The Absorption of Artifice: The Illusion of
Free Will 100
5.4 Authors and Narrators 105
5.4.1 Point of View 107
5.4.1A Omniscient 108
5.4.1B First Person 113
5.4.1C Third Person 118
5.4.2 The Choice of Point of View 121
5.4.3 On Reliable and Unreliable Narrators 122
5.5 Summary of Conclusions 125
6 Character and the Narrative 126
6.1 Character and Characterisation: Construction
versus Exposition 127
6.2 A Classification of Characters 129
Contents ix
6.3 Self-Creation of Character: The Concept of
Character Arc 136
6.4 Character Expositors 142
6.5 Character Relations 149
6.6 External Stimuli 152
6.7 Summary of Conclusions 154
7 Afterword 155
Appendix 159
Bibliography 163
Index 171
