Creating Unforgettable Characters by Linda Seger

By Linda Seger

During this publication, Linda Seger exhibits tips on how to create powerful, multidimensional characters in fiction, protecting every thing from learn to personality block. Interviews with modern day best writers whole this crucial quantity.

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The Amish were very distrustful of Hollywood so I really had a terrible time breaking through until I met Bishop Miller—a buggymaker—and happened to mention to him that we would need about fifteen buggies to do this movie. " Bishop Miller became the prototype for Eli in Witness. Through this association, Kelley learned that the Amish were bawdy, that they were "a good judge of horseflesh," that they had a good sense of humor, and that the women could be coy and flirtatious. Culture determines speech rhythms, grammar, and vocabulary.

The pace of change in that field is so rapid that most of what I had learned in medical school was no longer valid. I put out a book a year. " THE CONTEXT Characters don't exist in a vacuum. They're a product of their environment. A character from seventeenth-century France is different from one from Texas in 1980. A character who practices medicine in a small town in Illinois is different from someone who's the pathologist at Boston General Hospital. Someone who grows up poor on an Iowa farm will be different from one who grows up rich in Charleston, South Carolina.

Two of Ian Fleming's James Bond novels, Dr. No and Live and Let Die, and several of his short stories were set in Jamaica, where he maintained an estate, Goldeneye. He visited Tokyo before writing You Only Live Twice, and wrote From Russia with Love after riding the Orient Express. Location affects many different aspects of a character. The frenetic rhythm of Philadelphia in Witness is different from the slower-paced life on the Amish farm. The rhythm of the West in Electric Horseman is different from the rhythms of New York in Working Girl.

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