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Getting Into Character: Seven Secrets a Novelist Can Learn from Actors
Proven techniques for creating vivid, believable characters
Want to bring characters to life on the page as vividly as fine actors do on the stage or screen? Getting into Character will give you a whole new way of thinking about your writing. Drawing on the Method acting theory that theater professionals have used for decades, this in-depth guide explains seven characterization techniques and adapts them for the novelist's use.
In this unique and practical book, you'll discover concepts that will help you understand and communicate the behavior, motivation, and psychology of every fictional character you create. Examples from classic and contemporary novels show you how these techniques have been used to dazzling effect by Jane Austen, Mark Twain, Steve Martini, Anne Rivers Siddons, and others. These simple yet highly effective techniques will help you:
* Create characters whose distinctive traits become plot components
* Determine each character's specific objectives and motivations
* Write natural-sounding dialogue rich in meaning
* Endow your characters with three-dimensional emotional lives
* Use character to bring action sequences to exuberant life
* Write convincingly about any character facing any circumstance
Want to bring characters to life on the page as vividly as fine actors do on the stage or screen? Getting into Character will give you a whole new way of thinking about your writing. Drawing on the Method acting theory that theater professionals have used for decades, this in-depth guide explains seven characterization techniques and adapts them for the novelist's use.
In this unique and practical book, you'll discover concepts that will help you understand and communicate the behavior, motivation, and psychology of every fictional character you create. Examples from classic and contemporary novels show you how these techniques have been used to dazzling effect by Jane Austen, Mark Twain, Steve Martini, Anne Rivers Siddons, and others. These simple yet highly effective techniques will help you:
* Create characters whose distinctive traits become plot components
* Determine each character's specific objectives and motivations
* Write natural-sounding dialogue rich in meaning
* Endow your characters with three-dimensional emotional lives
* Use character to bring action sequences to exuberant life
* Write convincingly about any character facing any circumstance
226 pages, Paperback
First published March 1, 2002
158 people are currently reading
1368 people want to read
About the author
Brandilyn Collins
51 books641 followersBrandilyn Collins is a best-selling novelist known for her trademark Seatbelt Suspense®--fast-paced, character-driven suspense with myriad twists and an interwoven thread of faith.
Brandilyn is also known for her distinctive book on fiction-writing techniques, Getting Into Character: Seven Secrets a Novelist Can Learn From Actors (John Wiley & Sons). She is a sought-after teacher and speaker at writers' conferences.
Brandilyn is also known for her distinctive book on fiction-writing techniques, Getting Into Character: Seven Secrets a Novelist Can Learn From Actors (John Wiley & Sons). She is a sought-after teacher and speaker at writers' conferences.
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Displaying 1 - 30 of 91 reviews
May 17, 2016
All stories are subjective. 100%. A good fiction author doesn't tell a story, he describes how characters react to situations, people, and things. Otherwise, he would describe his reaction to said situations, people, and things ;-) That's why the prime exercise of any fiction author is bringing his/her characters to life. This book tells you how to do that using seven (secret) principles derived from Stansislavsky's techniques of "method acting." The book is to the point, easy to digest, and comes with shinging examples.
September 5, 2019
Probably the best book about character that I've read. I liked the uniqueness of Collins' approach in borrowing from method actors, and her advice was both clearly explained (with plenteous use of examples) and also quite helpful! I learned a fair bit from her myself as a writer and now have a new book I'm planning on recommending to my writing students. If you're a fiction writer trying to study the art of character, this is a fine resource to utilize.
Rating: 4.5 Stars (Very Good).
Rating: 4.5 Stars (Very Good).
June 2, 2014
Quick review for a quick read. Oh, this was a good one. Very well organized and appropriate link to how writers can employ actor's techniques in helping them craft their fiction. I was fascinated by the premise of this book, so I took no hesitation in picking it up. The book revolves around describing seven techniques that actors use to convey their performances of character, and Brandilyn Collins expands on these techniques to show how writers can make their characters (and stories) more effective by using a step by step process for each consideration.
The seven "secrets" this book expounds upon are:
1. Personalizing
2. Action Objectives (Four Ds - Desire, Distancing, Denial, Devastation)
3. Subtexting
4. Coloring Passions
5. Inner Rhythm
6. Restraint and Control
7. Emotion Memory
Much of this text was a refresher to me for techniques that I employ, because I always say that the best stories can provide you a vivid sense of showing the dynamic of a story playing out in you mind. Personalizing had to do with shaping the character and individual aspects that make them stand out. Action Objectives had to do with the character's desired goal through the narrative, and breaks it down into Desire, Distancing (how far the character has to reach or what barricades block them from reaching the desire), Denial (character questioning abililty to reach goal, and Devastation (optional, but ultimately the character not being able to get what he/she wants).
Subtexting covers everything that a character isn't explicitly saying, but is implied or beneath the scene in dialogue among other measures within a scene. Coloring Passions is self-expansive, as it deals with conveying the dimensional passions of a character. Inner Rhythm means showing the progression of a character's emotions and roots. Restraint and Control shows appropriating techniques that match the intention of a scene (action scenes requiring shorter sentences, etc.) Last, Emotion Memory relies on how events can shape the emotional landscape of a character, and how an writer can use their own emotional memories to shape their characters.
It's definitely a book I would recommend picking up for any writer that wants to deepen the portrayal and experiences presented with the characters in their stories.
Overall score: 4/5 stars.
The seven "secrets" this book expounds upon are:
1. Personalizing
2. Action Objectives (Four Ds - Desire, Distancing, Denial, Devastation)
3. Subtexting
4. Coloring Passions
5. Inner Rhythm
6. Restraint and Control
7. Emotion Memory
Much of this text was a refresher to me for techniques that I employ, because I always say that the best stories can provide you a vivid sense of showing the dynamic of a story playing out in you mind. Personalizing had to do with shaping the character and individual aspects that make them stand out. Action Objectives had to do with the character's desired goal through the narrative, and breaks it down into Desire, Distancing (how far the character has to reach or what barricades block them from reaching the desire), Denial (character questioning abililty to reach goal, and Devastation (optional, but ultimately the character not being able to get what he/she wants).
Subtexting covers everything that a character isn't explicitly saying, but is implied or beneath the scene in dialogue among other measures within a scene. Coloring Passions is self-expansive, as it deals with conveying the dimensional passions of a character. Inner Rhythm means showing the progression of a character's emotions and roots. Restraint and Control shows appropriating techniques that match the intention of a scene (action scenes requiring shorter sentences, etc.) Last, Emotion Memory relies on how events can shape the emotional landscape of a character, and how an writer can use their own emotional memories to shape their characters.
It's definitely a book I would recommend picking up for any writer that wants to deepen the portrayal and experiences presented with the characters in their stories.
Overall score: 4/5 stars.
January 28, 2010
Lacking in depth--
When I found this book, I was ecstatic because I had been meaning to study Stanislavsky's Method acting to enrich my fiction. I started reading it with gushing enthusiasm.
What a disappointment.
Granted, the author does offer some interesting advice, but over all, it is thoroughly disappointing for its lack of depth and complete failure to deliver what it promises (e.g. "Through releasing the sensations of your own experiences, emotion memory allows you a surprising glimpse into souls whom you may have though you could never understand. You can then enlarge these 'glimpses' until you create a complete portrait of a character"). The author adapts techniques from Method acting to fiction use but does not delve enough into each technique to be even practical.
Chapter 1, for example, presents one of the most important techniques: personalizing. That's where you get to know the "core value" of your character. Unfortunately, the author gives paltry examples of this process and pretty much leaves it up to the reader to decide how to come up with specific mannerisms stemming from the core value.
Chapters 2 and 3 - Action Objectives and Subtexting - are so commonsensical and natural that only true novices may benefit from reading them. Moreover, Chapter 2 is a poor rehash of Robert MaKee's Story, and the overall message of Chapter 3 can be summarized as, "Think about the context when writing dialogue." She even coins a cute, wholly unnecessary acronym - WISIWIG conversations - and flatly contradicts her urge in Chapter 7 to "compress" (why not conversations without deceit? Or straightforward conversations? instead of such an idiotic acronym?).
Chapter 4 is probably the only descent chapter in this book and may be of some interest to beginning to intermediate writers. Her tips to use contrasting emotions to emphasize a particular emotion is quite useful, but the author fails to grasp the far-reaching consequences of this technique (see Donald Maass's concept of "micro-tension" in his The Fire in Fiction for superb elaboration).
It is so unfortunate that Chapter 5 does not explain what in the world "inner rhythm" is in plain language. Without a clear definition, the chapter becomes very much confusing. The technique of beating out the rhythms of certain moods and activities is VERY interesting, but the author does not provide adequate accounts of this technique. Specifically, the author does not explain WHY we need to beat out two different rhythms at the same time and how what our bodies go through can be used to create mannerisms for our characters. Neither does she explain how we can specifically "TRANSLATE" our reactions for each character. It is just too bad, because this could have been VERY useful.
It is unclear how Chapter 6 (Restraint and Control) has ANYTHING to do with Method acting as it goes over very basic writing techniques of sentence rhythm and choosing the right word to effectively describe actions and scenes (or what the author calls "compression").
Finally, the chapter on "emotion memory" does not illuminate the MOST CRUCIAL process of how "enlarging" the "seed" of your emotional experience and "translating" it according to each character works. She just quotes another famous acting teacher and gives an detailed account of how she killed a bug, and WITHOUT showing us HOW she transformed this seemingly insignificant account into the psychology of a murderer, she ends the chapter and gives us useless "study samples" from Mark Twain that only show how authors use their own experience to create characters (DUH).
Overall, not worth the price at all.
When I found this book, I was ecstatic because I had been meaning to study Stanislavsky's Method acting to enrich my fiction. I started reading it with gushing enthusiasm.
What a disappointment.
Granted, the author does offer some interesting advice, but over all, it is thoroughly disappointing for its lack of depth and complete failure to deliver what it promises (e.g. "Through releasing the sensations of your own experiences, emotion memory allows you a surprising glimpse into souls whom you may have though you could never understand. You can then enlarge these 'glimpses' until you create a complete portrait of a character"). The author adapts techniques from Method acting to fiction use but does not delve enough into each technique to be even practical.
Chapter 1, for example, presents one of the most important techniques: personalizing. That's where you get to know the "core value" of your character. Unfortunately, the author gives paltry examples of this process and pretty much leaves it up to the reader to decide how to come up with specific mannerisms stemming from the core value.
Chapters 2 and 3 - Action Objectives and Subtexting - are so commonsensical and natural that only true novices may benefit from reading them. Moreover, Chapter 2 is a poor rehash of Robert MaKee's Story, and the overall message of Chapter 3 can be summarized as, "Think about the context when writing dialogue." She even coins a cute, wholly unnecessary acronym - WISIWIG conversations - and flatly contradicts her urge in Chapter 7 to "compress" (why not conversations without deceit? Or straightforward conversations? instead of such an idiotic acronym?).
Chapter 4 is probably the only descent chapter in this book and may be of some interest to beginning to intermediate writers. Her tips to use contrasting emotions to emphasize a particular emotion is quite useful, but the author fails to grasp the far-reaching consequences of this technique (see Donald Maass's concept of "micro-tension" in his The Fire in Fiction for superb elaboration).
It is so unfortunate that Chapter 5 does not explain what in the world "inner rhythm" is in plain language. Without a clear definition, the chapter becomes very much confusing. The technique of beating out the rhythms of certain moods and activities is VERY interesting, but the author does not provide adequate accounts of this technique. Specifically, the author does not explain WHY we need to beat out two different rhythms at the same time and how what our bodies go through can be used to create mannerisms for our characters. Neither does she explain how we can specifically "TRANSLATE" our reactions for each character. It is just too bad, because this could have been VERY useful.
It is unclear how Chapter 6 (Restraint and Control) has ANYTHING to do with Method acting as it goes over very basic writing techniques of sentence rhythm and choosing the right word to effectively describe actions and scenes (or what the author calls "compression").
Finally, the chapter on "emotion memory" does not illuminate the MOST CRUCIAL process of how "enlarging" the "seed" of your emotional experience and "translating" it according to each character works. She just quotes another famous acting teacher and gives an detailed account of how she killed a bug, and WITHOUT showing us HOW she transformed this seemingly insignificant account into the psychology of a murderer, she ends the chapter and gives us useless "study samples" from Mark Twain that only show how authors use their own experience to create characters (DUH).
Overall, not worth the price at all.
March 31, 2013
I have just finished reading this book. Even though I bought it a while ago I wished that I had read it sooner. It gives clear and thoughtful explanations that help you easily understand what a good book should feature when written. It compares the lessons learned from actors and reports how a novelist can use these same lessons learnt successfully as features in their own writing. It shows you easily how you as a writer can train your self to incorporate these ideas by giving you easy techniques to follow and study examples to read. In my opinion it is well worth the money and therefore I award it the five stars it deserves.
February 16, 2013
What I liked about "Getting into Character" is that the author breaks down what most books on writing leave vague. Brandilyn Collins provides examples of what she is trying to convey to authors on writing quality. These examples help set in and reconfirm her advice on writing techniques. The topic's provided in this book are unique; Coloring Passions, Inner Rhythm, Restraint and Control and Emotion Memory, these are my favorite topics from the book. Brandilyn Collins was able to hit on the mark these topics without having to follow her around on a goose chase; direct and to the point. I give this book five stars for the unique, direct, and applicable advice.
June 26, 2012
A must read for novelists!
Thinking that actors are the cousins to writers was an interesting idea. There is so much to learn about writing from examining method acting. What I loved about the book was after she explained the particular secret, she gave different examples, *and* included a follow-up. So even if you missed the point in the example, she drove it home with her commentary afterward.
Best quote: Strong writing requires an intimate knowledge of humanity.
Thinking that actors are the cousins to writers was an interesting idea. There is so much to learn about writing from examining method acting. What I loved about the book was after she explained the particular secret, she gave different examples, *and* included a follow-up. So even if you missed the point in the example, she drove it home with her commentary afterward.
Best quote: Strong writing requires an intimate knowledge of humanity.
August 29, 2024
Consigliatomi da una persona che conosco, davvero molto interessante. Benché si parli di caratterizzazione dei personaggi questa è intrinsecamente legata allo stile della storia (c'è anche un capitolo più propriamente stilistico) ed è meno rigido di altri saggi riguardo al come fare. Non tutti i capitoli sono chiarissimi (la parte del subtext non mi ha convinto e mi riservo di approfondirla più avanti) mentre altri sono davvero interessanti.
Una cosa mi ha particolarmente colpito: la parte in cui si lega il "manierismo" di ogni personaggio a quello che è la sua motivazione interiore, quindi non attribuire gesti ai personaggi a propri ma farlo in modo che sia legato a quello che sono, che sia un'altra forma della loro caratterizzazione.
Ora, avendo letto diverse recensioni a libri (soprattutto italiani) che seguono un determinato tipo di stile, una delle critiche che mi sono ritrovata a vedere di più è l'idea che i personaggi appaiano pieni di tic per via della scelta dell'autore di usare gli "action beat" invece che i normali tag di dialogo (disse, chiese, ecc). Ma non è che il problema non sono gli action beat in sé ma che sono messi senza attenzione nei confronti del personaggio? C'è da rifletterci.
Una cosa mi ha particolarmente colpito: la parte in cui si lega il "manierismo" di ogni personaggio a quello che è la sua motivazione interiore, quindi non attribuire gesti ai personaggi a propri ma farlo in modo che sia legato a quello che sono, che sia un'altra forma della loro caratterizzazione.
Ora, avendo letto diverse recensioni a libri (soprattutto italiani) che seguono un determinato tipo di stile, una delle critiche che mi sono ritrovata a vedere di più è l'idea che i personaggi appaiano pieni di tic per via della scelta dell'autore di usare gli "action beat" invece che i normali tag di dialogo (disse, chiese, ecc). Ma non è che il problema non sono gli action beat in sé ma che sono messi senza attenzione nei confronti del personaggio? C'è da rifletterci.
April 4, 2015
I saw this book mentioned on a blog over a year ago, sorry blogger, I don't remember which one, and added it to my Christmas wish list. Last December, hubby got it for me.
Getting Into Character, Seven Secrets a Novelist Can Learn From Actors seems, from the title, like a short read. Just seven secrets? Sure, I can read that in a day. Uh, not so much. The deceptively simple title covers an in-depth look at how Stanislavsky's techniques for method actors can be used by writers to create deeper, more meaningful, more powerful characters in their stories.
I took my time, starting in December 2014 and finished the book in March 2015. I mulled over each chapter, making an effort to really use each technique in my writing of the day. This is powerful stuff and I plan on keeping my paperback issue close to my writing desk so I can refer to it over and over again. I will certainly be re-reading these chapters for a long time to come.
If you're interested in becoming a better writer, you'll want to pick up this book.
Getting Into Character, Seven Secrets a Novelist Can Learn From Actors seems, from the title, like a short read. Just seven secrets? Sure, I can read that in a day. Uh, not so much. The deceptively simple title covers an in-depth look at how Stanislavsky's techniques for method actors can be used by writers to create deeper, more meaningful, more powerful characters in their stories.
I took my time, starting in December 2014 and finished the book in March 2015. I mulled over each chapter, making an effort to really use each technique in my writing of the day. This is powerful stuff and I plan on keeping my paperback issue close to my writing desk so I can refer to it over and over again. I will certainly be re-reading these chapters for a long time to come.
If you're interested in becoming a better writer, you'll want to pick up this book.
January 8, 2022
This was one of the most helpful books on characterization! It goes deep into how to use your own experiences and emotion to transfer onto characters so they seem genuine. The theory is based on Stanislavsky's ABC books. Definitely need to read those.
December 12, 2014
Excellent book on characterization. At the start of the chapter for each of the seven "secrets" there are two paragraphs: "Actor's Technique" and "Novelist's Adaption" and that provides a great roadmap for what you will learn in the chapter. Just really good instruction here with exercise and samples to make it all sink in.
November 3, 2011
A great book that uses acting methods to explore the dimensions of your characters. As one who was a theater minor in college, this really helped me understand my characters.
Read
May 6, 2020Review to Come
April 17, 2019
Getting Into Character: Seven Secrets a Novelist Can Learn from Actors, by Brandilyn Collins, is not your average writing how-to resource. I began reading this book with the expectation that I would find basic ideas about character development. However, I was delighted to find that, while the book does deliver those ideas, it also does so much more.
Getting Into Character approaches character development through the system of Method Acting, a set of techniques formalized by Constantin Stanislavsky. In this system, method actors use the techniques of Personalizing; Action Objectives; Subtext; Coloring Passions; Inner Rhythm; Restraint and Control; and Emotion Memory to delve deeply into a character’s emotions and motivations so that they may portray characters in a fully-developed way. Brandilyn Collins identifies each of these techniques very briefly, then spends one chapter per technique discussing in detail how to apply each to developing story characters.
I am only one third of the way through this resource, but already I have learned so much. For example, I have known
for a while that, in order to build a rich plot, characters should have internal and external goals and those goals should be somewhat related. However, in the chapter on Action Objectives, Collins coaches readers to state these goals as a two-pronged Desire in which a plan of action is followed by an ultimate goal. Collins then goes further to detail to discuss how this two-pronged Desire helps create scenes of conflict that are organic to the story and fight the dreaded mid-story plot sag.
These tidbits alone have helped me streamline my writing process, transforming the plot development of my third novel in such a way that, by itself, this technique makes the book worth what it costs. I can’t wait to see what the rest of this resource holds.
Getting Into Character approaches character development through the system of Method Acting, a set of techniques formalized by Constantin Stanislavsky. In this system, method actors use the techniques of Personalizing; Action Objectives; Subtext; Coloring Passions; Inner Rhythm; Restraint and Control; and Emotion Memory to delve deeply into a character’s emotions and motivations so that they may portray characters in a fully-developed way. Brandilyn Collins identifies each of these techniques very briefly, then spends one chapter per technique discussing in detail how to apply each to developing story characters.
I am only one third of the way through this resource, but already I have learned so much. For example, I have known
for a while that, in order to build a rich plot, characters should have internal and external goals and those goals should be somewhat related. However, in the chapter on Action Objectives, Collins coaches readers to state these goals as a two-pronged Desire in which a plan of action is followed by an ultimate goal. Collins then goes further to detail to discuss how this two-pronged Desire helps create scenes of conflict that are organic to the story and fight the dreaded mid-story plot sag.
These tidbits alone have helped me streamline my writing process, transforming the plot development of my third novel in such a way that, by itself, this technique makes the book worth what it costs. I can’t wait to see what the rest of this resource holds.
May 5, 2023
In storytelling, my biggest weakness is character and in association, dialogue.
I’ve had trouble being and feeling my characters, their dialogue, straightforward regurgitation of my thoughts to get on the page, rather than possessing voice and passion.
I was tired of making the type of characters one makes at the beginning of an oblivion game or any rpg, avatars of plot necessity rather than agents of personality and thought.
I truly believe with the secrets hidden in the book (not really hidden, but found, or more like an awakening in the mind) I feel I’m instilled with the beginnings of character creation, the pregnancy of knowledge to birth living intangible beings.
I’ll likely revisit the secrets and techniques, as I’m but a child myself in the understanding, but with practice, i believe in my maturity of understanding, believe in the tools (and myself) to create life!
I’ve had trouble being and feeling my characters, their dialogue, straightforward regurgitation of my thoughts to get on the page, rather than possessing voice and passion.
I was tired of making the type of characters one makes at the beginning of an oblivion game or any rpg, avatars of plot necessity rather than agents of personality and thought.
I truly believe with the secrets hidden in the book (not really hidden, but found, or more like an awakening in the mind) I feel I’m instilled with the beginnings of character creation, the pregnancy of knowledge to birth living intangible beings.
I’ll likely revisit the secrets and techniques, as I’m but a child myself in the understanding, but with practice, i believe in my maturity of understanding, believe in the tools (and myself) to create life!
April 25, 2020
Good book on craft that compares how actors prep for characters/ scenes and spelling out how novelists can use that technique to their advantage.
The application of the action objectives for each scene where the characters must have a very specific objective (not: I want to be/ have XYZ. Rather: I want to shake off my roommates from this line of questioning so that I can be alone and process what happened) was the most helpful.
The example shown: a hypochondriac character will behave very differently with each of these two objectives: "I want to be ill" vs. "I want people to think I'm ill". The first will be heavy, upsetting. The latter could be comical. The specificity of the objective can help writers round their scenes.
The application of the action objectives for each scene where the characters must have a very specific objective (not: I want to be/ have XYZ. Rather: I want to shake off my roommates from this line of questioning so that I can be alone and process what happened) was the most helpful.
The example shown: a hypochondriac character will behave very differently with each of these two objectives: "I want to be ill" vs. "I want people to think I'm ill". The first will be heavy, upsetting. The latter could be comical. The specificity of the objective can help writers round their scenes.
October 28, 2022
Reco by RL Stine Masterclass
My fav quotes (not a review):
- "Good fiction can be defined with “Five Cs”: convincing characters caught in compelling conflict."
- "In Building a Character, Stanislavsky notes that the most talented actors don’t just assign traits and mannerisms to a character based on general facts about the person. Instead, these actors allow traits and mannerisms to grow of their own accord by first discovering the character’s “right inner values.”"
- "A note about backstory: it should be given in pieces, and each piece should raise more questions than it answers. Far too often authors think they have to answer a question about a character right away. But questions keep readers turning pages. Don’t answer them until you absolutely have to. In fact much of the novel may be about answering questions regarding a character’s past."
- "Tension hangs in the air. After their project is done, Liz suggests, “Want to go out for coffee? I’m buying.” However, going out for coffee is a side issue. What she’s really saying is: “Please, will you forgive me now? I’m truly sorry for what I said, and I want to prove it by treating you to coffee.” (Action Objective: “To prove I am sorry.”) Sara will instinctively respond within the same subtext. If she says, “Okay, let’s go” or even “I can’t right now, but I’d love to later,” what she would mean is: “I’m now ready to forgive you.” (Action Objective: “To convey I accept the apology.”) However, a chilled “I don’t have time for that” would be a clear message that she still refuses to forgive."
- "Let’s say one of your character’s traits is to allow others the benefit of the doubt. She’s slow to “get her back up,” so to speak. If someone slights her, she shrugs it off, thinking the person is just having a bad day. A second trait is to give great customer service in her work. She learned this from her mother, who owns a successful bookstore. When your character was growing up, she helped in the store and was well trained regarding how to handle customers. Most of the time these two traits work great together. Both result in treating other people well, whether on or off the job. So how to pit them against each other? One answer: make your character the customer in a poorly managed store. If she places high importance on treating her own customers well, she’s likely to expect the same for herself. Normally, if she’s not treated well, her sense of empathy for others will take over, and she’ll give the employee the benefit of the doubt. (“Maybe he has good reason to not be smiling today.”) So up the ante and place her in a real hurry. In fact, maybe she’s in a hurry because she’s soon due for a meeting with a customer at work and doesn’t want to keep him waiting. She strides to the counter of the store to buy an item. The young man behind the counter is busy putting things on shelves, sees her but doesn’t make eye contact, and seems in no hurry to help. Your character waits for a minute, still showing her empathetic side. (“Maybe his boss told him to load those shelves pronto.”) But she’ll soon be pushed past that. Empathy fades, and judgment rises in its place. Forget the shelves, there’s a customer waiting. Nothing excuses this kind of behavior. The longer the employee takes, the more upset she gets. By the time she’s finally helped, she’s terse, tight-lipped, and unfriendly. When she flounces out of the store, the young man may turn to his coworker and mutter, “Don’t you just hate people like that?!”"
- "Technique 2: Question your character moment by moment through a scene. Picture yourself as a psychiatrist, with your character on the couch. An actor creates a character through choice of movements; a novelist creates a character through choice of words."
- "The Desire must be very specific. The Protagonist’s Desire sets up the stakes in your novel. The two Desires are often diametrically opposed to each other, causing internal conflict. The character will pursue the conscious Desire, thinking that this is the utmost goal. But the subconscious Desire will at times be the one driving the character’s actions and choices, especially in times of stress."
- "Gone With the Wind shows us an example of a protagonist with two Desires. Scarlett O’Hara’s conscious Desire regarding her love life is: “I want Ashley Wilkes for myself and myself alone.” Through the entire long novel, Scarlett lives through one conflict after another, always dreaming of Ashley, thinking she loves him. But Scarlett’s subconscious Desire is: “I need a man stronger than I, one who will make me feel secure.” This isn’t something Scarlett would ever admit to herself. But the truth is, she has a breathless, sometimes almost childlike passion for life that gets her into trouble. (It also at times gives her strength.) At the end of the book, Scarlett’s conscious Desire can finally come true. Now that Ashley’s wife has died, the two of them can be together. Yet at that moment Scarlett realizes Ashley is not the man for her after all, because he’s weaker than she is. (“I never really loved him.”) The man she really loves is Rhett Butler, her husband, the one who “comforted her when she woke in the nights crying with fright from her dreams.” When Rhett leaves her, Scarlett doesn’t revel in her sudden freedom to be with Ashley. Instead, all she can think of is winning back Rhett’s love."
- “The third D is the Denial of your character’s Desire. The Distancing conflicts have built up to such a degree that all now appears hopeless."
- "A Devastation serves as a final “gotcha” for the readers. Just when they think things couldn’t possibly get worse—they do."
My fav quotes (not a review):
- "Good fiction can be defined with “Five Cs”: convincing characters caught in compelling conflict."
- "In Building a Character, Stanislavsky notes that the most talented actors don’t just assign traits and mannerisms to a character based on general facts about the person. Instead, these actors allow traits and mannerisms to grow of their own accord by first discovering the character’s “right inner values.”"
- "A note about backstory: it should be given in pieces, and each piece should raise more questions than it answers. Far too often authors think they have to answer a question about a character right away. But questions keep readers turning pages. Don’t answer them until you absolutely have to. In fact much of the novel may be about answering questions regarding a character’s past."
- "Tension hangs in the air. After their project is done, Liz suggests, “Want to go out for coffee? I’m buying.” However, going out for coffee is a side issue. What she’s really saying is: “Please, will you forgive me now? I’m truly sorry for what I said, and I want to prove it by treating you to coffee.” (Action Objective: “To prove I am sorry.”) Sara will instinctively respond within the same subtext. If she says, “Okay, let’s go” or even “I can’t right now, but I’d love to later,” what she would mean is: “I’m now ready to forgive you.” (Action Objective: “To convey I accept the apology.”) However, a chilled “I don’t have time for that” would be a clear message that she still refuses to forgive."
- "Let’s say one of your character’s traits is to allow others the benefit of the doubt. She’s slow to “get her back up,” so to speak. If someone slights her, she shrugs it off, thinking the person is just having a bad day. A second trait is to give great customer service in her work. She learned this from her mother, who owns a successful bookstore. When your character was growing up, she helped in the store and was well trained regarding how to handle customers. Most of the time these two traits work great together. Both result in treating other people well, whether on or off the job. So how to pit them against each other? One answer: make your character the customer in a poorly managed store. If she places high importance on treating her own customers well, she’s likely to expect the same for herself. Normally, if she’s not treated well, her sense of empathy for others will take over, and she’ll give the employee the benefit of the doubt. (“Maybe he has good reason to not be smiling today.”) So up the ante and place her in a real hurry. In fact, maybe she’s in a hurry because she’s soon due for a meeting with a customer at work and doesn’t want to keep him waiting. She strides to the counter of the store to buy an item. The young man behind the counter is busy putting things on shelves, sees her but doesn’t make eye contact, and seems in no hurry to help. Your character waits for a minute, still showing her empathetic side. (“Maybe his boss told him to load those shelves pronto.”) But she’ll soon be pushed past that. Empathy fades, and judgment rises in its place. Forget the shelves, there’s a customer waiting. Nothing excuses this kind of behavior. The longer the employee takes, the more upset she gets. By the time she’s finally helped, she’s terse, tight-lipped, and unfriendly. When she flounces out of the store, the young man may turn to his coworker and mutter, “Don’t you just hate people like that?!”"
- "Technique 2: Question your character moment by moment through a scene. Picture yourself as a psychiatrist, with your character on the couch. An actor creates a character through choice of movements; a novelist creates a character through choice of words."
- "The Desire must be very specific. The Protagonist’s Desire sets up the stakes in your novel. The two Desires are often diametrically opposed to each other, causing internal conflict. The character will pursue the conscious Desire, thinking that this is the utmost goal. But the subconscious Desire will at times be the one driving the character’s actions and choices, especially in times of stress."
- "Gone With the Wind shows us an example of a protagonist with two Desires. Scarlett O’Hara’s conscious Desire regarding her love life is: “I want Ashley Wilkes for myself and myself alone.” Through the entire long novel, Scarlett lives through one conflict after another, always dreaming of Ashley, thinking she loves him. But Scarlett’s subconscious Desire is: “I need a man stronger than I, one who will make me feel secure.” This isn’t something Scarlett would ever admit to herself. But the truth is, she has a breathless, sometimes almost childlike passion for life that gets her into trouble. (It also at times gives her strength.) At the end of the book, Scarlett’s conscious Desire can finally come true. Now that Ashley’s wife has died, the two of them can be together. Yet at that moment Scarlett realizes Ashley is not the man for her after all, because he’s weaker than she is. (“I never really loved him.”) The man she really loves is Rhett Butler, her husband, the one who “comforted her when she woke in the nights crying with fright from her dreams.” When Rhett leaves her, Scarlett doesn’t revel in her sudden freedom to be with Ashley. Instead, all she can think of is winning back Rhett’s love."
- “The third D is the Denial of your character’s Desire. The Distancing conflicts have built up to such a degree that all now appears hopeless."
- "A Devastation serves as a final “gotcha” for the readers. Just when they think things couldn’t possibly get worse—they do."
April 17, 2023
Getting Into Character introduces seven secrets a novelist can learn from actors, drawing specifically from the Method Acting theory. The secrets are personalizing, action objectives, subtexting, coloring passions, inner rhythm, restraint and control, and emotion memory. The book gives study samples for each of these aspects from both classical literature and from the author's own novels.
What I liked the most about this book was that it gave information that I've not read elsewhere. Because let's face it, writing guides can get a bit repetitive.
What I liked the most about this book was that it gave information that I've not read elsewhere. Because let's face it, writing guides can get a bit repetitive.
March 23, 2024
Brandilyn Collins takes something of a unique approach to understanding better characterization by inviting us into the world of acting. Through using techniques actors use to 'get into character' we find new depths and understand motivation in ways that might not have been previously thought of.
I liked this book in part because I did take a couple of acting classes once, so this made sense to me. I loved the examples as ways to underscore the lesson and really appreciated the skills I came away with. Definitely one of the better books on writing if you can find it.
I liked this book in part because I did take a couple of acting classes once, so this made sense to me. I loved the examples as ways to underscore the lesson and really appreciated the skills I came away with. Definitely one of the better books on writing if you can find it.
December 14, 2017
A good look at creating greater depth not just in the creation of characters, but the portrayal of them, how they affect the plot and vice versa, and how to write stronger prose in general using the techniques originally best known to method actors.
I liked the multiple examples of actual texts (not just the authors own works but others also) for eachn and every 'secret' so you could best see how they were properly employed.
I liked the multiple examples of actual texts (not just the authors own works but others also) for eachn and every 'secret' so you could best see how they were properly employed.
July 14, 2024
One of the more unique writing advice books I've come across, mainly focusing on character development, but occasionally branching out to touch upon related aspects, such as story structure when it comes to character motivation or sentence structure to convey a character's emotions.
While not every bit of advice seems equally applicable, this did provide several new perspectives and food for thought.
While not every bit of advice seems equally applicable, this did provide several new perspectives and food for thought.
September 14, 2017
This is a great useful book with lots of exercises and examples that can give your characters more depth. My favorite sections include: subtexting and emotion memory. Each chapter open with an actor's technique and the novelist's adaptation, about using your own experience and accessing memories for story. Lots of great ideas in this little gem of a book.
August 26, 2019
Getting into character is valuable
I gave 4 stars because the book is very valuable in the knowledge, and the usefulness and digestibility of that knowledge. Only 4 because the book was a tough read at points, flowed brilliantly half of the time. It was just too easy to put this book down the other half.
I gave 4 stars because the book is very valuable in the knowledge, and the usefulness and digestibility of that knowledge. Only 4 because the book was a tough read at points, flowed brilliantly half of the time. It was just too easy to put this book down the other half.
May 25, 2020
I was privileged to hear this author speak at the StoryEmbers Authentic Character Summit webinar last month. This book was mentioned so I thought I'd pick it up.
The advice and admonishments within were so helpful and convicting. My brain is whirling with all of the information.
I can't wait to use what I've learned in this book and apply it to my own writings.
The advice and admonishments within were so helpful and convicting. My brain is whirling with all of the information.
I can't wait to use what I've learned in this book and apply it to my own writings.
October 26, 2020
Hoorah for this guide!
I would recommend this Book To anyone Call himself a writer. Brandilyn Has provided invaluable insight into building your characters from flat to well rounded. She takes you step by step the create memorable people in your stories with feelings and you'll how to show. Not tell, and why they have them. Thank you!
.
I would recommend this Book To anyone Call himself a writer. Brandilyn Has provided invaluable insight into building your characters from flat to well rounded. She takes you step by step the create memorable people in your stories with feelings and you'll how to show. Not tell, and why they have them. Thank you!
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September 28, 2018
Highly informative
Terrific use of method acting and how it translates to writing fiction. More than mere lessons on sentence structure and concise language, Collins truly causes the reader to introspect. I highly recommend this to all novelists, aspiring or multi-published.
Terrific use of method acting and how it translates to writing fiction. More than mere lessons on sentence structure and concise language, Collins truly causes the reader to introspect. I highly recommend this to all novelists, aspiring or multi-published.
June 16, 2019
There is so much in this book for writers. A must read for any aspiring author. I especially loved the section on natural-sounding dialogue. I do think to get the most out of this book I will be reading and rereading.
June 19, 2019
Ms. Collins draws a solid parallel between the characters actors portray and the characters novelists develop. Her advice to writers on how to round out characters is spot on. I recommend this book to all beginning fiction writers.
January 9, 2020
I am definitely going to need to re-read this book so I can remember the lessons! I hope that other young writers (and not so young) read it too. :D It is awesome!
If you want to learn 7 ways how to make believable characters,
READ THIS.
If you want to learn 7 ways how to make believable characters,
READ THIS.
September 14, 2020
I read this book after listening to Brandilyn’s talk at The Authentic Characters Summit, and I was not disappointed. This book is packed with great advice and examples and I’ve already started using several of the tips in my WIP.
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