Elizabeth Bowen Quotes About Character
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Roughly, the action of a character should be unpredictable before it has been shown, inevitable when it has been shown. In the first half of a novel, the unpredictability should be the more striking. In the second half, the inevitability should be the more striking.
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Characters are not created by writers. They pre-exist and have to be found.
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Dialogue in fiction is what characters do to one another.
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Short of a small range of physical acts-a fight, murder, lovemaking-dialogue is the most vigorous and visible inter-action of which characters in a novel are capable. Speech is what characters do to each other.
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Characters should on the whole, be under rather than over articulate. What they intend to say should be more evident, more striking (because of its greater inner importance to the plot) than what they arrive at saying.
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Meetings that do not come off keep a character of their own. They stay as they were projected.
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Some people are molded by their admirations, others by their hostilities.
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I became, and remain, my characters' close and intent watcher: their director, never. Their creator I cannot feel that I was, or am.
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Dialogue is the ideal means of showing what is between the characters. It crystallizes relationships. It should, ideally, be so effective as to make analysis or explanation of the relationships between the characters unnecessary.
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As a novelist, I cannot occupy myself with "characters," or at any rate central ones, who lack panache, in one or another sense, who would be incapable of a major action or a major passion, or who have not a touch of the ambiguity, the ultimate unaccountability, the enlarging mistiness of persons "in history." History, as more austerely I now know it, is not romantic. But I am.
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No one of the characters in my novels has originated, so far as I know, in real life. If anything, the contrary was the case: persons playing a part in my life--the first twenty years of it--had about them something semi-fictitious.
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Jane Austen, much in advance of her day, was a mistress of the use of the dialogue. She used it as dialogue should be used-to advance the story; not only to show the characters, but to advance.
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What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
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