Prompt: Write an entry noting points that interested you in Gotham Writers’ Workshop, Chapter 2.

Response: This chapter focused solely on character. All facets of character are completely under the author’s control, from personality traits to physical appearance. I think most writers place a lot of time and effort on characterization when working on a project, but it can be an incredibly daunting task. There were many points in this chapter that I found interesting and helpful, specifically about contrasting traits and the ability to change. In order to make characters truly feel like fully fleshed human beings, there need to be some slight contradictions in their nature. An example that I found helpful was on page 33. This example discussed Kathy Hepinstall’s story, “Queen Devil“, and how the character Nick has multiple instances of contrasting traits that are consistent nonetheless. A quiet and thoughtful person, like Nick, can have moments spurred on by alcohol in which he becomes a particularly volatile and angry man. Before reading this chapter, I had always thought that good characterization equaled consistency and change, so when I started reading about contrasting traits, I was a little confused. Now I realize that characters aren’t defined by one trait that makes them act a certain way. For instance, a shy character can be quiet and insecure in front of family members or large groups, but maybe moments of pressure and adrenaline cause that same character to take charge and lead others. The main thing to remember about contrasting traits is that they, like other aspects of personality, need to stay consistent unless swayed by change. I feel like most writers are often taught that in order to create a good story, our characters must undergo some sort of change, but the problem is that most writers automatically think of change as some ground-shaking and instantaneous event. The section about change really put into perspective that sometimes the best change for a character is one that isn’t fully developed or even wholly clear. There’s an example of this on pages 34-35, in which the author discusses Lolita and the character of Humbert Humbert, who has a desire for “Nymphets”. This desire is a driving force of Humbert Humbert’s character, but as he falls deeper in love for Lolita and finds that he still loves her when she turns seventeen, the audience can see that while he still has desires for nymphets, he has begun to change in how he views attraction and romance. This change is slight, but as the story is centered mainly on Humbert Humbert and his problematic desires, it serves as an impactful moment in the story.