characterization   207

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Catch-22: Orr Character Report | Jotted Lines
By being the tent companion of the lead protagonist Yossarian, the character of Orr is crucial to the narrative of the novel. Orr is a bomber pilot, who
books  essay  joseph.heller  writing  characters  characterization  catch-22 
5 weeks ago by po
Abstract: It is well known that the set of correlated equilibrium distributions of an n-player noncooperative game is a convex polytope that includes all the Nash equilibrium distributions. We demonstrate an elementary yet surprising result: the Nash equilibria all lie on the boundary of the polytope.
pdf  nibble  papers  ORFE  game-theory  optimization  geometry  dimensionality  linear-algebra  equilibrium  structure  differential  correlation  iidness  acm  linear-programming  spatial  characterization  levers 
7 weeks ago by nhaliday
Name Generator
Generate names for characters, babies, authors or bands. Search at random or filter and sort by gender, popularity, birth year, country, personality and many other interesting properties.
names  prompts  characters  characterization  naming  dada  random-generator 
8 weeks ago by jesse_the_k
on fanfic & emotional continuity
And now I read this and I’m like, WAIT. YES. THAT’S WHAT’S HAPPENING. IT’S BEEN HAPPENING ALL ALONG. I NEVER REALIZED IT. The idea that the primary importance is the throughline of the characters, and that’s what we’re following, and the plot is what’s dangling off the side of their story, that is SO IMPORTANT. You’re right, that usually we’re told as writers to construct stories from the plot outward. “Here are the beats your plot needs to hit, here’s the rising action to the climax to the falling action, now make sure your Character A makes this realization by Point X in order to get your plot into shape for Point Y to click in.” It’s *such* a plot-centric way to write and I am *terrible* at it. And I’ve always said, whenever I sit down to “outline” a story, like, How do you this? How do you know where the characters are going until they tell you where they’re going???
fanfic  meta  characterization  earlgreytea  plotwhatplot 
8 weeks ago by jesse_the_k
The Mixed Results of Male Authors Writing Female Characters - The Atlantic
Authors of both genders have long experimented with narrators and protagonists of the opposite sex—but there's still debate as to whether either sex can do it right.
writing  feminism  perspectives  language  characterization  fiction 
march 2019 by po
5 Indie Heroines Who Need To Get Their Shit Together | Tribeca
An interesting take on female characters in the "hero cycle" of undergoing a personal change due to the core conflict of their stories.

But all of these characters are young and white and generally have upper middle class privileges if not the attendant money.
Also, 4 of the 5 movies are from the 1990s.
characters  female  characterization  writing  fiction  culture  identity  lists  stereotypes 
december 2018 by po
Carol Black on Twitter: "I'm sorry, but this is delusional. If you don't read the book the first time for rhythm and flow, just *read* it, you haven't read the book. You have dissected it. This is like the vivisection of literature. There is no author ali
"I'm sorry, but this is delusional. If you don't read the book the first time for rhythm and flow, just *read* it, you haven't read the book. You have dissected it. This is like the vivisection of literature. There is no author alive who would want their book read this way."

"Look, the reality is that most people do not want to analyze literature. It's a specialty interest, a niche thing. There is absolutely no reason all people should have to do this. By forcing it we just create an aversion to books.

[@SOLEatHome "Would you consider someone re-reading a book they love and noticing things they missed the first time analysis? It at least fits what has come to be known as "close reading""]

Kids who become writers (or filmmakers, or musicians) re-read, re-watch, re-listen to their favorite things repetitively, obsessively. They internalize structure, rhythm, characterization, language, vocabulary, dialogue, intuitively, instinctively.

Close reading & analysis is a separate activity, it requires a whole different stance / attitude toward the book. It can enhance this deeper intuitive understanding or it can shut it down, turn it into something mechanical & disengaged.

I think it's a huge mistake to push this analytical stance on children when they are too young. I was an English major, & I don't think I benefited from it until college. Younger kids should just find things they love & process them in ways that make sense to them.

This is one of the many delusional things about the way literature is taught in HS. The reality is you have to read a book at the *bare minimum* twice in order to do meaningful analysis. But there is never time for this. So we just club the thing to death on the first reading.

One of the principal things a writer does is to work incredibly hard at refining the way one sentence flows into the next, one chapter springboards off the last. To experience this as a reader you have to immerse yourself, turn off the analytical brain, just *read* the damn book.

To insert analysis into this process on a first reading is like watching a film by pausing every couple of minutes to make notes before continuing. It's fine to do that in later study, but if you do it the first time through you've destroyed everything the filmmaker worked for."

[@irasocol: How a teacher destroys not just reading but culture. Can we let kids experience an author's work without dissection? How I tried to address this in 2012... "]

[This was in repsonse to a thread that began with:

"This thread details a real school assignment that was asked of a high school student to do while reading a book they hadn't read before. I assure you this is is not something isolated to one school:


Inside front cover: major character with space for...

...character summaries, page reference for key scenes or moments of character development. Evidently these are enormous books.

Inside Back Cover: list of themes, allusions, images, motifs, key scenes, plot line, epiphanies, etc. Add pg. references or notes. List vocab words...

...if there's still room. (big books or small writing?)

Start of each chapter: do a quick summary of the chapter. Title each chapter as soon as you finish it, esp. if the chapters don't have titles.

Top margins: plot notes/words phrases that summarize. Then go back...

...and mark the chapter carefully (more on these marks to come)

Bottom and side margins: interpretive notes, questions, remarks that refer to the meaning of the page (???). Notes to tie in w/ notes on inside back cover

Header: Interpretive notes and symbols to be used...

...underline or highlight key words, phrases, sentences that are important to understanding the work
questions/comments in the margins--your conversation with the text
bracket important ideas/passages
use vertical lines at the margin to emphasize what's been already marked...

...connect ideas with lines or arrows
use numbers in the margin to indicate the sequence of points the author makes in developing a single argument
use a star, asterisk, or other doo-dad at the margin--use a consistent symbol--(presumably to not mix up your doo-dads?) to... used sparingly to emphasize the ten or twenty most important statements in the book.
Use ???for sections/ideas you don't understand
circle words you don't know. Define them in the margins (How many margins does a page have?)
A checkmark means "I understand"...

...use !!! when you come across something new, interesting or surprising
And other literary devices (see below)

You may want to mark:
Use and S for Symbols: a symbol is a literal thing that stands for something else which help to discover new layers of thinking...

Use an I for Imagery, which includes words that appeal to the five senses. Imagery is important for understanding an authors message and attitudes
Use an F for Figurative Language like similes, metaphors, etc., which often reveal deeper layers of meaning...

Use a T for Tone, which is the overall mood of the piece. Tone can carry as much meaning as the plot does.
Use a Th for Theme: timeless universal ideas or a message about life, society, etc.
Plot elements (setting, mood, conflict)
Diction (word choice)

The end. ::sighs::"]
carolblack  irasocol  howweread  reading  literature  closereading  2018  school  schooliness  education  absurdity  literaryanalysis  writers  writing  howwewrite  filmmaking  howwelearn  academia  academics  schools  unschooling  deschooling  analysis  understanding  repetition  experience  structure  rhythm  characterization  language  vocabulary  dialogue  noticing  intuition  instinct  film  flow 
october 2018 by robertogreco
‘Describe Yourself Like a Male Author Would’ Is the Most Savage Twitter Thread in Ages
Some of these are wickedly funny and, frankly, better than most tone-deaf hacks would pull off.

The awful characterization habits of bad writers seem to be more often split between "token female character (almost always singular) who behaves and speaks like a man with boobs" and "token female character (again, singular) who is a caricature of stereotypes."

It's an easy trap to fall into.
Think about how white people write about the black experience in America leaning on a half-forgotten assigned reading of Uncle Tom's Cabin.
Consider how Celie nor Janie Crawford rarely if ever make it into heroine or strong female character lists.
twitter  feminism  funny  fiction  writing  bad.writing  characterization  intersectionality 
june 2018 by po

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