A section of this chapter that really stuck out to me, mostly because it is my biggest challenge in fiction writing, is how we choose where characters come from. Deciding on “who” this person will be and then forming them to be such. I thought it was really interesting how they state that most characters come from those we know in our every day lives. Although it sounds obvious, I have always found it difficult to put to words those around me and how they act. It likely comes from a place of wanting to paint them in the “right” light or being too worrisome of their reaction. The way the author described the terms around including details from those closest to us, I believe, swayed me into considering doing so. I say this because of how they state a character doesn’t HAVE to (and in most cases shouldn’t) be written exactly like the real human counterpart, but it can simply include aspects. Thinking about how it could just be the way my partners mouth stays slightly agape in a half-smile when they’re reading something they enjoy. Or, a complete inclusion of all their mannerisms and quirks. Additionally, that including elements of a real person doesn’t lead to requiring that character to be a replica. That taking the subtle things and then creating the rest out of imagination may yield better results in writing and for the writer.
Journal #2 (WRT-312)
