This week's reading focus was The Possibility of Evil by Shirley Jackson. Whilst it isn't as modern as the other pieces we've looked at so far, published in 1965 in fact, this story is a really great example of characterisation.
If you missed it, you can find it here: https://thepossibilityofevilma.weebly.com/short-story.html
The story starts with a brief foreword:
Miss Strangeworth is a familiar fixture in a small town where everyone knows everyone else. Little do the townsfolk suspect, though, that the dignified old woman leads another, secret life...
I think this is a really effective way of communicating some character background to the audience, though possibly a technique that is a little dated now. It isn't something you often see in a modern short story, but it definitely gets the job done in the same way a preface does for a novel.
Jackson builds a really strong sense of character despite the brevity of the story. But how does she do it?
1. There is a sense of background.
In a way, Miss Strangeworth's character seems established before we even meet her, despite her introduction being the first words of the piece:
"she was fond of telling strangers—tourists who sometimes passed through the town and stopped to admire Miss Strangeworth's roses—that she had never spent more than a day outside this town in all her long life."
By giving Miss Strangeworth such a strong sense of background, the audience is immediately convinced of her authenticity. This in turn makes the plot more believable and the tale more readable.
2. Repetitive motifs.
Miss Strangeworth's roses are very important to her, and the audience know this because they are mentioned throughout the novel. This is why it is important to give your character interests and research these interests as if they were your own. This is what makes the ending more devastating. At the start, we are told that she "never gave away any of her roses" - we can see how important they are to her.
I think that it works really well in this piece to leave the story on a cliffhanger. As Miss Strangeworth's character has been set up so well, we can imagine her devastation on reading the note. Our interpretation of her character allows us to play it out in our heads. Does she realise she's in the wrong? Does she change her ways? Will she try and replant the garden? How will she feel in the town that has been her home her whole life.
3. Perspective.
Next week will be all about point of view, but I think it is particularly interesting that this piece is written in third person, yet we are still presented with a fully formed character who we may or may not sympathise with in the end. By explaining her psyche and her motivations for acting, the audience is more inclined to feel sorry for Miss Strangeworth in the end.
Remember that even if you write in third person, you can still tell the audience your main characters' thoughts and feelings.
What to take away from this week's reading:
1. Know your character inside out - what do they like or dislike and how can you make this clear?
2. Make sure your character has a clear background - how do they relate to the setting they are in? What do they normally do?
3. Don't forget about your minor characters - they probably have a major role to play!
Related exercises:
Try putting your character in some different hypothetical situations - this will help you understand how they would react.
Use things like:
1. Different locations - eg. in the middle of a forest, in someone's house for the first time, out shopping, etc.
2. Different times of day - eg. first thing in the morning, at dusk, at midnight, etc.
3. Reacting to a piece of news - eg. death, pregnancy, adopting a pet, etc.
Happy writing!
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