Suspend Your Disbelief

Posts Tagged ‘characterization’

Shop Talk |

Dear Franny,

by Lee Thomas

I know, sweetheart. I know how you feel. I left school because I was surrounded by people who failed to recognize their potential as human beings. They nattered on and on about the most insubstantial things, and they could not see past the end of their egotistical noses, and more than once I felt queasy when I stared down at a chicken sandwich, inane prattle ringing in my ears. But I promise you that there are still people who are bright and good and kind. The above is an excerpt from a letter to Franny, you know the one, of […]


Reviews |

Aliens in the Prime of Their Lives, by Brad Watson

by Tom Bennitt

There are no zombies or vampires in Brad Watson’s new collection, Aliens in the Prime of Their Lives (W.W. Norton, 2010), but there are plenty of folks who act like they’re either dead or from another planet. And, yes, many of Watson’s characters are “aliens”—not green creatures with large heads, but alienated, isolated. They are people who wander through life without an anchor, who don’t feel the pull of gravity.


Reviews |

The Particular Sadness of Lemon Cake, by Aimee Bender

If you are what you eat, what happens when someone else eats what you are? In Aimee Bender’s latest novel, The Particular Sadness of Lemon Cake, 9-year old Rose first experiences this conundrum when she tastes her mother’s birthday cake, only to come away with the uncomfortable understanding of her mother’s lonely dissatisfaction with life. The cake betrays the inner feelings of the cook. Over the course of the novel and Rose’s life, the predicament continues, building to an unwanted fixation of what constitutes food and those who grow and prepare it.


Interviews |

Unanswered Questions: An Interview with Dan Chaon

“I’ve always felt personally and emotionally closer to the searchers, rather than to the finders…to those who don’t get answers, as opposed to those who do. For me, the experience of epiclitus is closely related to the experience of the uncanny, but also to the experience of complex and problematic emotions, like yearning, and awe, and psychic unease, which are of particular interest to me. That precipice of endless uncertainty, of the impenetrable—those are the moments that I’ve always loved in literature, as well as the moments that have haunted me in life.”


Reviews |

Amigoland, by Oscar Casares

“Now he was the one smiling. He knew they were all around the table, he could feel their eyes on him—The One With The Flat Face, The One With The Big Ones, The One With The Worried Face, The Gringo With The Ugly Finger, The One With The White Pants, The One With The Net On His Head—staring at him and waiting for his next move.” There is so much more to Don Fidencio Rosales, the ninety-one year-old protagonist of Oscar Casares’s comedic and heartening first novel, Amigoland (Little, Brown 2009), than simply his age. First and foremost, there’s his […]


Shop Talk |

This is your brain on fiction

by Celeste Ng

Can neuroscience help you become a better writer? That’s what YA author Livia Blackburne, a graduate student in neuroscience at MIT, wonders on her blog Narrative and the Brain. …. the scientists used a brain scanner to see what regions lit up during the reading of a story. They watched the brains of volunteers as they read four short narrative passages. […] Motor neurons flashed when characters were grasping objects, and neurons involved in eye movement activated when characters were navigating their world. In summary then, different parts of the brain process different facets of our conscious experience, and those […]


Essays |

Quotes & Notes: Best Shots and Shortcuts

by Steven Wingate

“Always give your characters their best shot.” — Stuart M. Kaminsky

As writers, we can add on (and on) to the external details of a character, trying to make that person real in the way that Pinocchio hopes to become so. Theoretically, we might be able to acquire enough details in a personality inventory for our readers to accept our characters as convincing. But ultimately, as Stuart Kaminsky knew, this way of creating character doesn’t work because it’s the subtext of our characters’ lives that make them real. Using the “inventory” process to get to know them is fundamentally flawed because it makes us lazy.


Interviews |

Miles from Nowhere: A Conversation with Nami Mun

by Greg Schutz

“Fiction is my default writing mode. Whenever I witness something odd on the streets or hear intriguing dialogue on the trains, my first impulse is to drop these things into my fiction bank. I don’t have a memoir bank. Fiction, to me, is running through the woods rather than running on a treadmill. It’s freedom to make up characters, setting, situations, etc.—and through this freedom I feel better equipped to express and explore my ideas.”


Interviews |

Those Magic Carbons: A Conversation with Eileen Pollack

Brian Short talks to fiction guru Eileen Pollack about the juggling act of writing fiction, teaching writing, and directing the Creative Writing MFA program at the University of Michigan. Her advice to writers: Be bold.

“The first thing I love, when I read, is the language. I can’t read anything where I don’t like the voice. What else do I like? I like plot, I like setting, I like humor, I like boldness. I think part of it has to do with being female. No one ever told Philip Roth to be more timid or nice, to have nicer characters or less sex, to not be as broad. And when a woman tests boundaries, it’s seen as unbecoming. We’re supposed to write these quiet, domestic stories or novels. I’ve just never been one to do that.”




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