Character Traits and Personality Types

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11/17/2017   Character Traits  and Personality Types

In my 90s Club series, the 90-year-olds sometimes use stereotypes of the elderly to mislead their quarries into thinking they are harmless. My characters are able, alert, and active—as many 90-year-old and 100-year-olds are nowadays. In my writers’ critique group, I was appalled to hear my fellow writers push for the stereotypes as more “believable.” Most of us today avoid and dismiss the stereotypes of African-American, gay, Italian, Greek, Scandinavian, blonde, etc., I hope we’ve all gone beyond the use of eyeglasses to show an intellectual, studious, or nerdy person, a person who when she or he whips off the glasses, suddenly becomes sexy or strong. Think Superman. It still happens in the movies and television, though, where the elderly continue to be the victims of demeaning and sometimes vicious stereotypes.

Literary Fall: An Interview with Liana Vrajitoru

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Liana Vrajitoru Andreasen is a scholar, professor, and writer from Romania who has been living and working in the United States for over twenty years. Her work has appeared in journals such as: Rampike, Alecart, Texas Review, Quarterly Review of Film and Video, The Romanian Journal for Artistic Creativity, Southwestern American Literature, The CEA Critic, American Book Review, Lumina, Fiction International, Calliope, The Raven Chronicles, The Willow Review, Mobius, a Journal of Social Change, Scintilla, and Weave Magazine. I recently enjoyed the opportunity to speak with her about her forthcoming critical book, The Fall of Literary Theory.

 Joseph Daniel Haske: Tell us about your new book, The Fall of Literary Theory. How long have you been working on it and what was the motivation/philosophy behind it?

THE AUTHOR/CHARACTER QUANDARY

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When you’re reading a novel, do you ever question the authenticity of the characters because they’re different from the author? Can male authors create realistic female characters? Can female authors create convincing men? What about white authors writing black characters and vice versa? These questions have been around since the beginning of literature. When the male/female issue is raised, critics like to cite the rich characterization of Madame Bovary, a testament to Gustave Flaubert’s understanding of a particular woman. And yet even great novelists can stumble. I’ve always contended that the male characters in Toni Morrison’s Sula are not as complex as the female characters and that the novel (excellent as it is) suffers for that.

When The Confessions of Nat Turner by William Styron was published in 1967, black critics banded together to denounce Styron and the novel.

A Book to Capture Your Imagination

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The 2016 novel News of the World by Paulette Jiles is beautiful, poetic, and riveting, and takes you to a world that’s familiar but full of mystery, all in just 240 pages. It fascinated me so much that I immediately sought out information on the history behind the fiction — the lives of children captured by Native Americans in mid-nineteenth-century Texas.

News of the World tells the story of Captain Jefferson Kyle Kidd, a seventy-one-year-old widower and Army veteran who travels the towns of North Texas entertaining audiences by reading selected articles from national and international newspapers. After one reading, an acquaintance, Britton Johnson, asks him  to return a ten-year-old white girl to an aunt and uncle, her nearest living relatives, who live hundreds of miles away, near San Antonio.

LEAVING THE LIBRARY WITH A LITTLE LIFE

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Is there anything in life better than leaving the library with a new book? Well, yes, of course. Still,  leaving the library with Hanya Yanagihara‘s A Little Life in hand the other day reminded me of a list I have been meaning to put together for decades. This list is supposed to contain life’s simple pleasures.A Little Life, the library version

I’m talking about momentary delights, the ones you often overlook but that fill you with pure contentment tinged with possibility. I can only think of a few. Leaving the library with a new book in hand is most definitely one of them.

With Thanksgiving in the air, it seems appropriate to think of a few more.

An Interview with Xu Xi: writer, teacher, editor, and roamer of the universe

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I first met Xu Xi, who was on faculty, when I was a student earning my MFA at the Vermont College of Fine Arts low residency program. She was my mentor for my final semester there in 2005, and since then has become a lifelong mentor to me, in writing and in life. Always busy with writing, traveling and other projects, Xu Xi was still gracious to answer some questions about her work and writing life.

Xu Xi is the author of twelve books, including five novels, five collections of short fiction & essays and most recently a memoir DEAR HONG KONG: AN ELEGY TO A CITY, released July 1, 2017 by Penguin as part of its Hong Kong series for the 20th anniversary of Hong Kong’s handover to China.

Don’t Throw Away the Novel in the Drawer

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Every writer has a first book lying in a drawer. So we are told. And we are also told that it is better thus: the book didn’t get published because it wasn’t worthy. That may well be the case. At present I have three novels ‘in the drawer’, and the second one will certainly stay there. The third, I hope, will eventually find a publisher, perhaps after I’ve done more work on it. But what about the first?

At the end of May, I was preparing to leave the United States permanently. I had cleared out my house, and the night before my departure, I was going through my cupboards, making sure I had left nothing important behind. In the darkest recesses of a closet in which I kept my modem and router and a Gordian knot of cables, I found two briefcases full of writing, most of which I had done in grad school.

How the Sausage is Made, Part II: Launching a New Title

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Whether a new title is put out by a publishing house or is self-published, marketing experts advise that the work done months in advance of one’s release date is critical to a successful launch.

In addition to the burden of getting the book in shape in terms of content, the cover and the like, authors are asked these days to play a major role in advance marketing. These steps include building up following of friends, family and people who have expressed an interest in one’s previous titles, establishing a social media presence, and identifying potential reviewers.

In preparation for launching my sixth novel, Inauguration Day, on November 1, I offered advanced reading copies (ARCs) to a number of people I hoped would read the book and post a review in social media sites as well as on Amazon on launch day.

INTERVIEW WITH MARTIN POUSSON ABOUT HIS 2017 PEN CENTER AWARD-WINNING NOVEL BLACK SHEEP BOY

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“If you don’t push against the mirror, how do you know you’re standing in front of it?” asks author Martin Pousson. His PEN award-winning novel Black Sheep Boy, also an L.A. TimesPick of the Week, inspired Susan Larson (NPR The Reading Life) to say: “An unforgettable novel-in-stories about growing up gay in French Acadiana, so vivid and almost fairy tale-like, drawing on folklore from the region, and yet so brutally realistic. Brilliant. I loved this book.”  I loved it too, for Pousson’s poetic prose, among other reasons. I’ve been able to ask Martin Pousson a few questions about the novel. His answers reflect his literary acuity.

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What is a Poet Laureate?

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Maryland’s Poet Laureate Stanley Plumly will present a half-day intensive poetry workshop at the Maryland Writers’ Association conference March 23-24, 2018 in Baltimore. This prompted me to wonder what exactly a poet laureate is and what does he or she do?

As of 2017, poets laureate are appointed in 46 states and the District of Columbia. Although terms vary in length from state to state, the appointment is for one or two years in most states.

In Maryland, The poet laureate position was formally established by the Maryland General Assembly in 1959 and authorizes the governor to appoint a citizen of the state as Poet Laureate of Maryland. Past poets laureate include (in order of service): Maria B. Coker, Vincent Godfrey Burns, Lucille Clifton, Reed Whittemore, Linda Pastan, Roland Flint, Michael Collier, and Michael Glaser.

Philosophy and Phiction: An Interview with author Sheridan Hough

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Sheridan Hough and I have much in common. We studied philosophy in graduate school. We are philosophy professors. We’re interested in 19th-century, European thinkers. I attended the College of Charleston (many, many years ago); she teaches at the College of Charleston.  More relevant here, we also write novels. Sheridan and I recently discussed the crossroads of philosophy and fiction.

RC: Sheridan, tell us about your academic background. How did you get interested in philosophy?

SH: Now there’s a story! Off I went to college—Trinity University—at the tender age of 17, and I was determined to be a double major in English and Theatre. My first class on my very first day at Trinity was ‘Ethics,’ and Plato’s Republic was on the menu.

The Tyranny of Show Versus Tell

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If you’ve ever taken a writing workshop, you’ve heard many times the bromide “show, don’t tell,” but often the showing part dominates the telling and becomes tyrannical. As a writer friend once pointed out, when we’re writing fiction, we are storytelling and not storyshowing, and there are many ways to tell an engaging story.

Of course, some beginning writers do tend to summarize more than dramatize. They haven’t learned yet how to traverse between generalities and specifics. And in our early drafts, even more experienced writers often are just trying to capture their characters before they can disappear. Showing, then, tends to happen later in the drafting process.

However, it is important to know when one or the other is required, and that’s the advantage of using this shorthand workshop comment.

Richard Russo’s Take on Academia

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I don’t normally use this space to review twenty-year-old books, but for Richard Russo, I’ll make an exception. Regular readers know I’m a huge Russo fan. He’s been a big influence on my own writing, and I thought I’d read everything he wrote. But last month a friend recommended one of his novels that I’d missed: Straight Man, published in 1997. It’s the funniest serious novel I’ve ever read.

The narrator, William Henry Devereaux Jr., is heir to a famous name and not much else. He’s a writing professor and temporary chair of the English Department at a third-rank state college in a small fictional town in Pennsylvania. Hank’s father, who looms large throughout the book, was a hugely successful academic and literary critic and a hugely unsuccessful human being.

INVISIBLE MEN AND INVISIBLE BOOKS

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Several years ago I combed my bookshelves and gave my teenage son some old paperbacks I thought he’d enjoy. Recently, while hunting for a book he asked me to send to him in college, I found the books neatly stacked next to his bed. I wondered if he had ever read any of them.Invisible Man by Ralph Ellison_Cover of the Signet 1952 Edition

One he had probably not cracked open—or so I thought I had evidence to prove—was Ralph Ellison’s Invisible Man. I figured this because when I myself opened the book, the pages started shedding.

Looking for a Literary Agent (I): Using Agent Hunter

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If you’ve been writing for long, I don’t have to tell you how hard or how frustrating the search for an agent is. The books are incomplete and the biggest website, Publishers Marketplace (publishersmarketplace.com) is anything but user-friendly, in my opinion. Designed more for industry professionals than for writers, it’s fine if you want to find out how much a certain agent sold a certain book for, and how many books that agent has sold this year—in short, it’s not bad for statistics. But if you want a qualitative look at an agent, and know little about her in advance, it’s not much use to you. Enter Agent Hunter, (www.agenthunter.co.uk) a British site I’ve recently discovered that’s far and away the best resource I’ve found for writers trying to place a book—at least for writers based in the UK.

How the Sausage is Made: Part I

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Back when I monitored the NYS Legislature I often heard fellow lobbyists compare passing legislation to making sausage. The same can be said of publishing a book. So, I thought I’d let people into my experience publishing my novels, using as a case in point my soon to be published sixth thriller, Inauguration Day.

I started self-publishing in 2011 two years after completing a first draft of what became The Expendable Man. Over time I’ve been able to shorten the process somewhat, but the publishing world is constantly changing so it’s not as if what I did in 2105 with House Divided will be exactly what I need to do in 2017.

A critical obstacle to being a successful self-published author––however you want to define “successful”––is getting one’s manuscript in shape to be published.

The Joys and Sorrows of (Writing) Historical Fiction

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A friend of mine is an author whose favored genre is contemporary noir fiction—hard-boiled, edgy, dark. Since that’s what he writes, that’s also what he reads. Without prompting, though, he read my novel of historical fiction set in turn-of-the-twentieth-century Washington, D.C., a story that could never be described as “edgy”. Graciously, he told me what he liked about it, but concluded by saying, “I write fiction so I can make [stuff] up. Historical fiction seems like way too much work.”

He’s got a point. Fiction is supposed to be fictional, right? Why go to the effort of having to do a ton of research and ensure detailed accuracy (because you know how those historical fiction fans are about that) when the story is supposed to be invented?

A Conversation with Sue Harrison

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Recently, I caught up with Sue Harrison, author of numerous critically-acclaimed novels, including the best-selling Ivory Carver Trilogy (Mother Earth Father Sky, My Sister the Moon, and Brother Wind), to talk about writing, nature, and finding literary inspiration in Michigan’s Upper Peninsula.

Joseph Daniel Haske: We’ve never met in person, but as you know, I grew up about ten miles from where you live in the eastern Upper Peninsula, in the next town over. Home remains important to me in countless ways and it still significantly informs my writing, as I’m sure it does yours. What do you think are some of the major advantages and disadvantages of being a writer in northern Michigan?

Sue Harrison: You’re absolutely right, Joe, Michigan’s Upper Peninsula – my home since I was four years old – informs my writing in many ways.

AN INTERVIEW WITH M.O. WALSH, AUTHOR OF MY SUNSHINE AWAY

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When M.O. Walsh released his debut novel My Sunshine Away, reviewers named him the newest member of the Southern gothic literary tradition. The novel, which I reviewed on Late Last Night Books here, offers the rich atmosphere and haunting darkness associated with the Southern gothic school, but it also offers many-faceted characters caught in some of life’s profound dilemmas. In recognition of its excellence, My Sunshine Away won the Pat Conroy Southern Book Award for General Fiction. I was delighted when Walsh agreed to answer questions about his inspirations, writing techniques, and more.

S.W.  What is appealing about the U.S. South in general as a setting?  Would you ever consider writing a novel set somewhere other than the South?

A Fourth Look at a Great Book: The Virginian by Owen Wister

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Some people seek comfort food, but I tend toward comfort books. Comfort books are the ones I return to when the problems of the day become too much. They’re my macaroni and cheese without the calories.

A few weeks ago, as Americans seemed at war with Americans, I turned to one of my comfort books, The Virginian: A Horseman of the Plains by Owen Wister. This 1902 novel was required reading when I was in junior high school. I loved it then and loved it again when I reread it in 1980, 1991, and late this summer.  The book belongs near the top of any list of great American novels.

I feel almost apologetic for enjoying the book. There’s much in it to make 21st-century Americans shudder, including racial epithets, vigilante justice, and sexism.