Mannerisms

[dr_mabeuse]

I'd be very careful in using mannerisms to try and describe someone.

First of all, it's not so much what they're doing as it is the way they do it. Twirling the hair can be flirtatious and cute or obsessive and neurotic, depending on how it's done, but if it takes too much explanation, it shifts the focus and becomes distracting. It can make your character seem annoying or grotesque.

"Hmmm. I wonder..." Jane said, poking her tongue into her cheek and rolling her eyes up to the side.

I mean, what's wrong with Jane? Bell's Palsy?

A lot of authors try very hard to give their characters endearing or interesting mannerisms, and in my opinion it rarely works. Doc Savage, the old pulp action hero, used to make an unconscious "liquid, trilling sound" whenever he was lost in thought, and all I could imagine was him kind of yodeling under his breath. It always took me aback.

I think you might have more luck paying attention to body language: the things people do with their hands and arms and trunks and eyes when they're interacting. Folding your arms across your chest or straightening your back, self-grooming or leaning towards someone are gestures that need little description and paint a very clear picture in just a few words.

One of the things I've found myself using is describing what my character chooses to look at during a conversation. A woman's telling a man she's leaving him. If he's looking at the television while she's talking, that means one thing. If he looks out the window where he sees one bird sitting on a telephone wire, that means another. My characters always seem to be doing things with their eyes.

--Zoot

 

[Samandiriel]

I like to watch people smoke. The way they exhale, or flick their ashes, how they dispose of them, do they crush them out carefully, drop,step and move on or my favorite...the flick, the kind that sends them catapulting across the sidewalk into the street.
I watch how they hold them also.

I need a cigarette now....matches or lighter?

 

[rgraham666]

(Pulls out a Zippo. With a perfectly practiced flick of the wrist and the thumb, it's lit)

Here you go Sam.

(An equally practiced motion extinguishes it)

 

[NoJo]

I like to watch people smoke.

That doesn't suprise me.

 

[SensualCealy]

I like to watch people smoke. The way they exhale, or flick their ashes, how they dispose of them, do they crush them out carefully, drop,step and move on or my favorite...the flick, the kind that sends them catapulting across the sidewalk into the street.
I watch how they hold them also.

I need a cigarette now....matches or lighter?

Do you torch them with gasoline first or just piss them off to the point smoke comes out of their ears? lol sorry I couldn't resist!
C

 

[impressive]

Beginning with the rainy day story challenge, I've been typing my characters before (or very shortly after) I begin writing. I use the personality profile quiz here: http://www.humanmetrics.com/cgi-win/JTypes2.asp

... and go through it for each major character (and the minors, too, if I think there's potential for them to appear in later stories). Then, I take the results here: http://www.typelogic.com

... for a description of their personalities. It really helps me keep my characters true to themselves. I guess it's my version of "character sheets."

 

[tolyk]

Beginning with the rainy day story challenge, I've been typing my characters before (or very shortly after) I begin writing. I use the personality profile quiz here: http://www.humanmetrics.com/cgi-win/JTypes2.asp

... and go through it for each major character (and the minors, too, if I think there's potential for them to appear in later stories). Then, I take the results here: http://www.typelogic.com

... for a description of their personalities. It really helps me keep my characters true to themselves. I guess it's my version of "character sheets."

That is an awesome method, very detail orientated. Great idea Imppy.

I tend to just make things up as I go along, mannerisms and personalities are something I know quite well, even if I can't think of them on the fly for a conversation. Or I base my characters off of friends, one of the two.

 

[CharleyH]

I'm trying to come up with a working list of mannerisms to help with character development. I notice the oddest things about people, but many of them are difficult to describe efficiently. You don't have to describe them entirely. I'll be grateful for any and all you can come up with. Habits (conscious or un-) will work too.

Thanks.

~lucky

Lots of conscious and unconscious things here. My take is describe those things that are important to the story, linger on them if they are. Otherwise, the sound of his teeth on the fork was like talons on a blackboard should be good

 

[Guest]

Arms akimo, foot tapping the the floor...

Nervously clicking her nails on the wine glass...

Leaning in the doorway with his arms crossed...

Reclined on the sofa, his crossed feet propped on the armrest...

Jingling the change in his pocket...

Tapping to bitt of her cigarette on her lighter...

Pacing back and fort a few steps each way as she talked on the phone....

 

[CharleyH]

I like to watch people smoke. The way they exhale, or flick their ashes, how they dispose of them, do they crush them out carefully, drop,step and move on or my favorite...the flick, the kind that sends them catapulting across the sidewalk into the street.
I watch how they hold them also.

I need a cigarette now....matches or lighter?

For you, I will change my photo

I get what Doc is saying, and having had many theatre courses, god forbid, I do describe people and their idiocyncracies because MY STYLE is that those are the things that separate the grey from the technicolour and I do write from a 'real' pov most times. My experience of death, I think, helped bring this home. What is memorable of a person? Idiosyncarcies are the things that make them stand apart, and whether real, or not, it is what makes a character stand. Think of characters in stories you love? What makes them lovable, hated? Endearing. fun, funny.

Do you need a list? I think you are doing well to write them down, what you observe. They will all be handy.

Idiosyncracies:

Older people repeat their jokes, they think they are funny, but after 10 years, the funny wanes.

People who are anal, need to take a half hour to decide on toilet paper.

Me: I need to walk on the left side, with always touch people to move to the other side, cuz I need my hand unobstructed when I smoke, or I also pull my shirt or jacket to grab a subway or streetcar pole, I never to it with bare hands GERMS yuk

Me:

 

[Samandiriel]

For you, I will change my photo

I get what Doc is saying, and having had many theatre courses, god forbid, I do describe people and their idiocyncracies because MY STYLE is that those are the things that separate the grey from the technicolour and I do write from a 'real' pov most times. My experience of death, I think, helped bring this home. What is memorable of a person? Idiosyncarcies are the things that make them stand apart, and whether real, or not, it is what makes a character stand. Think of characters in stories you love? What makes them lovable, hated? Endearing. fun, funny.

Do you need a list? I think you are doing well to write them down, what you observe. They will all be handy.

Idiosyncracies:

Older people repeat their jokes, they think they are funny, but after 10 years, the funny wanes.

People who are anal, need to take a half hour to decide on toilet paper.

Me: I need to walk on the left side, with always touch people to move to the other side, cuz I need my hand unobstructed when I smoke, or I also pull my shirt or jacket to grab a subway or streetcar pole, I never to it with bare hands GERMS yuk

Me:

Thank you sexy lady.

 

[lucky-E-leven]

I'd be very careful in using mannerisms to try and describe someone.

First of all, it's not so much what they're doing as it is the way they do it. Twirling the hair can be flirtatious and cute or obsessive and neurotic, depending on how it's done, but if it takes too much explanation, it shifts the focus and becomes distracting. It can make your character seem annoying or grotesque.

"Hmmm. I wonder..." Jane said, poking her tongue into her cheek and rolling her eyes up to the side.

I mean, what's wrong with Jane? Bell's Palsy?

A lot of authors try very hard to give their characters endearing or interesting mannerisms, and in my opinion it rarely works. Doc Savage, the old pulp action hero, used to make an unconscious "liquid, trilling sound" whenever he was lost in thought, and all I could imagine was him kind of yodeling under his breath. It always took me aback.

I think you might have more luck paying attention to body language: the things people do with their hands and arms and trunks and eyes when they're interacting. Folding your arms across your chest or straightening your back, self-grooming or leaning towards someone are gestures that need little description and paint a very clear picture in just a few words.

One of the things I've found myself using is describing what my character chooses to look at during a conversation. A woman's telling a man she's leaving him. If he's looking at the television while she's talking, that means one thing. If he looks out the window where he sees one bird sitting on a telephone wire, that means another. My characters always seem to be doing things with their eyes.

--Zoot

I think body language and eye movement (sometimes) are mannerisms. My Mother, for instance, has a different walk when she's really pissed. A friend of mine curls her fist around her thumb when she's anxious. My brother is constantly adjusting his hair with his hands when he's feeling insecure or on the spot. If asked, all three people wouldn't have a clue what I was talking about, but to those close to them the signs are obvious and fairly fool proof. I think mannerisms are small details about a character that give a clearer image of who they are without projecting it into omniscient thought or dialogue.

I didn't intend to use mannerisms as character building, so much as little tidbits for adding depth here and there.

No liquid trilling sounds have been injured in this broadcast.

~lucky

 

[lucky-E-leven]

Lots of conscious and unconscious things here. My take is describe those things that are important to the story, linger on them if they are. Otherwise, the sound of his teeth on the fork was like talons on a blackboard should be good

I understand what you're saying here, but I'm personally growing weary of the whole important to the story routine. I don't think life is as streamlined as some people tend to write, and it often turns me off to have to infer too much about what I'm reading. I don't want every tiny detail spelled out, but I enjoy a few little extras here and there, be they especially pertinent or not.

I tend to think things can do both. I can add some humanity to a character by describing the way a typically confident business man smooths his tie ten times per minute in a meeting he's chairing and while his dialogue and progress with his work moves along seamlessly, the reader sees that he's a little nervous without me having to make it obvious in dialogue or omniscient thought. I like the subtlty of what can be said without being said. Smoothing the tie isn't important to the story, necessarily, but it's important to the character who is currently moving the story. A bit removed but still important to me.

~lucky

 

[lil_elvis]

I understand what you're saying here, but I'm personally growing weary of the whole important to the story routine. I don't think life is as streamlined as some people tend to write, and it often turns me off to have to infer too much about what I'm reading. I don't want every tiny detail spelled out, but I enjoy a few little extras here and there, be they especially pertinent or not.

I tend to think things can do both. I can add some humanity to a character by describing the way a typically confident business man smooths his tie ten times per minute in a meeting he's chairing and while his dialogue and progress with his work moves along seamlessly, the reader sees that he's a little nervous without me having to make it obvious in dialogue or omniscient thought. I like the subtlty of what can be said without being said. Smoothing the tie isn't important to the story, necessarily, but it's important to the character who is currently moving the story. A bit removed but still important to me.

~lucky

What kinda smut writer are you? Stroking his tie? Pulease!

 

[lucky-E-leven]

What kinda smut writer are you? Stroking his tie? Pulease!

A lesbian smut writer.

What else would he be stroking?

~lucky

 

[lil_elvis]

A lesbian smut writer.

What else would he be stroking?

~lucky

Woops! My bad.

 

[lucky-E-leven]

Woops! My bad.

What's one of your mannerisms?

(Besides the hip roll.)

~lucky