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Swimming Pool Reflections

His older sister’s friend lays on her back, stretched against the white plastic slats of a poolside chair in the glaring light of the sun. July afternoons have cooked her tan, her long legs shiny and satin-soft, even her feet perfect and brown and pretty. She wears her hair down, un-wet because she never dipped her head beneath the pool’s lukewarm water. Instead, she allows the water to cling to her in tantalizing droplets.

The boy swims around the pool, bobbing his head up from the surface of the pool and back down again. He wears goggles that mask his entire face, even his nose because he has not yet learned to properly hold his breath. When he pops up from the water, he peeks at his sister’s friend through the fogged glass of the goggles, then returns to his aquatic exploration. He wears blue swim shorts with cartoon sharks, which he thinks make him look childish. For the past thirty minutes, he has wanted to climb out of the pool and jump from the diving board to impress his older sister’s friend. But each time she stands and stretches cat-like, her bikini bottoms caught in her crack and revealing the tanned buns he has seen only in videos he watches at 2 am while his parents sleep.

Meanwhile, the girl looks up from a book she is reading for school. She holds it aloft in front of her face, mumbling the words with chapped lips and adjusting her bikini bottoms which unfortunately ride up her ass every time she moves. She contemplates buying a new pair she saw yesterday while shopping online. From behind her amber-tinted glasses, she can see the bloated old man in the pool staring at her. He does not seem to harbor any shame in viewing her body, his eyes glazing over her legs and her breasts. She does not think her breasts look as good in her bikini top as her friend’s, whose little brother looks like a frog dipping in and out of the water. For a moment, she wants the old man to watch her, but she does not.

She reads a book she must read before school starts back, and though she secretly adores the story, she does not tell her friends because they absolutely hate reading.

The man floating on an inflatable ring is a poet, 67-years-old, and gay. With his shirt off, he believes he looks like a Goodyear blimp. He can already feel the sunrays blistering his skin, caressing it with singes that will broil the white into a sickly red. Across the pool from where he floats, he watches two teenage girls—they must be only seventeen. Whenever they look back at their books—they are reading the same novel—he peeks at the girl on the left and shudders. She reminds him of his dead sister. The man wants to cry but he thinks it might be inappropriate. Somewhere behind him, a thirteen-year-old boy bursts through the water, spins around quickly, then descends back underwater. His sister had been driving home drunk one night from a party—this was when the poet had been attending college in another state. He did not hear about her accident until three days later when their foster parents called.

The boy wonders what it might feel like to drown. To test himself, he swims to the bottom of the pool and sits cross-legged on the floor, pinching his thumb and forefingers together like a Buddhist monk—or rather, what he conceptualizes as a Buddhist monk. He attempts to hold his breath for as long as possible, but he cannot. He cannot think about anything other than his friend’s sister if you don’t count the chicken fingers he ate for lunch—they came with honey mustard dipping sauce. He uncrosses his legs and pumps his legs hard, kicking off of the bottom and rocketing to the surface. His splash licks at the old man’s feet, who brushes the droplets of water off his toes, and the boy gasps for breath, then goes under again.

What I Learned From Acting: How to Make Characters People

If you ever want to learn how to make a character become a real, fleshed-out person, audition for a play. Become a character.

A few weeks ago, I auditioned for The Crucible on the spur of the moment and learned the following day that I had been cast as Giles

This is what I'm SUPPOSED to look like. Handsome, eh?

Corey, a combative 87-year-old man whose wife is arrested as a witch. He storms the courts in an attempt to save her life.

Never having acted in a play before, there was much to learn. But what I really wanted to figure out was how to make a character come to life. Set in Puritan times, we could not convey the characters as modern people, yet had to be relate-able to modern people. This created an interesting conflict.

Who is Giles Corey?

In the script, he’s almost daft, certainly crazy. I was an old man, yet I was 17. How could I act older, appear older? What might I think differently, being much, much older?

But what does he care about? BECOMING a character forces you to ask more questions. Therefore, even a minor character in a story has great internal conflicts. Giles is fiercely loyal and for that reason, dies by the end of the play. Yet he is frightened by death, angered by those who permit innocents to die.

When writing a novel, use some of these same questions to help make your characters more real. If it works for actors, it works for writers too.

1.) Understand the many facets of your character

Even if your character does something horrendous, perhaps he or she does it for a good reason. Even “evil” characters have qausi-good intentions at times. At one point during the play, I lunged at another man, screaming, “I’ll cut your throat, Putman! I’ll kill you yet!” While seemingly a deadly promise, consider that I scream this line at the man who just damned me to die. It’s understandable.

In your story, make sure to understand everything your character does and make sure it’s “in character.” Even if you don’t reveal these reasons in your story, you need to know them to keep your character consistent.

2.) Know your relationships

If you’re character is a cruel guy, maybe he’s not cruel to everyone. Nice people are not nice to everyone. Know how each character feels for the others. Are they jealous or respectful or resentful? Especially if characters are relation, figure out their family dynamic. Again, there’s no need to overtly explain this, but it’s safe to know how each character might react.

3.) Know what your character owns

This may sound weird, but it’s important to know what a character owns. His clothes. His possessions. Does he have a wallet or a money clip? Does he wear bowler caps or cowboy hats? What do these things say about him?

Know what sort of car he or she drives. Know how your character might decorate his or her bedroom/apartment. Know whether or not your character owns pets. Again, you don’t need to describe all of this, but know it.

One great trick I learned is to pick a single object of great importance to your character. Make the character own the possession. Whatever it is, this is distinctly this character’s possession. In The Crucible, Giles walks with a cane. The cane became a very important part of my character. I could use it in so many different ways to help show my emotion.

I might shake it at someone because I’m angry. I might rub the top nervously. I might spin it in my hands.

All of these visual cues can be translated into a story to represent what your character is feeling. After a number of times, the reader will understands that, “Giles stroked the cane, spinning it in his fingers” means “Giles was nervous.”

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These are all the pieces of advice I have at the moment, but take them into consideration to help your characters breathe. We justfinished the first weekend of performances. The last 3 start on this Friday. I have learned so much from acting in this play and will definitely blog about it later on in the week, because the people I’ve met are amazing. It has taught me a lot about character development and a lot about people.

The Character Arc Corellation

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