The Style Sheets — Part II: Characters
by Amy J. Schneider
This month I continue my discussion of the style sheets I keep and the details that go into them. Let’s talk about tracking character attributes.
The Devil Is in the Details
When I receive a style sheet for a previous book by the same author, whether a standalone title or one in the same series, it usually includes a character list. And by “a character list,” I mean just that: a tidy alphabetical list of character names, often last name first, first name last. We copyeditors love to make alphabetical lists. But for ensuring continuity both in attributes of individual characters and in the relationships between them, such a list isn’t very useful.
For example, suppose that in Chapter 1, James is described as being a vegetarian, but in Chapter 18 he orders a Big Mac for lunch. Or suppose that Angela is an only child in Chapter 3, but in Chapter 6 she gets a call from her sister. I don’t know that my memory is good enough to recall a detail from so far back. And often such details are mentioned in the barest passing, and so they are easy to overlook. That’s what the style sheet is for. Any detail that could possibly be contradicted later on goes on the style sheet. Examples follow shortly.
In addition, I find it extremely helpful to group characters not alphabetically, but by their relationships to each other. Family members, coworker groups, the neighbors, the guys down at the pub, the bad guys: these are examples of how you might group characters. Sometimes you may not be sure where to put a character. That’s okay; just start them in their own group for now and later it may become clear. The advantage of grouping like this is that it helps you spot name changes (the bartender was Andy, but suddenly he’s become Randy), missing or extra people (there are supposed to be five Murphy brothers, but six are named), and so on.
Remember to track nonhuman characters too. I enclose animal names in quotes (“Max” — Susan’s cat; black fur, left front paw and tip of tail are white). Make note of unnamed animals too; make sure that the neighbors’ black lab doesn’t turn into a border collie. In fantasy and science fiction, you may encounter “characters” that are sentient objects such as weapons and other magical items (think of the elven blade “Sting” from Tolkien’s Lord of the Rings), as well as fictional deities, spirits, and so forth. On the style sheet they go.
Details to Track
So, what kinds of details should you track? As I stated earlier, anything that could possibly be contradicted later. (And as you come across such items, later, check against your previous entries on the style sheet to ensure that they are still accurate; if not, you know that you need to flag or query.) The following are only a few examples:
- Physical descriptions: hair color/length/qualities, eye/skin color, facial descriptions (straight nose, thick eyebrows, high cheekbones), body build (muscle bound, lanky), blood type, clothing size, glasses, disabilities, vocal quality (pitch, accent)
- Life status: age/birthday (age 27; her birthday was last May; the baby will be born next fall), relationships (her mother died of cancer when she was twelve; he has been divorced twice), employment, schooling, abilities (I once met a character who could speak a foreign language, but had mysteriously lost that ability later on), nicknames, habits (vegetarian, doesn’t drink), accents, pet phrases, personal history (inherited $6 million from his grandmother)
- Right/left: scars, injuries, tattoos, and so on
- Phone numbers, e-mail addresses, Twitter handles (query the author to ensure that these are not in use by real people)
- “Negative” attributes: can’t swim, is afraid of dogs, has never seen the ocean
- Relative descriptions: Rodrigo towers over Lancelot; Evan is two years older than Shane
Assuming you are editing in Word, it’s easy to copy relevant descriptive phrases out of the manuscript and plop them into the style sheet, for ease of searching later if you need to refer back to earlier text. I condense the copied text to save a little space by changing spelled-out numbers to digits and editing down to the essential key words (e.g., “her auburn hair cascaded down her back, and fluffy bangs accentuated her ocean-blue eyes” would become “auburn hair down her back, bangs, blue eyes”; “died six days before her eighty-fifth birthday” would become “died 6 days before her 85th birthday”). The idea is to take out information that’s non-essential to the style sheet (you might copy a full paragraph just to grab a few informational phrases). Another point to remember: in hard-copy days, we noted the page number for details, but with electronic editing, page layouts can shift, so use the chapter number instead. You can always use search to find the exact text you’re looking for.
I Found a Contradiction; Now What?
Oops. Nancy is blonde in Chapter 4 but brunette in Chapter 27. Michael’s eyes keep changing color from blue to green to blue again. Tonya’s parents died when she was a baby, but also threw her out of the house when she was sixteen. What to do?
Remember that it’s the author’s story, so if any major rewriting or plot adjustment is required, it’s up to the author to do so. However, you can certainly help by making suggestions.
- If it’s a minor detail that’s not critical to the plot, and only a few instances are different (suppose Nancy’s hair is described as blonde twelve times and brown twice), it’s safe to simply change the brown hair back to blonde and write a query alerting the author to the change.
- If Michael’s eyes are blue six times and green seven times, then you need to write a query that lets the author know about the discrepancy and ask the author to decide which way to go.
- Let’s say that the fact that Tonya is an orphan is important to the plot, but so is the fact that she had to fend for herself at a young age. That’s not something that a copyeditor can fix. But you might suggest that the author have Tonya raised by an aunt and uncle, and they are the ones who threw her out.
- You may find a character-related plot hole that has no obvious solution. The best you can do then is outline the problems and ask the author if he or she can see a way to solve them. After that, it’s in the author’s hands — and the author may decide to just live with it. (I’ve seen that happen.) But you’ve done your due diligence.
Because fiction is by nature made up, there’s no real-world reference for its internal factual information — so keeping a detailed style sheet with as much information as possible about the characters (and other elements) is enormously helpful for catching inconsistencies. In the next article, I’ll talk about tracking information about locations and buildings, which involves much the same approach as I’ve discussed here.
Amy J. Schneider (email@example.com), owner of Featherschneider Editorial Services, has been a freelance copyeditor and proofreader of fiction and nonfiction books since 1995. She has shared her insights on copyediting fiction as a speaker at the Communication Central conferences, in writing for the Copyediting newsletter, and in an audioconference for Copyediting.com. Amy can be reached at LinkedIn, via Twitter, and on Facebook.