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You speak of characters of mine who "have often been up to their necks in the thick, messy complications of 'the real.'" Well, Zuckerman is one of them.
You speak of characters of mine who 'have often been up to their necks in the thick, messy complications of "the real"'.
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Sure, the old train stations speak of grandeur and arrival, but old schools speak of character and permanence.
And speaking of characters and music: where's the breakout number for Damian?
In the 18th century, penmanship spoke of character, reflecting the mettle of a politician as his presence on television might today.
Writers describing the formative years of a career have spoken of character formation as a case of "throwing" their voice, frequently tasking characters with voicing what they, the author, do not feel able to express.
The programme notes speak of the characters' use of lurid Catholic imagery and allusions to religious hatred.
To speak of his characters as being "well drawn," would be crude; they draw themselves, and mainly in their conversation.
I don't know if it sounds odd, or even somewhat precious, to speak of the characters and their story as separate from myself, as some sort of stray radio frequency buzzing in my ear.
We're such Shakespeare nerds (#humblebrag), we've gone and summarized the legendary playwright's works into "twitter speak" of 140 characters or less.
But when people speak of his "beloved" characters, these are the rogues they're talking about.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com