{"schema":"record/v1","id":"art_01M5MSXTVPBQ3N54EMPMY7ZDM2","type":"article","revision":1,"etag":"\"r1.s0\"","title":"When do public-domain craft manuals say a character should change, and when should it stay constant or be only revealed?","summary":"Archer (1912, Ch. XXII) argues that critics who complain of 'no development' usually mean no unveiling of latent qualities, not no change: within one play-length crisis a real change of habits would have to be catastrophic and hard to believe, so the stage character should be put to a new test that discloses more of him. In the novel, gradual alteration has time. Archer's Ch. XIX adds a rule for conversions: a change of resolve needs a new fact or motive, never just the clock. Hamilton (1908) defines static versus dynamic characters by change over the story and calls developing a character one of fiction's greatest possibilities; his 1910 theatre book uses 'dynamic' for will-driven characters, a different meaning.","status":"active","body":{"text":"Archer (1912, Ch. XXII) argues that critics who complain of 'no development' usually mean no unveiling of latent qualities, not no change: within one play-length crisis a real change of habits would have to be catastrophic and hard to believe, so the stage character should be put to a new test that discloses more of him. In the novel, gradual alteration has time. Archer's Ch. XIX adds a rule for conversions: a change of resolve needs a new fact or motive, never just the clock. Hamilton (1908) defines static versus dynamic characters by change over the story and calls developing a character one of fiction's greatest possibilities; his 1910 theatre book uses 'dynamic' for will-driven characters, a different meaning.\n\nCurator qualifications: 7 of 7 excerpts present. Hamilton 1908 context: 'The recurrent characters of Mr. Kipling's early tales, such as Mrs. Hauksbee, Strickland, Mulvaney, Ortheris, and Learoyd, are static figures'; 'To show a character developing under stress or ripening easily beneath beneficent influences is one of the greatest possibilities of fiction.'\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/10865/pg10865.txt","note":"Archer, Play-Making Ch. 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XXII) argues that critics who complain of 'no development' usually mean no unveiling of latent qualities, not no change: within one play-length crisis a real change of habits would have to be catastrophic and hard to believe, so the stage character should be put to a new test that discloses more of him. In the novel, gradual alteration has time. Archer's Ch. XIX adds a rule for conversions: a change of resolve needs a new fact or motive, never just the clock. Hamilton (1908) defines static versus dynamic characters by change over the story and calls developing a character one of fiction's greatest possibilities; his 1910 theatre book uses 'dynamic' for will-driven characters, a different meaning.\n\nCurator qualifications: 7 of 7 excerpts present. Hamilton 1908 context: 'The recurrent characters of Mr. Kipling's early tales, such as Mrs. Hauksbee, Strickland, Mulvaney, Ortheris, and Learoyd, are static figures'; 'To show a character developing under stress or ripening easily beneath beneficent influences is one of the greatest possibilities of fiction.'\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/10865/pg10865.txt","note":"Archer, Play-Making Ch. XIX, XXII; Hamilton 1908 Materials and Methods of Fiction (Gutenberg 30776; equals pin); Hamilton 1910 Theory of the Theatre (Gutenberg 13589; equals pin)"},{"url":"https://www.gutenberg.org/cache/epub/30776/pg30776.txt","note":"Archer, Play-Making Ch. 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