rebecca: hmm, rebecca is probably one of the characters I’m less consciously aware of how I write, because I tend to just hear certain things in her voice with very clear inflection that it annoys me it’s hard to indicate in text. her dialogue is usually a fun mix of rambling contrasted with high articulation, often in a single sentence:
“So I feel like there’s a teaching moment, here, about blindly propagating media you haven’t actually critically assessed for yourself, but I’m going to table that for hot sec and ask if you could maybe, I don’t know—what is the opposite of sharing? Can we de-share it? Print-slash-post a retraction? Is that a thing?” [x]
a playfulness in most situations that lends itself to theatricality, silly voices, etc. unabashed horniness. very tactile. a particular brand of self-assuredness, despite her various insecurities. a tendency to get carried away, but make it endearing. rebecca is a really fun composition of contradictions, and I think she comes across best when you pit them against each other. she can also be incredibly single-minded, and you can push that almost to the point of absurdity/the confusion of everyone around her by tying it back to an emotion she’s feeling with her whole heart that others aren’t necessarily privy to.
heather: heather is the character I’m most similar to, so I kind of lean on my own voice, there, just filtered through her classic drawl. noises, like grunts and ‘ugh’s. I tend to use ‘like’ (to the point of agonising over which placement in the sentence gives maximum nonchalance) and ending sentences with ‘so’ a lot in her dialogue. a stubbornness beneath the chill. my favourite thing to play with in injecting heather into a scene is her wry, observational quality - she’s super fun to contrast with characters like rebecca and nathaniel when they’re being delusional/trying to put on a facade, so I guess a key part of her characterisation to me is putting her opposite someone she can see right through for maximum entertainment.