Elizabeth Strout is known for her abilty to layer characterisation; she does this masterfully, even in Amy and Isabelle, her debut novel. Reading her fiction is a real lesson in developing character through sentence construction . Here, I've picked out a few of Strout's strategies that are particularly effective - and can be mimicked!
Minimalist yet Loaded Sentences
Strout often uses short, almost clipped sentences that deliver a great deal of emotional weight in very few words. This style helps to highlight a character's inner conflict or emotional restraint, drawing attention to what’s not being said as much as what is.
‘Isabelle had never liked to be touched, not even by her daughter.’
– Amy and Isabelle
In this sentence, Strout uses a simple construction, but within the brevity lies a significant revelation about Isabelle’s character. The directness of the sentence, ‘Isabelle had never liked to be touched,’ immediately conveys emotional distance and a certain coldness in Isabelle’s personality. The addition of ‘not even by her daughter’ deepens this, showing how her emotional walls extend even to her closest family member. What’s particularly effective here is how little is said: there’s no extended explanation or justification. The plainness of the statement allows the reader to feel the weight of this truth about Isabelle without it being overtly spelled out. It’s a perfect example of Strout’s ability to evoke a complex emotional reality with minimalist sentence structure.
Juxtaposition of Action and Thought
Strout also often juxtaposes what her characters are doing with what they are thinking or feeling. The contrast between external action and internal emotion creates a powerful effect, allowing the reader to understand how a character’s actions often betray their true feelings.
‘Amy stood there, looking out the window, but her mind was somewhere else, in a place she could not go.’
– Amy and Isabelle
Here, Strout uses a simple sentence structure but contrasts Amy's physical action (‘stood there, looking out the window’) with her internal state (‘her mind was somewhere else, in a place she could not go’). This juxtaposition highlights the tension between Amy’s outward composure and her inner turmoil. The use of the phrase ‘a place she could not go’ adds emotional depth, implying something inaccessible or forbidden within Amy, suggesting longing, regret, or confusion. The simplicity of the sentence allows this internal conflict to resonate without heavy-handed narration.
The Power of Silence and Pauses
Strout often uses brief, abrupt sentences or fragments that mirror her characters’ emotional state. These pauses or fragmented sentences convey the unspoken tension that characters experience in their relationships, often creating a sense of discomfort or unsaid truths.
‘Isabelle closed the door behind her, but the words she meant to say lingered in the air.’
– Amy and Isabelle
Here, Strout uses a short, sharp action (‘Isabelle closed the door behind her’) followed by a reflection on the unspoken words (‘the words she meant to say lingered in the air’). The use of the word ‘linger’ evokes the presence of something that is held back—an emotional weight that Isabelle cannot quite express. The fragmented sentence construction mirrors the hesitation and difficulty Isabelle faces in articulating her feelings. The silence after the action speaks volumes, reinforcing Strout’s deft handling of characterisation through what is not said.
The Weight of Simple Observations
Strout also excels at using simple observations to reveal deeper truths about her characters, often through the way they perceive the world around them. These observations can be incredibly telling of a character’s emotional state or worldview.
‘Isabelle felt the heat of the room and wished for something cooler, but it wasn’t just the room that felt too hot.’
– Amy and Isabelle
At first glance, this sentence seems like a simple, almost mundane observation about physical discomfort. But Strout uses this to reveal something deeper. The phrase ‘it wasn’t just the room that felt too hot’ implies that the discomfort Isabelle is feeling goes beyond the physical environment; it reflects an internal unease. This subtle shift from a concrete detail to a more abstract feeling reveals the complexity of Isabelle’s emotional state. The structure is simple, but the meaning is layered, making it effective in conveying a character’s internal conflict without overt exposition.
Carefully Chosen Adjectives and Modifiers
Strout’s mastery is also in the careful choice of adjectives and modifiers. Rather than relying on long descriptions, she often picks one or two precise words that capture the essence of a character’s experience or nature.
‘Isabelle had a quiet, angry way of walking, as though the ground itself was something she needed to push through.’
– Amy and Isabelle
In this sentence, Strout doesn’t need to describe Isabelle’s entire emotional state or backstory. The phrase ‘quiet, angry way of walking’ immediately gives us insight into Isabelle’s internal struggle—she’s angry, but it’s a quiet, internalised anger. The image of Isabelle ‘pushing through’ the ground encapsulates both her determination and her frustration. The choice of adjectives here - ‘quiet’ and ‘angry’ - is precise and evocative, providing a deep understanding of Isabelle’s character through a single, well-crafted sentence.
Why These Methods Are Effective
Strout’s sentence construction is effective because it trusts the reader to understand the emotional complexity of her characters without overwhelming them with too many details. Her sentences are often minimalist, using restraint and understatement to create tension, allowing her characters’ inner lives to unfold gradually. By choosing specific, telling moments or actions, she creates characters who feel layered and fully realised, while keeping the prose itself accessible and uncluttered.
This approach encourages readers to engage actively with the text, to read between the lines, and to understand the characters not just through their actions, but through the way they move through the world and interact with others. The subtlety of Strout’s sentence construction makes her characterisation both powerful and emotionally resonant.
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