I caught a Seinfeld episode the other day and that explains the title. The gang was at a party where they didn't know anyone and neither Jerry or Elaine were thrilled to be there. The two had a signal of tapping their head to get the other to rescue them from a conversation, but it never worked. So, "poor" Elaine was sitting on the couch while a woman talked and talked in a nasal voice with the phrase "my fiancée" liberally sprinkled throughout. Finally, the quiet Elaine looks at the woman and says in a thick Australian accent, "maybe the dingo ate your baby." (Click here for the YouTube video of this scene.)
Now, two things interest me about this. Obviously, I'm amazed at the nerve, but when I think about it, I want to break down what makes this scene so great. How did she pull it off? What could I learn for creating my own outrageous character?
First, there is NO APOLOGY. In no way does Elaine regret her words. She doesn't clasp her hand over her mouth in a "did I say that out loud?" moment. She doesn't run to Jerry and say, "you won't believe what I just did." Nope. What she does is smirk. It was a purposeful tactic. Premeditated, with the eye on the result.
But for a truly outrageous character, this is over thinking. This is giving the character something he/she doesn't have; the embarrassment gene.
Second, there are NO WITNESSES. Elaine did not do this to impress her friends. The only participants were herself and the annoying woman. Okay, granted, the audience - US! - were the witnesses, but her character did what she did for her own amusement. And just as she didn't tell Jerry out of embarrassment, she didn't tell Jerry to brag.
A truly outrageous character follows his/her own agenda.
I'm going to keep these two things in mind for creating outrageous characters. There is something so liberating about writing a character who seems to be lacking the embarrassment gene. And besides, I've always been a little jealous that my son seems to be missing this gene! Somehow, I get to be the one to face the consequences and that's really not fair. So I need to create those characters to act on my behalf.
And while I think my hero or heroine might need more reasons/excuses for blurting out "the dingo ate your baby," I'll always aim for a secondary character that can get away with it. I can't say I understand them, but maybe the key is not to over think their motives and jump to the end result. Ask simply if they would do what they do with no apology and no witnesses except the reader.
Do you write outrageous characters? Who are they performing for?