I've been thinking a lot about how to clue people into when a chronic liar character is telling the truth. Then I got thinking about generally how to show a character's intent. I thought that a good way to show when a liar-character is telling the truth is for them to smile. It's a sign of relief, right? So, I thought that, since they'd be relieved that they didn't have to lie, they'd unintentionally smile a little. I don't know, I think this is more of a ramble than anything. Just kind of wanted to get it out there, and open the floor to discussion amongst the people who know about this topic.
I had a great-uncle who was a pathological liar...he would invent stories about being in the Vietnam war (never served a day in his life), working for the DEA interdicting drug boats in the Carribean (only left the state once his entire life), and about the millions he had saved away (he was a hopelessly broke alcoholic). He could tell these lies with a completely straight face in an earnest voice so unless you knew the truth, you would 100% believe him. People who would visit would get regaled then come up to one of us "in the know" and be like "You must be so proud of your uncle"....and then we would usually break the truth to them, mostly because he would usually end his stories with "hey, I left my wallet at my place, could I borrow a few bucks, I'll pay you back" or "I'll leave it with (insert family member) so you can get it back next time you are here". Any cash he got was always transformed into a bottle of pepermint schnapps. I guess his only "tell" was the monitary request at the end because, like I said, he could recite his lies with perfect accuracy every time and had not one ounce of moral guilt about doing so.
Smiling is easy to fake. One way would be to have the character say something the reader already knows to be true, that maybe no other character knows. Another thing you could do is let it seem like he's lying as usual, but ;later it turns out it was true. Or the narrator could just cue the reader in that for once the character isn't lying. I'm sure if I spend some time thinking on it I can come up with some better ways. These are just off the top of the ol' noggin'.
OK, normally use certain kinds of words in describing the character, that associate him or her with deceit. But when they're telling the truth use more trustworthy words. Or have him (etc) normally not look in people's eyes, but for the one scene he does. Of course a good liar can do that and make it seem all honest.
I'd say think about how YOU determine the intent of people you speak to. We do this subconsciously all the time. As a writer, try to become conscious of how you pick up clues from people. Not all people will have a 'tell' that is universal ...which is another thing to keep in mind as you write. Some people can lie plausibly with a straight face. Other people make it obvious they're lying, by squirming, avoiding eye contact, or by attempting to be TOO convincing, etc. How well does the POV character know the other characters? And how good are the other characters at hiding their intentions? Do these other characters have a history which would make certain things believable ...even if they're not true? Think 'boy who cried wolf.' He cried wolf (lied) so many times that when he finally told the truth, nobody believed him. And of course the POV character figures in as well. Are they the sort who always naiëvely believe what they're told? Are they the sort who maybe sense something's not quite as it appears, but are unwilling to trust their intuition? Are they the sort who always try to give the benefit of the doubt? Are they the sort who are always instantly suspicious of anything that isn't stunningly obvious?
By people, do you mean readers or the characters? Quirks/B-language are okay, I guess, but not especially realistic. A chronic liar probably won't have tells. Hell most normal people don't have tells. I would have the POV character apply his own plausibility check, and the 'liar' sort of pass it. Plausibility test is harder when it's a chronic liar though, because the "what does he have to gain?" question is moot. You could also add supporting evidence from other characters: A says he saw an orc carry the princess south. POV reasons that is indeed the direction of the orc fortress, and he has discovered the princess is missing. B says she overheard the orcs speaking to each other about the princess' whereabouts, and that the dark lord will spank them if they come back empty-handed. Seems like a good opportunity for tension though, keeping the reader wondering if it really is the truth this time.
The hypothetical I put forward was more about letting the audience know if the character is lying. What about the opposite of the common signs of lying. What of a character who refuses to look people in the eyes when telling the truth, because they feel more comfortable lying? I don't really have a skill like that. It's pretty much a coin flip if I believe you or not.
This is for the hypothetical lying character—give 2 or 3 clues prior to his uncharacteristic act of truth-telling. And I mean just like in a mystery or a detective story, put them in but make it subtle. When the character says what he says it fits with the clues. Astute readers might pick up on it immediately, but later you can have a character (the one he was talking to) put the clues together and realize that for once he wasn't lying. Or if you don't want it to be that subtle, make the clues more obvious. And if you want it even more obvious the character he's speaking to can remember the clues and realize he's telling the truth. It's hard to do this not knowing the situation better.
I would approach it in one of three ways: Association, Contrast, or Theme If you want to approach it using Association, you could have a character interact with something else that is obviously false before interacting with the "liar" character. Or even have some trait associated with an obvious falsehood that connects - imagine an explicitly false map trimmed in by a red boarder introduced in the story, then later a "liar" character who always happens to touch a red hem in his clothing when he is telling falsehoods. If you want to go the Contrast route, then it really doesn't matter what the tell is. Make the tell something different like a change in octave in the characters voice, rhythm in their speech pattern, or changing a word they normally use to a synonym. Final way you can go is by using a Theme. All the liars I've met lie to a specific end. It could be to impress people with "I one up you" type stories for status, or to cover some type of shame. Using this method you could show the theme of their lying first in an unimportant aspect of the story once or twice, and infer that going forward whenever the character talks about that specific subject they are being less than above board.
Only an idiot trusts a liar. If the reader knows this person is a chronic liar, then they'd be doubly idiotic to believe anything that character says. So the only way to clue the audience that they aren't lying, is by making the reader know for sure they aren't lying. You'd have to be heavy handed about it. To subtlely let the reader know he isn't lying? Well the problem with that is, it's impossible no? You'd always have your guard up, even if you give benefit of the doubt, you'd never believe a liar completely. But ways to make it more plausible is the opposite of smiling I think. You'd have to break the character and their lies down, to the point where they can't wriggle out by lying and make them desperate. Eventually after they are exhausted and to the point where lying or telling the truth has no benefit to them, that's when you'd make the reader believe what they say is true. Actually, having wrote all this, I guess that's the only way. When what they say has no benefit or negatives to themselves, the reader is more likely to believe they aren't lying.
I've known a few people who lie a lot, one was even probably a pathological liar. But they didn't lie all the time, and you could tell when they were lying usually because they'd go big. The pathological one told me once that he had gone to the Shania Twain concert the night before and got backstage to talk to her in her dressing room. He had a huge grin on his face the whole time that reeked of self indulgence. But the guy definitely didn't lie all the time, otherwise it would be pretty hard to live a life. It was just every so often, when he wanted the spotlight. The lies were interspersed with probably a dozen or so truths in between. If you know the person well, a friend or family member or something, and you know they can't help themselves, it's because of some psychological condition, you give them a break and just heave a big sigh when you think they're lying, and take everything with a grain of salt. Often you met them as kids and made friends and it was years later when you began to understand they lie a lot. Friends can become tied together pretty closely, you share a life all the way back to early childhood, so it's painful to just discard somebody like that unless their lies are really damaging.
Ah I was just trying to embellish the point that the reader wouldn't trust a known liar in a book. Nothing against lies and pathalogical liars in particular. In fact I think some lies are functional? I lie all the time when I tell a 'true story'. Some parts doesn't need to be said. Some parts just derails the point. Some is necessary to not hurt the others feelings. I mean, I work as a nurse and if I told people you are most likely going to die, that shit won't be very helpful now will it? Having said that some lies you cannot forgive though. I still won't forget about Santa Ps: just realised I just lied there, I've never believed in Santa.
That depends. In House's world the hospital bureaucracy, red tape and the typical happy-happy attitude that ignores unpleasant realities is often what's causing problems, and his directness, though shocking at first, is often what cuts through all that stuff and saves lives. But then he seems to have a unique talent for making that work.
Having actually served Shania Twain backstage before, I can testify that she is a very nice, down to Earth lady. Faith Hill on the other hand, not so much.