Character Clues
Character Analysis
Actions
In this book, characters' deeds speak for themselves; how they act—and how they reflect on those actions—helps define them. When Theo spends time with Las Bombas, it's clear that his main focus in life is scheming—if he's not actively performing a trick to swindle folks from money, then he's planning on how to do so next.
By comparison, Theo is a more moral dude, who consistently demonstrates his interest in doing the right thing through his actions. For instance, when he can't stand the fraud that Las Bombas is perpetrating through the Oracle Priestess skit, Theo decides to leave his friends behind, even if it means being alone all over again—this decision stands in stark contrast to Las Bombas, who just keeps on going with whatever will get him money.
Perhaps the best example of actions typifying a character in Westmark, though, comes from Cabbarus. This dude relentlessly uses people—especially King Augustine—for his own gains, and as he does, there is little room for confusion about whether or not he's pure evil (pro tip: he is). For example, consider the performance he puts on regarding the demise of the king:
Cabbarus was happy. Going about his duties, he paced the corridors of the Juliana with his head bowed, the corners of his mouth turned down. Following His Majesty's collapse, the chief minister had suffered some uneasy moments. If the prospect of Cabbarus for a son had been enough to bring on a seizure, Augustine, recuperating, might have dismissed him outright. On the contrary, the king needed him more than ever, and refused to see any other councillor. And so Cabbarus was happy. As a principle, he tried only to show feelings admirably grave. Pankratz alone understood that his master's morose frown and air of aggressive gloom indicated that Cabbarus was in the best of spirits. (9.1)
Cabbarus enjoys harming other people for his own gain, and little brings him more joy than the king's suffering. By showing us as much, it is easy to recognize that he is a selfish person who cares neither about his kingdom nor his monarch—all that matters is Cabby himself.
Location
Location, location, location. That's all you need when it comes to buying a home—and when getting into these characters' brains. Cabbarus keeps really simple apartments, but it's not because he's a simple man—no, he does it so other people think that he's really frugal and is economically savvy. He's a master manipulator and even his quarters are designed to influence people's opinions of him:
Most of the Old Juliana had been given over to storage and the offices of lower functionaries. Cabbarus had lived and worked there during his superintendency. As chief minister, he was entitled to sumptuous chambers in the New Juliana. He declined them. He kept his same quarters, setting an example of frugality and modesty; righteousness being always more believable when combined with dreariness. (5.7)
Cabbarus does his best to project a wholesome image, when the truth is anything but. He spends a lot of time on his appearances so he can trick people into thinking he's a good guy—but at the same time, his decision to stay in the decrepit and dungeon-filled Old Juliana perfectly mirrors his decrepit and dungeon-esque heart.
Another character whose location helps identify him is Florian. His main hangout is Jellinek's tavern in Freyborg. It's strategically located—a busy spot where he and his conspirators can gather without drawing attention to themselves—and it's also under the control of one of his friends, who won't rat him out. That's Florian in a nutshell for you: meticulous about preparations, and super secretive. He doesn't even hang out in the main room with his pals, striking a balance of hiding in plain site while also keeping their activities secret:
Next day, having slept the clock around, Theo found his way back to the tavern. He wanted to thank Florian and take leave of him. He saw none of the company in the public room. Jellinek, a stout little man, surprisingly good-natured for a landlord, recognized Theo. He motioned with his thumb toward a cubicle beside the kitchen. Because of the commotion behind the door, Theo's knock went unheard or ignored. He let himself in, though uneasy at intruding on what sounded like a furious oration. (13.1)
When he discusses Theo's new job with him, Florian does so in the privacy of the back room. He installs Theo in public when the boy works as a letter writer, but keeps his own dealings to the back rooms, where he can't get caught as a rebel. Keep this in mind, and you should have no trouble determining whether you're watching one of Florian's ruses or about to get in on the truth.