The characters in Party Going are primarily two-dimensional. They represent the London Mayfair set that Henry Green seems to know so well, gay and clever socialites whose lives seem primarily to consist of petty intrigues and romantic rivalries. Max is the epitome of the wealthy young playboy bachelor pursued by many women. Julia is the foolish, featherheaded young virgin who flirts and then rebuffs any real advances. Amabel is the spoiled and arrogant young beauty who is able to use her sexual charms to manipulate Max at her whim. Angela is the beautiful man-hater who takes pleasure in torturing her lovers. At one point, she invites a male partygoer into her room and claps her hands to simulate a slap, simply to make her young lover, Robin Adams, who is just outside the door, jealous. Miss Fellowes is the most interesting character in the book, but only because she has symbolic connotations as an embodiment of the inevitability of death.
Party Going does not focus on the development of character, as is customary in what might be called the Grand Hotel convention upon which this novel builds. Usually, in such works, when people are thrown together during a lull in their lives, their individual stories and personalities are separately explored. Instead, in Party Going, the characters are revealed as having little or no life apart from their partygoing social life. The personalities of the characters are primarily communicated by dialogue, for Green is convinced that dialogue is the best means by which to give life to fictional characters; the dialogue, however, is so filled with inanities that there is no sense that the characters have any real emotional or intellectual depth. Concerned as they are only with their petty flirtations and jealousies, they act as if they are going to live forever. It is the constant presence of Miss Fellowes, as well as the repeated images of death which seem to cluster about all the characters, that suggests the inevitable truth of the matter. Thus, the novel is not so much populated with the semblance of real people as it is with shallow puppets and symbolic two-dimensional figures—and this is precisely Green’s intention.