Breath and Bone: Writing Characters Who Refuse to Stay on the Page

By

Olivia Salter

A character is not a name. Not a description. Not even a backstory.

A character is a pressure point—a place where opposing forces meet and refuse to settle. They are the tension between who they perform as and who they are when no one is watching. They are the quiet argument happening beneath every word they speak, every choice they make, every silence they maintain too long.

You can describe a person endlessly—hair, height, history—but none of that makes them alive. Life begins at the moment of friction. At the moment something inside them is unsustainable.

Because a living character is always carrying something:

• A belief that’s starting to crack
• A desire that conflicts with their values
• A truth they are actively avoiding

That is the pressure point.

And pressure does not sit still.

It builds.
It distorts.
It demands release.

Readers don’t fall in love with perfect people. Perfection is static—it offers nothing to resist, nothing to question, nothing to reveal. There is no movement in perfection, and without movement, there is no life.

They don’t even remember “interesting” people. Interest is surface-level. It fades the moment the page turns.

They remember the ones who felt real enough to argue with.

The character who made you think:

• Why would you do that?
• You’re about to ruin everything.
• Just tell the truth.

And then—when they don’t—you understand exactly why.

That’s the paradox of a living character: Their choices feel both frustrating and inevitable.

They hurt themselves in ways that make perfect sense.
They sabotage what they want for reasons they can’t outgrow—yet.
They cling to beliefs that are clearly breaking them, because letting go would mean becoming someone they don’t recognize.

And when they finally act—when they choose—it doesn’t feel random.

It feels like gravity.

Like everything they’ve done, everything they’ve avoided, everything they’ve believed has led to this exact moment… and there was never another outcome possible.

That’s what makes a choice devastating.

Not that it’s shocking.
But that it’s true.

To create characters who live and breathe, you must stop thinking of them as creations—static things you design, label, and control.

And start treating them as forces in motion.

A force has direction.
A force has momentum.
A force interacts with other forces—and changes because of it.

Your character is not the center of the story.

They are a vector moving through it:

• Pulled by desire
• Resisted by fear
• Redirected by other people
• Altered by consequence

And like any force, once they begin moving, they cannot remain untouched.

They will:

• Accelerate toward something they don’t fully understand
• Collide with truths they tried to avoid
• Break apart under pressure—or reshape themselves because of it

Your job is not to protect them.
Not to guide them gently toward the “right” outcome.

Your job is to apply pressure.

To place them in situations where who they think they are can no longer survive what’s happening to them.

Where their identity is tested.
Where their beliefs demand proof.
Where their contradictions can no longer coexist quietly.

Because that is where life happens.

Not in who they were.
Not in what you say about them.

But in the moment they are forced to confront themselves—and either change, or reveal, completely and irreversibly, who they’ve been all along.

I. The Core Principle: Contradiction Creates Life

Flat characters are consistent.
Living characters are not.

A real person:

• Wants love—but pushes people away
• Craves honesty—but lies when it matters most
• Believes they’re good—while doing harm

Your job is not to make characters likable.
Your job is to make them internally divided.

Because contradiction creates:

• Tension
• Choice
• Change

And without those, your character is not alive—they are decorative.

Ask yourself:

What does my character believe about themselves that is not true?

That gap—between self-image and reality—is where the story begins.

II. Desire vs. Need: The Engine of Transformation

Every living character is pulled in two directions:

• Desire → What they want (external, conscious)
• Need → What they require to change (internal, often hidden)

Example:

• A character may want success
• But need to confront their fear of failure

Or:

• They may want love
• But need to learn how to be vulnerable

If desire and need align too early, the story dies.

The tension between them creates:

• Conflict
• Mistakes
• Consequences

And ultimately:

• Transformation… or tragedy

III. Behavior Over Explanation

Readers don’t believe what you tell them.
They believe what your character does.

Don’t write:

She was strong.

Write:

She deleted his number, then rewrote it from memory.

Don’t write:

He was afraid.

Write:

He laughed too loudly, too quickly, before anyone could notice his hands shaking.

Behavior reveals truth. Explanation softens it.

If your character feels flat, it’s often because you’re explaining them instead of exposing them.

IV. The Weight of Choice

A character becomes real the moment their choices have consequences.

Not small consequences. Not convenient ones.

Irreversible ones.

Every major moment should force the character to choose between:

• Two values
• Two fears
• Two losses

Example:

• Tell the truth and lose someone
• Or lie and lose themselves

If a character can avoid consequences, they remain theoretical.

But once they must choose—and cannot undo it—they become human.

V. Voice: The Sound of Their Mind

A living character does not just act differently.
They perceive differently.

Voice is not just dialogue—it’s:

• What they notice
• What they ignore
• How they interpret the world

Two characters walk into the same room:

• One notices exits
• One notices faces
• One notices who isn’t there

That difference is identity.

To deepen voice, ask:

• What does this character fear will happen next?
• What do they expect from people?
• What do they refuse to see?

Voice is not decoration.
It is the architecture of thought.

VI. Backstory as Pressure, Not History

Backstory is not a timeline.
It is a wound that hasn’t healed.

If the past does not affect present behavior, it does not belong in the story.

Don’t ask:

What happened to them?

Ask:

What are they still reacting to?

A character who was abandoned may:

• Leave first
• Cling too tightly
• Test loyalty constantly

The past should not be explained.
It should be felt in every decision they make.

VII. Relationships Reveal the Truth

Characters do not exist in isolation.
They are most visible in contrast.

Who they are changes depending on:

• Who they love
• Who they fear
• Who they resent
• Who sees through them

A character may be:

• Confident in public
• Small in private
• Cruel when threatened
• Gentle when safe

Write relationships that force different sides of them to emerge.

Because no one is one thing.

VIII. The Illusion of Control

Most characters believe they are in control.

They are not.

They are driven by:

• Fear
• Habit
• Misbelief
• Desire

The story is the gradual stripping away of that illusion.

A living character:

• Starts certain
• Becomes uncertain
• Is forced to confront truth

And in that confrontation, they either:

• Change
• Break
• Or double down and destroy themselves

IX. Specificity Is Humanity

Vague characters don’t live.

Specific ones do.

Not:

• “She liked music”

But:

• “She only played songs she could survive in.”

Not:

• “He was angry”

But:

• “He folded the receipt until it tore, like that would fix something.”

Specific details create:

• Texture
• Memory
• Recognition

Readers don’t remember generalities.
They remember moments.

X. Final Truth: Let Them Be Wrong

The fastest way to kill a character is to protect them.

Let them:

• Misjudge people
• Make the wrong choice
• Hurt others
• Hurt themselves

Because real people don’t grow through perfection.

They grow through collision with truth.

And sometimes…
they don’t grow at all.

Sometimes the most unforgettable character is the one who had every chance to change—

…and didn’t.

Here’s a high-level, craft-focused character chart designed specifically for this guide—built to help you create characters driven by contradiction, pressure, and consequence rather than surface traits.

Character Pressure Chart: Building People Who Live and Breathe

I. Core Identity (Surface vs. Truth)

Element	Description	Your Character
Name	Not symbolic—functional, lived-in
Public Self (Mask)	Who they present to the world
Private Self (Truth)	Who they are when unobserved
Core Misbelief	What they believe about themselves or the world (but is wrong)
Hidden Truth	The reality they are avoiding
Primary Contradiction	The tension between belief and behavior

II. Internal Engine (Desire vs. Need)

Element	Description	Your Character
External Desire	What they want (clear, active goal)
Internal Need	What they must confront/change to grow
Fear	What they are trying to avoid at all costs
Emotional Wound	Past experience shaping current behavior
False Strategy	How they try to get what they want (but fails)

III. Behavioral Patterns (Show, Don’t Tell)

Element	Description	Your Character
Default Behavior	How they act under normal conditions
Stress Behavior	How they act under pressure
Self-Sabotage	Ways they undermine their own goals
Tells / Habits	Small physical or verbal patterns
Avoidance Pattern	What they consistently avoid doing/saying

IV. Voice & Perception

Element	Description	Your Character
What They Notice First	Reveals priorities/fears
What They Ignore	Reveals blind spots
Speech Style	Direct, guarded, humorous, evasive, etc.
Internal Narrative	How they justify their actions
Bias / Lens	How they interpret others’ behavior

V. Relationships (Revealing Layers)

Element	Description	Your Character
Person They Love	How they behave when open/vulnerable
Person They Fear	How they behave under intimidation
Person They Feel Superior To	Where ego shows
Mirror Character	Someone who shares their flaw but handles it differently
Key Relationship Conflict	What tension defines their closest bond

VI. Pressure Points (Where the Story Happens)

Element	Description	Your Character
Trigger Situation	What disrupts their normal life
Rising Pressure	What forces them to confront themselves
Moral Dilemma	Choice between two values/fears
Breaking Point	Moment they can no longer avoid truth
Irreversible Choice	Decision that defines them

VII. Arc (Transformation or Refusal)

Element	Description	Your Character
Starting State	Who they are at the beginning
Midpoint Shift	First major crack in identity
Moment of Truth	When reality becomes undeniable
Final Choice	Change or refusal
End State	Who they become—or remain

VIII. Consequence & Impact

Element	Description	Your Character
Cost of Their Choice	What they lose
Who They Hurt	Emotional fallout
What They Gain	Even wrong choices give something
Reader Reaction Goal	What should the reader feel? (anger, empathy, heartbreak)
Lingering Effect	Why the character won’t be forgotten

IX. Specificity Layer (Make Them Real)

Element	Description	Your Character
Defining Detail	A small but unforgettable trait
Contradictory Action	A moment that reveals complexity
Object of Meaning	Something they attach emotion to
Line They Would Say	A piece of dialogue that captures them
Moment of Silence	What they cannot say—and why

How to Use This Chart (Advanced Tip)

Don’t fill this out all at once.

Instead:

1. Start with contradiction + desire
2. Write scenes
3. Return to the chart to refine based on behavior—not intention

Because the truth is:

You don’t discover a character by completing a chart.

You discover them by watching what they do under pressure…

…and then coming back here to understand why.

Targeted Exercises

1. The Contradiction Map

Create a character using this structure:

• What they believe about themselves
• What is actually true
• A behavior that reveals the gap

Write a short scene where this contradiction is exposed without explanation.

2. Desire vs. Need Breakdown

For one character, define:

• External goal (desire)
• Internal flaw or wound (need)

Then write a scene where pursuing the desire makes the need worse.

3. Behavior-Only Scene

Write a 500-word scene where:

• You never describe emotions directly
• You only use actions, dialogue, and physical detail

Afterward, identify what the reader feels anyway.

4. Irreversible Choice

Create a moment where your character must choose between:

• Two things they value

Make sure:

• Either choice causes loss
• The consequence cannot be undone

Write the scene focusing on hesitation, not just decision.

5. Voice Shift Exercise

Write the same scene from two different characters’ perspectives.

Change:

• What is noticed
• What is ignored
• The tone of interpretation

Compare how reality shifts.

6. Backstory Pressure Test

Write a paragraph of your character’s backstory.

Then rewrite a present-day scene where:

• None of that backstory is stated
• But all of it is felt through behavior

7. Relationship Mirror

Write a character in three interactions:

• With someone they love
• With someone they fear
• With someone they feel superior to

Track how their behavior changes in each.

8. The Breaking Point

Write a scene where:

• Your character is forced to confront the truth about themselves

They must either:

• Accept it
• Reject it
• Or distort it

Focus on internal resistance.

9. Specificity Drill

Take a vague sentence:

“He was nervous.”

Rewrite it five different ways using:

• Physical behavior
• Environment interaction
• Dialogue

Make each version feel distinct.

10. The Unchanged Character

Write a short character arc where:

• The character is given multiple chances to change
• They refuse each time

End with the consequence of that refusal.

Advanced Character Lab: Exercises for Writing People Who Refuse to Behave

These exercises are designed to push beyond competence—into psychological precision, emotional risk, and narrative control. Each one forces you to confront the difference between writing a character… and releasing one into consequence.

1. The Double-Blind Self-Deception Exercise

Objective: Write a character who is wrong about themselves—and wrong about why they’re wrong.

Instructions:

• Define:
  • A core belief (e.g., “I’m a good person”)
  • A hidden truth (they are not)
  • A false justification (why they think they are)
• Write a scene where:
  • They defend their belief convincingly
  • Their actions quietly contradict it
• Do not expose the truth directly

Advanced Layer: Add another character who sees through them—but misinterprets the reason why.

2. The Moral Trap Sequence

Objective: Force your character into a situation where every choice reveals something ugly or painful.

Instructions:

• Create a scenario where your character must choose between:
  • Protecting themselves
  • Protecting someone else
  • Preserving their identity
• Remove any “clean” outcome

Write three versions:

1. They choose selfishly
2. They choose selflessly
3. They refuse to choose

Analyze: Which version feels most true to the character—and why?

3. The Emotional Misdirection Scene

Objective: Make the reader feel one emotion… while the character is experiencing another.

Instructions:

• Choose two conflicting emotional layers:
  • Surface emotion (what the reader sees)
  • True emotion (what the character feels but suppresses)

Example:

• Surface: humor
• Truth: grief

Write a scene where:

• Dialogue and action convey the surface
• Subtext reveals the truth

Constraint:
Never name either emotion.

4. The Identity Fracture Timeline

Objective: Track how a character’s identity shifts under pressure.

Instructions: Write 5 short scenes from different points in the story:

1. Before disruption
2. First crack in identity
3. Denial phase
4. Forced confrontation
5. Aftermath

Rule: In each scene, the character must:

• Make a decision consistent with who they currently are

Then ask: At what point did they become someone else?

5. The Contradiction Under Stress Test

Objective: Reveal a character’s true nature by pushing their contradiction to a breaking point.

Instructions:

• Define a contradiction:

  • “I value honesty” vs. “I lie to avoid conflict”

• Place them in a high-stakes situation where:

  • They must act

Write the scene twice:

1. They act according to their stated belief
2. They act according to their true behavior

Compare: Which version creates more tension? Which feels more inevitable?

6. The Silent Breakdown

Objective: Portray emotional collapse without dialogue or internal monologue.

Instructions: Write a scene where your character experiences:

• Devastation, realization, or loss

Constraints:

• No dialogue
• No direct thoughts
• No emotional labeling

Use only:

• Physical action
• Environment interaction
• Sensory detail

Goal:
Make the reader feel the breakdown without being told it exists.

7. The Relationship Power Shift

Objective: Track how control moves between characters in a single scene.

Instructions:

• Write a two-character scene
• Define:
  • Who starts with power
  • Who ends with power

Rules:

• The shift must happen through:
  • Dialogue
  • Revelation
  • Choice

Advanced Layer: Make the power shift subtle—not dramatic or obvious.

8. The Wound Echo Exercise

Objective: Show how past trauma shapes present behavior without explanation.

Instructions:

• Define a formative wound (e.g., abandonment)

Write:

1. A present-day scene where the wound affects behavior
2. A separate scene from the past

Constraint: The reader should be able to connect the two without being told.

9. The Unreliable Self-Narration

Objective: Create a character whose interpretation of events cannot be trusted.

Instructions:

• Write a first-person scene where:
  • The character explains what’s happening
  • Their interpretation is flawed

Layer in clues:

• Contradictory details
• Inconsistent logic
• Emotional bias

Advanced Layer: Make the reader realize the truth before the character does.

10. The Desire Collapse

Objective: Destroy the thing your character thought they wanted.

Instructions:

• Define the character’s central desire

Write a scene where:

• They achieve it… or come close
• And realize it does not fix what they thought it would

Focus on:

• Disorientation
• Emotional recalibration
• The emergence of their true need

11. The Mirror Character Confrontation

Objective: Use another character to expose the protagonist’s flaws.

Instructions:

• Create a “mirror character” who:
  • Shares the same flaw
  • Handles it differently

Write a confrontation where:

• Each character critiques the other
• Both are partially right—and partially blind

12. The Scene Without the Character

Objective: Define a character by their absence.

Instructions: Write a scene where:

• Your main character is not present

But:

• Other characters discuss them
• React to their past actions
• Reveal conflicting perceptions

Goal:
Construct identity through external perspective.

13. The Compression Test

Objective: Distill a complex character into minimal space without losing depth.

Instructions: Write a complete character arc in:

• 300 words

Include:

• Desire
• Contradiction
• Choice
• Consequence

Constraint: Every sentence must reveal new information.

14. The Breaking Dialogue

Objective: Write dialogue that fractures a character’s self-perception.

Instructions:

• Create a conversation where:
  • One character forces another to confront a truth

Rules:

• No speeches
• No monologues
• Use interruption, deflection, and subtext

End with:

• A line that shifts the character internally

15. The Refusal Arc (Advanced Tragedy)

Objective: Write a character who understands what they must do—and refuses anyway.

Instructions:

• Build a sequence of scenes where:
  • The truth becomes undeniable
  • The cost of change becomes clear

Final Scene:

• The character consciously chooses not to change

Focus on:

• Justification
• Rationalization
• Emotional logic

Goal:
Make the reader understand the refusal—even if they hate it.

Final Challenge: The Living Character Test

Take one of your characters and ask:

• Do they want something badly enough to make a mistake?
• Are they wrong about themselves in a meaningful way?
• Do their choices create consequences they cannot escape?
• Do they change—or refuse to—under pressure?

If the answer is yes…

Then you haven’t just written a character.

You’ve written someone who could walk off the page—and leave damage behind.

Closing Thought

A living character is not someone you control.

Control creates obedience.
Obedience creates predictability.
And predictability is the fastest way to drain life from the page.

A living character resists you.

They lean away from the clean resolution.
They hesitate at the moment you want them to act.
They justify what you know is a mistake—and make it anyway.

Your task is not to override that resistance.
It is to understand it so deeply that when they make the wrong choice… it feels like the only choice they could have made.

Because “wrong” is a surface judgment.

Underneath it, there is always a reason:

• A fear they cannot outrun
• A belief they have not yet questioned
• A wound that still dictates their reactions
• A version of themselves they are trying—desperately—to protect

When you honor that reason, the character stops feeling like a puppet… and starts feeling inevitable.

They don’t just act.
They commit.

And that commitment is what makes the moment land.

When they betray themselves, it’s not sudden—it’s been building.
A series of smaller compromises. Quiet rationalizations. Almost-decisions.

So when it finally happens, the reader doesn’t think, “That came out of nowhere.”

They think: “I saw this coming… and I still hoped they’d choose differently.”

That tension—between expectation and hope—is where emotional impact lives.

Or when they finally tell the truth…

It doesn’t feel like a plot point.
It feels like a release of pressure that’s been tightening for chapters.

The words may be simple.

But everything behind them is not:

• The cost of saying it
• The risk of losing something
• The fear of being seen clearly

And because the reader understands all of that, the moment carries weight far beyond the sentence itself.

Or when they hold on—when they refuse to let go of something that is clearly breaking them—

That, too, must feel earned.

Not foolish.
Not exaggerated.

But human.

Because people don’t let go when it’s logical.
They let go when it becomes unbearable to hold on.

And until that threshold is reached, they will:

• Stay too long
• Fight for what’s already lost
• Believe what no longer serves them

If your character does the same, the reader will not judge them.

They will recognize them.

And that recognition is everything.

Because in that moment, the reader is no longer observing from a distance.

They are in it:

• Arguing silently with the character
• Hoping for a different outcome
• Feeling the consequence before it fully arrives

The page disappears.

What remains is the illusion of a real person making a real decision in real time.

That is the goal.

Not perfection.
Not likability.
Not even resolution.

But presence.

The sense that this character exists beyond the boundaries of the story—that if the narrative ended, they would keep going, making choices, making mistakes, carrying the same contradictions forward into whatever comes next.

And that is why they won’t be forgotten.

Not because they were extraordinary.
But because they were true.

True in their hesitation.
True in their self-deception.
True in their need, their fear, their refusal, their change—or their failure to change.

You didn’t control them.

You understood them.

And in doing so, you gave them something rare:

The freedom to be fully, irrevocably human—on a page that can no longer contain them.

The Weight Beneath the Surface: The Iceberg Theory of Character in Fiction

The Weight Beneath the Surface: The Iceberg Theory of Character in Fiction

by Olivia Salter

Every character begins as a sketch.

A name.
A gesture.
A wound.
A want.

At first, they are shadowy outlines moving across a blank page. They speak before we know why. They act before we understand what drives them. They are fragments.

The work of the fiction writer is to take that sketch—those faint graphite lines—and give it muscle, breath, contradiction, history. To make a character convincing, what’s on the page must evoke knowledge that extends beyond what is strictly visible. Readers must feel that something larger exists beneath the dialogue, beneath the action, beneath the silence.

This is the principle often associated with Ernest Hemingway and his famous Iceberg Theory.

The Iceberg Theory of Character

The Iceberg Theory suggests that only a small portion of meaning should appear on the surface of a story. Like an iceberg, the visible tip is supported by a vast and invisible mass beneath the waterline.

Applied to character, this means:

• We do not explain everything.
• We do not narrate every trauma.
• We do not unpack every motive.

Instead, we allow the unseen to hulk like a shadow beneath the visible action.

When done well, readers sense the weight without needing to see the entire structure.

A woman slams a door too hard.
A man laughs at the wrong moment.
A child refuses to sit at the dinner table.

The writer does not say: She was abandoned at fourteen.
The writer does not say: His father never praised him.
The writer does not say: The dinner table is where the shouting used to happen.

And yet, the reader feels it.

That is the iceberg at work.

From Sketch to Substance

When a character is still in its early stages, it is tempting to decorate rather than deepen. We add quirks, physical descriptions, favorite foods, catchphrases. But surface detail alone does not create conviction.

Convincing characters arise from invisible architecture:

• Private histories
• Contradictions
• Secret fears
• Moral blind spots
• Unspoken longings

Even if these elements never appear explicitly on the page, the writer must know them.

The invisible informs the visible.

If your character hesitates before saying “I love you,” the hesitation must come from somewhere deeper than the needs of the plot. Perhaps love once meant danger. Perhaps vulnerability once invited humiliation. Perhaps affection was always transactional.

When the unseen emotional logic supports the action, readers experience empathy.

Empathy Through Partial Revelation

Empathy does not require full explanation.

In fact, too much explanation can flatten mystery and reduce emotional resonance. When every motive is spelled out, readers are denied the opportunity to participate in interpretation.

Empathy arises when a character’s behavior feels:

• Unique enough to be individual.
• Understandable enough to be human.

This balance is delicate.

If a character acts without emotional grounding, readers disengage.
If a character is over-explained, readers feel manipulated.

The iceberg solves this tension.

By revealing only what is necessary for the moment while allowing the shadow of deeper forces to press against the scene, the writer invites readers to lean in. They begin to infer. They begin to connect the dots. They begin to supply emotional depth from their own lived experience.

And that participation creates attachment.

The Shadow That Supports the Story

In powerful fiction, the invisible is not empty space. It is dense. Charged. Pressurized.

What a character does is only meaningful because of what they do not say.

What they refuse to confront is often more revealing than what they openly confess.

The shadow must:

• Justify the action.
• Complicate the action.
• Sometimes contradict the action.

For example, imagine a character who volunteers tirelessly in her community. On the surface, she appears generous and selfless. But beneath the waterline may be guilt. Or the need to be indispensable. Or terror of being alone.

Her good deeds remain good deeds. But now they are layered. Human. Understandable.

The visible behavior is supported by the invisible hunger.

Without that submerged mass, the action floats unconvincingly.

Allowing the Invisible to “Be”

There is a discipline required in this approach: restraint.

Writers often fear that readers “won’t get it.” So we over-clarify. We summarize emotional states. We explain history at the moment it becomes relevant.

But the iceberg demands trust.

Trust that implication can carry weight.
Trust that silence can vibrate.
Trust that readers are perceptive.

To allow the invisible to be means resisting the urge to drag it fully into the light. It means suggesting through gesture, rhythm, image, and choice rather than exposition.

A trembling hand can contain a decade.
A delayed response can hold a childhood.
A single lie can imply a lifetime of concealment.

Crafting the Submerged Mass

How does a writer build what readers will never fully see?

1. Write the hidden biography.
   Draft scenes from your character’s past that may never appear in the story.

2. Identify core wounds and core desires.
   What does your character fear losing most? What do they secretly crave?

3. Define moral boundaries.
   What would they never do? Under what pressure might they cross that line?

4. Let contradictions exist.
   Humans are inconsistent. A character can be compassionate and selfish, brave and avoidant.

5. Revise for implication.
   After drafting, remove explanations that can be inferred through action.

The goal is not minimalism for its own sake. The goal is density. Even spare prose can feel heavy if what lies beneath it is fully imagined.

When the Iceberg Fails

Characters feel flat when:

• Their actions serve only the plot.
• Their emotions are declared but not embodied.
• Their past exists only as convenient backstory.
• Their choices lack internal tension.

A convincing character must feel as though they had a life before page one—and will continue to exist after the final line.

If readers can imagine the character offstage, you have succeeded.

The Living Shadow

Ultimately, bringing a character to life means accepting that they are larger than the story itself.

They cast shadows.

Those shadows stretch across scenes, influencing dialogue, shaping conflict, altering decisions. Even when unseen, they exert pressure.

What is invisible must support what is visible in some true sense—allowing it to be.

The sketch becomes a presence.
The outline becomes a pulse.
The shadow becomes a soul.

And the reader, sensing the weight beneath the surface, believes.

Bringing Characters to Life: Crafting Depth, Flaws, and Growth in Storytelling

Bringing Characters to Life: Crafting Depth, Flaws, and Growth in Storytelling

By Olivia Salter

At the heart of every unforgettable story lies a character who feels real—someone whose triumphs we cheer for, whose flaws we recognize, and whose struggles reflect our own. Readers connect with characters who are multi-dimensional, shaped by their past, driven by complex motivations, and scarred by imperfections. These characters don’t simply exist within the plot; they live, breathe, and grow as the story unfolds. A protagonist’s inner conflict or a villain’s haunting backstory can turn a simple narrative into an immersive experience, compelling readers to keep turning the page. By creating characters with depth, flaws, and purpose, writers bridge the gap between fiction and reality, ensuring their stories resonate long after the final word is read.

Let's look at some ways to bring captivating characters to life:

1. Depth and Complexity: Create characters that resonate with readers by giving them depth, flaws, and motivations.

• Depth: Characters with depth are well-rounded and multi-dimensional. They have a rich inner life, complex emotions, and a history that shapes their actions and decisions.
• Flaws: Flaws make characters relatable and believable. They show that characters are not perfect and that they make mistakes. Flaws can also create conflict and drive the story forward.
• Motivations: Motivations are the reasons why characters do what they do. They are the driving force behind their actions and decisions. Motivations can be complex and multifaceted, and they can change over time.

By giving characters depth, flaws, and motivations, you can create characters that readers will care about and remember. These characters will feel real and relatable, and they will stay with readers long after they have finished reading your story.

Here are some tips for creating characters with depth, flaws, and motivations:

• Get to know your characters. Spend time thinking about their backstory, their fears, their hopes, and their dreams. The more you know about your characters, the more believable they will be.
• Give your characters flaws. Everyone has flaws, and your characters should be no exception. Flaws can make your characters more interesting and relatable.
• Give your characters motivations. What do your characters want? What are they afraid of? What are they willing to do to achieve their goals? Strong motivations will make your characters more compelling.
• Show, don't tell. Don't just tell your readers about your characters' depth, flaws, and motivations. Show them through your characters' actions and dialogue.
• Let your characters grow and change. Characters should not be static. They should grow and change over the course of your story. This will make them more interesting and believable.

By following these tips, you can create characters that will repsonate with readers and make your stories more engaging and memorable.

2. Backstory: Develop a rich backstory for each character to inform their actions and dialogue.

A character's backstory is the history and experiences that have shaped them into the person they are today. It includes their family, friends, loves, losses, triumphs, and failures. A well-developed backstory can make a character more believable, relatable, and interesting.

Here are some tips for developing a rich backstory for your characters:

• Start with the basics: What is your character's name, age, gender, and occupation? Where were they born and raised? What is their family like?
• Consider their formative experiences: What were the most important events in their childhood and adolescence? Did they have any traumatic experiences? Did they achieve any significant milestones?
• Explore their relationships: Who are the most important people in their life? How have these relationships shaped them? Have they experienced any significant losses or betrayals?
• Develop their goals and dreams: What do they want to achieve in life? What are they afraid of? What are they willing to sacrifice to get what they want?
• Consider their flaws and strengths: What are their weaknesses and strengths? How do these qualities affect their behavior?
• Think about their voice: How do they speak? What kind of language do they use? Do they have any distinctive speech patterns or mannerisms?

Once you have a solid understanding of your character's backstory, you can start to use it to inform their actions and dialogue. For example, if your character had a traumatic childhood, they may be more prone to anxiety and fear. If they lost a loved one, they may be more withdrawn and guarded.

Here are some specific examples of how backstory can inform character actions and dialogue:

• A character who grew up poor may be more frugal and cautious with money.
• A character who was bullied as a child may be more sensitive and defensive.
• A character who lost a parent may be more determined to succeed.
• A character who was raised in a strict religious household may be more judgmental and intolerant.

By taking the time to develop a rich backstory for each of your characters, you can create more believable, complex, and interesting characters that will resonate with your readers.

3. Character Arcs: Plan out character arcs to show how your characters grow and change throughout the story.

A character arc is the transformation or inner journey of a character over the course of a story. It's how a character changes and evolves in response to the challenges and conflicts they face. A well-developed character arc can make your story more engaging and memorable.

Here are some tips for planning character arcs:

• Start with a clear starting point. What are your character's strengths, weaknesses, beliefs, and goals at the beginning of the story?
• Identify a central conflict. What is the main challenge or obstacle that your character will face? This conflict should push them to grow and change.
• Determine the desired outcome. What do you want your character to learn or achieve by the end of the story? This will help you shape their arc.
• Break down the arc into stages. Divide your character's journey into smaller steps or stages. This will help you track their progress and ensure that their growth is believable and gradual.
• Consider the catalyst for change. What event or experience will trigger your character's transformation? This could be a major event, a series of smaller events, or a gradual realization.
• Show, don't tell. Use actions, dialogue, and internal monologue to reveal your character's growth. Avoid simply stating that they have changed.
• Make the change believable. The change should be motivated by the character's experiences and personality. It should also be consistent with their character arc.

Here are some common character arc types:

• The Hero's Journey: This classic arc involves a character who goes on a quest, faces challenges, and returns transformed.
• The Rags to Riches: This arc follows a character who rises from humble beginnings to wealth or power.
• The Riches to Rags: This arc is the opposite of the Rags to Riches arc. A character falls from a high position to a low one.
• The Villain's Journey: This arc explores the motivations and transformation of a villainous character.
• The Coming-of-Age: This arc follows a young character who matures and learns important life lessons.

By carefully planning your character arcs, you can create compelling stories that resonate with your readers.

In conclusion, creating characters with depth, flaws, and motivations, supported by a rich backstory and a well-planned character arc, is the key to crafting stories that resonate with readers. When characters feel real—complete with struggles, desires, and growth—they transform into more than just names on a page; they become individuals readers care about and remember. By understanding who your characters are, where they come from, and how they change, you can breathe life into your narrative, making it both compelling and unforgettable. In the end, it’s the characters we connect with that make stories linger in our minds, reminding us of their humanity—and, perhaps, our own.

Unleashing Imagination: Exploring the 16 Personalities for Fiction Writing by Olivia Salter

Unleashing Imagination: Exploring the 16 Personalities for Fiction Writing

 

by Olivia Salter

Creating vibrant and relatable characters lies at the heart of captivating fiction writing. A multi-faceted character is not only intriguing, but also adds depth and realism to a story. To achieve this, writers often turn to the 16-personality model, a powerful tool derived from Carl Jung's theories of personality. In this article, we will explore how the 16 personalities can be utilized to construct engaging and well-rounded characters within the realm of fiction.

1. The analysts (INTJ, INTP, ENTJ, ENTP):
The analysts' personalities display an inherent knack for intellectual pursuits. Characters belonging to this category are often brilliant strategists, inventors, or masterminds. Their analytical approach makes them excel at solving complex puzzles, unraveling mysteries, or constructing intricate plans essential for the plot's progression.

2. The Diplomats (INFJ, INFP, ENFJ, ENFP):
Diplomatic characters possess profound empathy and an intuitive understanding of others. They are often portrayed as idealists, peacemakers, and visionaries. Their compassion, coupled with their ability to inspire, helps them guide and support other characters through challenges or conflicts, providing emotional depth to the story.

3. The Sentinels (ISTJ, ISFJ, ESTJ, and ESFJ):
Sentinel personalities are known for their unwavering sense of duty, loyalty, and practicality. Characters embodying these traits are often portrayed as reliable allies or authority figures, maintaining order and stability within the story. Their adherence to traditions, rules, and strong moral compasses can add conflict or tension to the narrative.

4. The Explorers (ISTP, ISFP, ESTP, ESFP):
Explorers possess a thirst for adventure, spontaneity, and a love for the present moment. Characters falling into this category are daring risk-takers who bring excitement and a sense of realism to the plot. They thrive in high-stakes situations, pushing boundaries and adding an element of thrill to the storyline.

Utilizing the 16 Personalities for Character Development:

To maximize the potential of the 16 personalities, writers need to delve deeper into their characters' individual traits, strengths, and weaknesses. Here are some helpful tips to create more authentic and nuanced characters:

1. Use the Myers-Briggs Type Indicator (MBTI):
Explore the various traits associated with each personality type and analyze how they manifest in your characters. Consider their preferences for introversion or extraversion, thinking or feeling, sensing or intuition, and judging or perceiving. This understanding will help give characters distinct perspectives, motivations, and ways of interacting within the story.

2. Balance Strengths and Flaws:
Avoid one-dimensional characters by giving them a mix of strengths and flaws. Real people have their own unique set of abilities as well as weaknesses, and the same should apply to fictional characters. This balance adds depth and relatability and allows characters to grow throughout the story.

3. Create dynamic relationships:
Different personalities often clash or complement each other, leading to compelling dynamics in relationships. Explore interactions between characters with contrasting personalities, sparking conflict, or fostering unlikely alliances. This can lead to engaging subplots and character development arcs.

4. Show personal growth:
Allow characters to evolve and grow throughout the narrative. Utilize the 16 personalities to guide their transformation, highlighting their strengths and weaknesses. This growth can be driven by a change in their preferences or an internal realization that pushes them to reevaluate their beliefs.

In conclusion, the 16-personnel model presents a valuable framework for crafting multidimensional characters in the realm of fiction writing. By understanding the unique traits, motivations, and natural tendencies associated with each personality type, writers can create characters that resonate with readers and drive compelling storylines. Remember, a well-developed character can captivate audiences, breathe life into a story, and make fiction feel all too real. So, let your imagination soar as you explore the vast possibilities that the 16 personalities offer in your next writing endeavor.

A Quick Note on Personality Types for Writers: Developing Compelling Characters for the Novice Writer by Ryker J. Phoenix

A Quick Note on Personality Types for Writers: Developing Compelling Characters for the Novice Writer

by Ryker J. Phoenix

 

Character development plays a crucial role in storytelling, and as a writer, understanding the intricacies of personality types can greatly enhance your ability to create compelling characters. By exploring different personality traits, you can craft multidimensional and relatable characters that captivate your readers. In this article, we will delve into a few key personality types that can serve as a valuable framework for character development.

1. The Introvert vs. the Extrovert:

Understanding the fundamental differences between introverts and extroverts is essential for creating authentic and multidimensional characters. Introverts are typically introspective and reserved and draw energy from solitude. They often prefer calm surroundings and thrive in their own company. On the other hand, extroverts are outgoing social creatures and gain energy from being around others. They are more likely to seek stimulation and enjoy being the center of attention.

By exploring the traits associated with introversion and extroversion, you can shape your characters' behaviors, preferences, and interactions. How they respond to social situations, the types of relationships they form, and their emotional reactions will all be influenced by their position on the introversion-extroversion spectrum.

2. The Thinker vs. the Feeler:

The thinkers and feelers represent another important dimension of personality. Thinkers tend to make decisions based on logic, rationality, and objective analysis. They prioritize facts and efficiency and often approach relationships from a more detached perspective. Conversely, feelers are driven by emotions, empathy, and subjective values. They place importance on personal values, harmony, and the emotional impact of their decisions.

This distinction can help you shape your characters' decision-making processes, their moral compass, and how they form connections with others. Thinkers may make decisions that prioritize logic and practicality, while feelers might make choices based on emotional considerations or empathy for others.

3. The Optimist vs. the Pessimist:

The outlook a character has on life can drastically shape their personality and actions. Optimists tend to have a positive perspective, seeing opportunities in challenges and having a hopeful view of their future. They are resilient, persistent, and often inspire others. Pessimists, on the other hand, have a more negative lens through which they view the world. They tend to anticipate failure, focus on obstacles, and struggle with self-doubt.

By exploring the traits associated with optimism and pessimism, you can add depth to your characters' personal journeys. How they navigate adversity, their motivations, and the overall tone of your story can be influenced by their perspective on life.

4. The Leader vs. the Follower:

Leadership qualities, or the lack thereof, can greatly impact your characters' roles and interactions within your story. Leaders are confident, assertive, and possess the ability to influence others. They take charge, set goals, and make tough decisions. Followers, on the other hand, may lack confidence or prefer to take a subordinate role. They are more comfortable following others' lead and may struggle with decision-making.

Understanding the dynamics between leaders and followers can create tension and conflict within your story. The interplay between characters with strong leadership qualities and those who prefer to follow can generate interesting plot developments and character arcs.

It is important to note that these personality types are not mutually exclusive, and most characters will exhibit a combination of traits from various categories. Furthermore, each individual is unique, and your characters should reflect that complexity. However, by using these personality types as a starting point, you can create characters that feel authentic, relatable, and engaging to your readers.

In conclusion, understanding personality types is a valuable tool for writers to develop compelling characters. By exploring traits such as introversion vs. extroversion thinking, optimism vs. pessimism, and leadership vs. follower tendencies, you can bring depth and authenticity to your characters' personalities. These traits shape their behaviors, motivations, and interactions, allowing your readers to connect with them on a more profound level. So next time you embark on character development, consider the influence of different personality types to create vibrant and captivating individuals within your story.

Also see:

• 16 Personalities 
• 16 Personality Types
•  The Myers & Briggs Foundation

 

More Quick Notes for the Novice Writer

A Quick Note on Creating Characters Your Readers Will Love and Follow from Beginning to End, for the Novice Writer

A Quick Note on Creating Characters Your Readers Will Love and Follow from Beginning to End, for the Novice Writer

by Ryker J. Phoenix

 
 

Who are the characters that make up your story, and how have they developed and grown throughout the narrative? Without their depth, emotions, and motivations, a story can feel lifeless and unfulfilling.

First, strong and well-developed characters allow readers to connect with the story on a deeper level. A reader invests time and energy in caring about characters and their journeys. They want to see them grow, succeed, and overcome their obstacles. For instance, Harry Potter would not have become one of the most beloved book series of all time without distinctly unique and well-developed characters such as Harry, Ron, Hermione, Dumbledore, Voldemort, and Severus Snape. Readers were fully invested in their lives, and because of the individual complexity and depth of each character, the story became more relatable and engaging.

Furthermore, audience engagement is what sets apart good stories from great ones. Characters are what drive the plot and enable the action to occur. Without the unique perspectives and motivations of each character, every event and interaction would take on a generic and uninteresting tone. For example, in the epic Game of Thrones, the nuanced and flawed characters give depth and meaning to the conflicts and political schemes of the fictional world of Westeros. The characters' complex moral and ethical codes reveal the human nature of each one, giving readers a deep understanding of the challenges the characters face.

In addition, the character arc, which leads to their evolution and growth throughout the story, is a significant factor in the audience's engagement. Characters who experience growth and change are more memorable and relatable as they overcome the trials they face. A character who always remains static may become dull and predictable, and the audience may quickly lose interest. For example, the character of Walter White in Breaking Bad goes from a mundane chemistry teacher to a ruthless drug kingpin, showcasing his gradual transformation throughout the series. Walter White's evolution increases viewer engagement and keeps readers hooked until the end of the story.

In conclusion, strong, compelling, and well-developed characters are essential to a captivating plot. Without this element, a story can fall flat and leave readers unsatisfied. The depth and complexity of characters their motivations and their growth contribute to their relatability and evoke the audience's emotions. Ultimately, the characters leave lasting impressions in the minds of the readers, making them the heart of any great story.

More Quick Notes for the Novice Writer

A Quick Note on Characters: Round and Flat, Major and Minor Writing for the Novice Writer

 

 

A Quick Note on Characters: Round and Flat, Major and Minor Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Characters are the heart of any good story, and they come in many different forms. In literature, characters can be divided into several categories, including round and flat characters, and major and minor characters. Understanding these distinctions can help readers better understand the role that characters play in the story and the different ways in which they are developed.

Flat characters are those that are relatively one-dimensional and do not undergo significant changes throughout the course of the story. These characters are often used to provide exposition or to move the plot forward, but they do not typically have complex motivations or relationships. Examples of flat characters might include the sidekick in a superhero movie or the stock characters that populate a romance novel.

On the other hand, round characters are those that are multi-dimensional and have more complex motivations and relationships. These characters undergo significant development throughout the course of the story, and readers are able to see them grow and change over time. Round characters often have internal conflicts, motivations that are not immediately apparent, and unexpected actions or decisions that challenge readers' expectations.

Major characters are those that play a significant role in the story and are often central to the plot. They are typically the characters that the story revolves around, and they may have dynamic relationships with other characters or experience significant shifts in their own personalities or values. Examples of major characters include the protagonist in a novel or the main character in a film.

Minor characters, on the other hand, are those that play a smaller role in the story. They may provide secondary plotlines or support for the major characters, but they do not typically have as much development or screen time as major characters. Examples of minor characters might include the friends or coworkers of the main character or the supporting players in a sports movie.

Understanding the distinctions between round and flat characters and major and minor characters can help readers better appreciate the complexity of the characters in a story and the ways in which they contribute to the narrative. By examining the traits, motivations, and relationships of each character, readers can gain a deeper understanding of the story's themes and messages. Whether in literature, film, or television, well-developed characters are key to creating engaging and memorable storytelling experiences.

 

More Quick Notes for the Novice Writer

Digging Deep: Strong Characters (Writing Tip Of The Day)

 

 Digging Deep: Strong Characters 

 

(Writing Tip Of The Day)

 

Digging Deep: Strong characters are key elements in any well-constructed story. You may have clearly illustrated their history, occupation, likes, and dislikes, but to make them truly compelling you must have a basic understanding of these characters' psyches. Choose a story you've written and make a list of the characters you don't really know yet. Next to each name, jot down notes about what that character's aspirations and motivations are. How do these characters see the world? Who are the people they look up to, want to impress, or model themselves after? Where do these characters want to be in the next five years—or in the next fifty? Will they reach their dreams, or are they destined to get sidetracked? Let this information serve as a reference when you are deciding how a character should react in a situation, or how the plot should progress.

Also see:

• Writing Characters Books at Amazon 
•  Fiction Writing Tips Article Index Page

Character In Fiction by Crawford Kilian

Character In Fiction 

by Crawford Kilian

 

Plausible, complex characters are crucial to successful storytelling. You can develop them in several ways.

1. Concreteness. They have specific homes, possessions, medical histories, tastes in furniture, political opinions. Apart from creating verisimilitude, these concrete aspects of the characters should convey information about the story: does the hero smoke Marlboros because he's a rugged outdoorsman, or because that's the brand smoked by men of his social background, or just because you do?
2. Symbolic association. You can express a character's nature metaphorically through objects or settings (a rusty sword, an apple orchard in bloom, a violent thunderstorm). These may not be perfectly understandable to the reader at first (or to the writer!), but they seem subconsciously right. Symbolic associations can be consciously ``archetypal'' (see Northrop Frye), linking the character to similar characters in literature. Or you may use symbols in some private system which the reader may or may not consciously grasp. Characters' names can form symbolic associations, though this practice has become less popular in modern fiction except in comic or ironic writing.
3. Speech. The character's speech (both content and manner) helps to evoke personality: shy and reticent, aggressive and frank, coy, humorous. Both content and manner of speech should accurately reflect the character's social and ethnic background without stereotyping. If a character ``speaks prose,'' his or her background should justify that rather artificial manner. If a character is inarticulate, that in itself should convey something.
4. Behavior. From table manners to performance in hand-to-hand combat, each new example of behavior should be consistent with what we already know of the character, yet it should reveal some new aspect of personality. Behavior under different forms of stress should be especially revealing.
5. Motivation. The characters should have good and sufficient reasons for their actions, and should carry those actions out with plausible skills. If we don't believe characters would do what the author tells us they do, the story fails.
6. Change. Characters should respond to their experiences by changing--or by working hard to avoid changing. As they seek to carry out their agendas, run into conflicts, fail or succeed, and confront new problems, they will not stay the same people. If a character seems the same at the end of a story as at the beginning, the reader at least should be changed and be aware of whatever factors kept the character from growing and developing.

The Character Resume

One useful way to learn more about your characters is to fill out a ``resume'' for them--at least for the more important ones. Such a resume might include the following information:

Name:
Address & Phone Number:
Date & Place of Birth:
Height/Weight/Physical Description:
Citizenship/Ethnic Origin:
Parents' Names & Occupations:
Other Family Members:
Spouse or Lover:
Friends' Names & Occupations:
Social Class:
Education:
Occupation/Employer:
Social Class:
Salary:
Community Status:
Job-Related Skills:
Political Beliefs/Affiliations:
Hobbies/Recreations:
Personal Qualities (imagination, taste, etc.):
Ambitions:
Fears/Anxieties/Hangups:
Intelligence:
Sense of Humor:
Most Painful Setback/Disappointment:
Most Instructive/Meaningful Experience:
Health/Physical Condition/Distinguishing Marks/Disabilities:
Sexual Orientation/Experience/Values:
Tastes in food, drink, art, music, literature, decor, clothing:
Attitude toward Life:
Attitude toward Death:
Philosophy of Life (in a phrase):

You may not use all this information, and you may want to add categories of your own, but a resume certainly helps make your character come alive in your own mind. The resume can also give you helpful ideas on everything from explaining the character's motivation to conceiving dramatic incidents that demonstrates the character's personal traits. The resume serves a useful purpose in your project bible, reminding you of the countless details you need to keep straight.

 

Except from "Advice on Novel Writing by Crawford Kilian."

 About the Author 

Crawford Kilian was born in New York City in 1941. He moved to Canada in 1967 and now resides in Vancouver B.C. Crawford has had twelve science fiction and fantasy novels published. He has been nominated for an Aurora Award 3 times for his novels Eyas, Lifter and Rogue Emperor- A Novel of the Chronoplane Wars. His latest contribution to SF is a non-fiction book for would-be SF writers called Writing Science Fiction and Fantasy. Crawford has two more novels in the works.

To learn more about him at Wikipedia.

 

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Crawford Kilian Books at Amazon

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Essence Of Character - Seven Steps To Creating Characters That Write Themselves by Corey Blake

 

Essence Of Character - Seven Steps To Creating Characters That Write Themselves

by Corey Blake

Creating characters that are believable takes time and discipline. Creating dynamically real individuals and not imposing your own thoughts and impressions upon them is not easy to do, and is often the difference between a novel or screenplay that sits in a closet and one that finds its way around town and into the hands of audiences. Spending your time building your characters before they enter the world of your story makes the process of writing an easier and more enjoyable ride, and creates a finished product that agents, publishers, producers and readers can truly be excited by.

You must first agree to operate from the understanding that the three-dimensionality of your characters is not created magically. Talent equals discipline multiplied by time and you must practice (daily) the art of developing your characters. As a development executive with LA Film Lab Entertainment (a literary development and production company), I have developed a framework to assist you in creating rich and complex characters. The complexity that you desire comes through 1) labeling their desire essences, 2) labeling their fear essences, 3) getting specific about their past, 4) labeling their behavior, 5) raising their stakes, 6) not meddling in their lives, and 7) letting them play. Asking provoking questions in line with these steps, answering them thoroughly, and then repeating the process, provides constant individual growth in your characters that mirrors life. Now let's take each step in turn:

1. Label the Desire Essences of each of your main characters: The first key to deepening your work is finding the major motivators in the lives of your characters that drive their actions. We all have deep aspirations that drive our choices, our thoughts, our actions and reactions. These needs are what differentiate us from one another and we will refer to them as "Desire Essences." Some examples of DESIRE ESSENCES are: the desire to be intellectually brilliant; the desire to be socially famous; the desire to hide from the world; the desire to belong to a group; the desire to be loved; the desire to party; the desire to die.

2. Label the Fear Essences of each of your main characters: What is at the root of each of your characters' darker sides? For every desire they have they should also exhibit the antithetical fear of failing at that desire. These fears will battle their aspirations for control over their behavior. Labeling and understanding the darker sides of your characters is imperative to creating the dimensional and imperfect characters you are after. Some examples of FEAR ESSENCES are: the fear of being stupid; the fear of being ordinary; the fear of being socially exposed; the fear of being rejected by a group; the fear of being loathed; the fear of being boring; the fear of having to face life.

3. Get specific with your Backstory: Human behavior is made up of a string of moments and reactions to those moments. A character's current behavior is a battle between fear and desire and their immediate choices are made based on very specific (yet unconscious) experiences from their past - experiences that leave imprints much like DNA. Though your characters should be unconscious of these past experiences that are influencing them, you the writer must create these in your preparation of their backstory be fully aware of them. Here is an example of what won't benefit you vs. what will when getting specific with backstory:

Bad example of getting specific: Rachel is a pretty girl who thinks she is unattractive. She prefers to live in her books as opposed to being with friends or family. Her father has abused her sexually throughout her youth. She hates attention.

Better example of getting specific: On her graduation day, at a party her Mother is throwing for her, Rachel's sexually abusive father shows up drunk and congratulates her, hugging her too closely, grabbing her rear end with both hands, and calling her pretty in front of a room full of her friends and family. She runs away humiliated and hides in her room, escaping into one of her fantasy books. That night she moves out to stay with a friend and doesn't tell her friends where she is going. Two weeks later she finds out through another friend that her father died in a car accident. He had been drunk.

In the better example of getting specific, the reader can have a visceral reaction to the words. This is caused by the detail. The generality of the bad reaction is logical, but lifeless. In the better example it is easy to determine what the essences of our leading lady might be: desire to hide, maybe even desire to die, desire to live in her books, desire to be valued for her intellect instead of her body, fear of loneliness, fear of her appearance, fear of the opposite sex, fear of losing a loved one, fear of being abandoned.

4. Describe their Current Behavior: Take the essences and the specific examples you have now created and determine what kind of behavior your characters might exhibit as a result. Don't limit yourself with these, but rather excite yourself with the possibilities.

Simple examples from our leading lady - a woman who: hides her body; avoids friends from her past; mistrusts anyone who comments favorably on her appearance; desires to control her education and her intellect; avoids alcohol.

5. Raise the stakes: Emotions are extreme. Play in the realm of this extreme when dealing with the fears and ambitions of your characters. These essences are all encompassing; meaning that we spend our lifetimes with them. Don't cheat your characters by being afraid to raise the stakes as high as you can. Needing to find a precious stone to sell to an art dealer by midnight to raise the financing to save your character's mother's house before the bank takes it away from her tomorrow is exciting! Look back at your own life and think of how seriously you take your essences - when your essences are threatened will you fight to extremes to defend them, just as when they are fulfilled, do you enjoy some of your greatest moments in life? Play in the realm of the extreme. Raise the stakes. Your essences are life and death to you - let them be that way to your characters.

6. Don't meddle: Of course you might be saying to yourself, "How do I not meddle - I'm the writer!" But a truthful story is going to grow from your willingness to let your characters make their own decisions based on how you have defined them (which after these exercises will be in great depth). As their parent, you have to let your children go; this is the point at which your story truly begins. DO NOT MEDDLE IN THEIR LIVES. Continually remind yourself - it's not about you. You just serve the story. Let your characters make their own decisions. If you ever find yourself not knowing what decision they might make - question your homework and rework their essences, behaviors and stakes until their choice becomes obvious.

7. Let your characters play: Once you have developed several characters by labeling their essences, getting specific, defining their behavior, and raising the stakes, you are ready to begin to let them interact. It's like the first day at a new school; ripe with possibility. When properly developed, there is no way to predict how your characters will behave in any given situation, but they are so full of life and their own agendas that they are ready to interact with other characters who have been developed to the same level. If you have done the work to get to this place - this is where your characters will begin to write themselves.

Follow these steps to create the richer characters you want to be writing.

Find the Essences:

To find the essences of your characters, you have to look to their history and their genetics. Just like real people, your characters' current behavior is defined by their DNA combined with experiences you create in their past. We all have the basic fears and ambitions of survival, shelter, and food, so when working on these essences focus on the ones that really drive each character. Consider ethnicity, religious beliefs, and major life events. Address sex, drugs, music, parents, siblings, education, appearance and intelligence for sure.

Start by writing out twenty DESIRE ESSENCES that feel right for each main character. Then determine one polar opposite of each DESIRE to create your twenty FEAR ESSENCES. Go back and toss the ones that you now feel less attached to. Repeat and refine the process until you have at least ten of each for each character that really excite you.

Get specific about Backstory:

Get specific about how your character's essences have come to be. Create definitive moments in your characters' lives that detail when these fears and desires were initiated. Come up with five supporting examples of moments in their lives when each of these essences was tested and eventually vindicated in the name of the fear or in the name of the desire. Failure vindicates the fear and success vindicates the desire. Write at least one half page of text supporting each -Yes that will give you a total of twenty-five pages of essence work.

Do the work.10 Essences (a desire and a fear for each) x 5 samples for each = 50 descriptions (each a half page)

Label the Current Behavior:

Using their essences and their specific past, come up with ten sample behaviors for each character. Simple example: a character who has a desire to hide and a fear of being publicly humiliated, has a specific past incident of continually having their pants pulled down in public by a sibling. The current behavior - they might always wear a belt, or might always look behind themselves in a very specific attempt to never be humiliated again.

Raise the stakes:

After looking over your newly created examples, it should be easy to determine some issues that might be going on in their lives that would increase or decrease their stress. A decrease in stress generally excites people to take greater chances, while an increase in stress tends to shorten people's fuses.

List five possible increases or decreases in your characters stress level.

Don't meddle and let them play:

Now put two of your fully developed characters into the same room. Implement two or three increases in stress to one character and two or three decreases in stress to the other character and let them bounce off of one another. Go into this exercise with no preconceived notions of what might happen. If you have done your homework, they should affect one another.*

*If you need a jumpstart - add an element that one needs from the other and give the other a strong reason for not wanting to provide what that character needs. Could be tangible or emotional.

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 About the Author

 

Corey Blake is President of Writers of the Round Table Inc. (http://www.writersoftheroundtable.com/) a literary development and author management company. Corey consults and contributes writing to best-selling authors, leadership coaches and business executives. This article first appeared in Writer Mag

 

 

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