#creative's characters

[creativeai]

i can't find pants i like for the character I'm making. i can't believe I'm saying this, but I need more options.

i'm also currently making a group of thieves that are living in the remains of a town in the lost forest. the pants are for their Ithelin guard whose mother is from the forest.

[going2hell4everythingbutbeingbi]

things to ask yourself when designing a female character:

how much blood is she covered in

are her eyes filled with madness

can she rip things to shreds with her fingernails

[imastoryteller]

20 Compelling Positive-Negative Trait Pairs

Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:

1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.

2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.

3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.

4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.

5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.

6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.

7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.

8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.

9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.

10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.

11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.

12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.

13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.

14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.

15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.

16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.

17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.

18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.

19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.

20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.

These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.

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[luna-azzurra]

Body language cues for a few emotions

Happiness:

Smiling genuinely, with crinkles around the eyes.

Open body posture, with relaxed arms and shoulders.

Leaning forward slightly towards the person or object of interest.

Making eye contact with a warm and engaged expression.

Anger:

Tightened jaw and clenched fists.

Furrowed brows and narrowed eyes.

Standing or sitting with a rigid and tense posture.

Pointing fingers or aggressive gestures.

Raised voice or speaking through gritted teeth.

Sadness:

Downcast eyes and a drooping posture.

Slumped shoulders and shallow breathing.

Avoiding eye contact and withdrawing from social interaction.

Sighing or a subdued tone of voice.

Tearfulness, with watery or red eyes.

Fear:

Widened eyes with dilated pupils.

Raised eyebrows and a tense facial expression.

Frozen or rigid body posture.

Backing away or seeking physical distance from the perceived threat.

Trembling or shaking, especially in the hands or legs.

Surprise:

Raised eyebrows and widened eyes.

Mouth slightly agape or forming an "O" shape.

Leaning forward or recoiling backward in response to the surprise.

Quick inhalation or gasp of breath.

Rapid blinking or blinking more than usual.

Disgust:

Curling the upper lip or wrinkling the nose.

Narrowing the eyes and raising the upper eyelids.

Turning the head away or physically distancing oneself from the source of disgust.

Covering the mouth or nose with the hand or a tissue.

Expressing verbal disgust through phrases like "ew" or "yuck."

These are just some examples, and individuals may display variations in their body language based on their personality, cultural background, and the specific context of the situation.

[deception-united]

Writing Tips Master Post

Character writing/development:

Character Arcs

Making Character Profiles

Character Development

Comic Relief Arc

Internal Conflict

Character Voices

Creating Distinct Characters

Suicidal Urges/Martyr Complex

Creating Likeable Characters

Writing Strong Female Characters

Writing POC Characters

Building Tension

Plot devices/development:

Intrigue in Storytelling

Enemies to Lovers

Alternatives to Killing Characters

Worldbuilding

Misdirection

Consider Before Killing Characters

Foreshadowing

Narrative:

Emphasising the Stakes

Avoid Info-Dumping

Writing Without Dialogue

1st vs. 2nd vs. 3rd Perspective

Fight Scenes (+ More)

Transitions

Pacing

Writing Prologues

Dialogue Tips

Writing War

Writing Cheating

Worldbuilding:

Worldbuilding: Questions to Consider

Creating Laws/Rules in Fantasy Worlds

Book writing:

Connected vs. Stand-Alone Series

A & B Stories

Writer resources:

Writing YouTube Channels, Podcasts, & Blogs

Online Writing Resources

Outlining/Writing/Editing Software

Writer help:

Losing Passion/Burnout

Overcoming Writer's Block

Fantasy terms:

How To Name Fantasy Races (Step-by-Step)

Naming Elemental Races

Naming Fire-Related Races

How To Name Fantasy Places

Ask games:

Character Ask Game #1

Character Ask Game #2

Character Ask Game #3

Miscellaneous:

1000 Follower Post

2000 Follower Poll

Writing Fantasy

[writing-chats]

ultimate character development template

basics

name: meaning of name: nicknames/titles: age: gender: location: birthday: strengths + example where it's shown: weaknesses + example where it's shown: how it affects others:

emotional depth

attachment style + how it manifests in the story: physical fear: emotional/abstract fear: happy memory: sad memory: object of significance: philosophical outlook/belief: what characters are ignorant about themselves: how confident are they: goal: long-term dreams: what they're embarrassed/ashamed to tell others about: regrets: source of pride: source of misery: what they admire above all else: do they believe in fate:

personality

mbti: enneagram: big five: character archetype: star sign: who they pretend to be on the outside: who they actually are/how they feel towards the mask: mental health conditions: how it manifests for them: iq: eq: humour: reputation:

habits

bad habits: mannerisms when stressed: mannerisms when content: mannerisms when scared: mannerisms normally: verbal mannerisms/distinctive speaking style: how do they move across a room: what do they say and what remains unsaid: how they express love: hobbies:

appearance

defining features: eye shape + colour: hair texture + colour: skin texture + tone: vibe: height: build: clothing: any bodily disfigurement (scars, etc.): overall attractiveness: their opinion on their appearance: appeals to:

relationships

who they trust most: what they wish they could do for them: what's holding them back: who they hate most: what they wish they could do to them: what's holding them back: relationship with the protagonist: relationship with the antagonist: siblings: relationship with them: parents/step-parents: relationship with them: previous broken relationships: why did it break: what others expect of them: who believes in them: their mentor character/who they look up to: political/religious/other affiliations: what makes them different from every other character: non-human relationships + why: romantic "type" + why: relationship dynamics:

backstory/background

primary emotion towards their past: primary feelings while in their past: where did they grow up: defining incidents: earliest childhood memory: saddest memory: happiest memory: major accomplishments: their opinion on it: notable people in their backstory: effect on them today: trauma: what have they already lost: financial circumstance:

progression

why are they important (eg. why're they the only one able to do something?): what do they learn about themselves throughout the story: what do they learn about the world: how do they feel towards their newfound knowledge: character arc (positive, negative, neutral): how relationships change because of their actions: what mistakes do they make: what scene is their character highlighted: do they get what they want: why or why not: what happens to them after the story ends:

[pen-of-roses]

Do y'all ever think about how cool it is that art inspires other art inspires other art inspires other art in an endless cycle

[hauntedraggedyanne]

small flaws to give to characters

These aren’t anything super game breaking that turns the character into a psychopath, but they can foreshadow bigger, more important issues down the line.

—always making the conversation about themselves

—lying about something incredibly stupid but they refuse to back down from

—expecting others to pay for them at every store, restaurant or hotel

—subtle jabs at other people that they always respond with ‘I wasn’t SAYING it was bad! YOU’RE the one making ME look bad!’ (Watch one of those ‘alpha male vs modern feminist’ videos or clips for inspiration if you are brave enough)

—messy, except this time they have other people in their space (like a dorm, shared apartment, or any kind of shared living space) so their messiness makes everyone VERY upset

—refusing to understand or learn another friend/teammate/partners culture or background to even slightly understand then

—loud obnoxious voiced people who physically can NOT make a subtle entrance or just simply exist in a room without yelling or eating very loudly

—asks for permission to do absolutely anything even with people who are on the same or even a lower level than they are

—doesn’t listen to music with headphones on in a crowded space so EVERYONE has to listen to them

God I hope the last one isn’t just a me-thing because I actively want to strangle anyone who does that

[ruushes]

still endlessly indecisive abt my datv worldstate bc ive played these games too many times and have too many ocs now but ive seen a lot of people drawing their worldstate characters and i wanted to too lol so here’s my tentative pick

fantastic templates are by marianchurchland ❤️❤️💕

[themightyhumanbroom]

It's always risky killing off a character but if you have to, you must have them HAUNT the narrative. Let their death and absence be constantly felt at some level.

[creativeai]

i have some new character ideas and am expanding on old ones.

[fictionstudent]

How to pull off descriptions

New authors always describe the scene and place every object on the stage before they press the play button of their novels. And I feel that it happens because we live in a world filled with visual media like comics and films, which heavily influence our prose.

In visual media, it’s really easy to set the scene—you just show where every object is, doesn’t matter if they’re a part of the action about to come or not. But prose is quite different from comics and films. You can’t just set the scene and expect the reader to wait for you to start action of the novel. You just begin the scene with action, making sure your reader is glued to the page.

And now that begs the question—if not at the beginning, where do you describe the scene? Am I saying you should not use descriptions and details at all? Hell naw! I’m just saying the way you’re doing it is wrong—there’s a smarter way to pull off descriptions. And I’m here to teach that to you.

***

#01 - What are descriptions?

Let’s start with the basics—what are descriptions? How do you define descriptions? Or details, for that matter? And what do the words include?

Descriptions refer to… descriptions. It’s that part of your prose where you’re not describing something—the appearance of an object, perhaps. Mostly, we mean scene-descriptions when we use the term, but descriptions are more than just scene-descriptions.

Descriptions include appearances of characters too. Let’s call that character-descriptions.

Both scene-descriptions and character-descriptions are forms of descriptions that we regularly use in our prose. We mostly use them at the beginning of the scene—just out of habit.

Authors, especially the newer ones, feel that they need to describe each and every nook and cranny of the place or character so they can be visualized clearly by their readers, right as the authors themselves visualized them. And they do that at the start of the scene because how can you visualize a scene when you don’t know how the scene looks first.

And that’s why your prose is filled with how the clouds look or what lights are on the room before you even start with the dialogues and action. But the first paragraph doesn’t need to be a simple scene-description—it makes your prose formulaic and predictable. And boring. Let me help you with this.

***

#02 - Get in your narrator’s head

The prose may have many MCs, but a piece of prose only has a single narrator. And these days, that’s mostly one of the characters of your story. Who uses third-person omniscient narrator these days anyway? If that’s you, change your habits.

Anyway, know your narrator. Flesh out their character. And then internalize them—their speech and stuff like that. Internalize your narrator to such an extent that you can write prose from their point-of-view.

Now, I don’t mean to say that only your narrator should be at the center of the scene—far from it. What I mean is you should get into your narrator’s head.

You do not describe a scene from the eyes of the author—you—but from the eyes of the narrator. You see from their eyes, and understand what they’re noticing. And then you write that.

Start your scene with what the narrator is looking at.

For example,

The dark clouds had covered the sky that day. The whole classroom was in shades of gray—quite unusual for someone like Sara who was used to the sun. She felt the gloom the day had brought with it—the gloom that no one else in her class knew of.

She never had happy times under the clouds like that. Rain made her sad. Rain made her yearn for something she couldn’t put into words. What was it that she was living for? Money? Happiness?

As she stared at the sky through the window, she was lost in her own quiet little corner. Both money and happiness—and even everything else—were temporary. All of it would leave her one day, then come back, then leave, then come back, like the waves of an ocean far away from any human civilization in sight.

All of it would come and go—like rain, it’d fall on her, like rain, it’d evaporate without proof.

And suddenly, drops of water began hitting the window.

You know it was a cloudy day, where it could rain anytime soon. You know that for other students, it didn’t really matter, but Sara felt really depressed because of the weather that day. You know Sara was at the corner, dealing with her emotions alone.

It’s far better than this,

The dark clouds covered the sky that day. It could rain anytime soon.

From her seat at the corner of the room, Sara stared at the sky that made everything gray that day. She…

The main reason it doesn’t work is that you describe the scene in the first paragraph, but it’s devoid of any emotions. Of any flavor. It’s like a factual weather report of the day. That’s what you don’t want to do—write descriptions in a factual tone.

If you want to pull off the prior one, get to your narrator’s head. See from their eyes, think from their brain. Understand what they’re experiencing, and then write that experience from their POV.

Sara didn’t care what everyone was wearing—they were all probably in their school uniforms, obviously, so I didn’t describe that. Sara didn’t focus on how big the classroom was, or how filled, or what everybody was doing. Sara was just looking at the clouds and the clouds alone, hearing everybody just living their normal days, so I mentioned just those things.

As the author, you need to understand that only you, the author are the know-it-all about the scene, not your narrator. And that you’re different from your narrator.

Write as a narrator, not as an author.

***

#03 - Filler Words

This brings me to filler words. Now, hearing my advice, you might start writing something like this,

Sarah noticed the dark clouds through the window. She saw that they’d saturated the place gray.

Fillers words like “see”, “notice”, “stare”, “hear” should be ignored. But many authors who begin writing from the POV of the characters start using these verbs to describe what the character is experiencing.

But remember, the character is not cognizant of the fact that they’re seeing a dark cloud, just that it’s a dark cloud. You don’t need these filler words—straight up describe what the character is seeing, instead of describing that the character is seeing.

Just write,

There were dark clouds on the other end of the window, which saturated the place gray.

Sarah is still seeing the clouds, yeah. But we’re looking from her eyes, and her eyes ain’t noticing that she’s noticing the clouds.

It’s kinda confusing, but it’s an important mistake to avoid. Filler words can really make your writing sound more amateurish than before and take away the experience of the reader, because the reader wants to see through the narrator’s eyes, not that the narrator is seeing.

***

#04 - Characters

Character-descriptions are a lot harder to pull off than scene-descriptions. Because it’s really confusing to know when to describe them, their clothing, their appearances, and what to tell and what not to.

For characters, you can give a full description of their looks. Keep it concise and clear, so that your readers can get a pretty good idea of the character with so few words that they don’t notice you’ve stopped action for a while.

Or can show your narrator scanning the character, and what they noticed about them.

Both these two tricks only work when a character is shown first time to the readers. After that, you don’t really talk about their clothing or face anymore.

Until there’s something out of the ordinary about your character.

What do I mean by that? See, you’ve described the face and clothes of the character, and the next time they appear, the reader is gonna imagine the character in a similar set of clothes, with the same face and appearance that they had the first time. Therefore, any time other than the first, you don’t go into detail about the character again. But, if something about your character is out of ordinary—there are bruises on their face, scars, or a change in the way they dress—describe it to the reader. That’s because your narrator may notice these little changes.

***

#05 - Clothing

Clothing is a special case. Some new authors describe the clothes of the characters when they’re describing the character every time the reader sees them. So, I wanna help you with this.

Clothing can be a way to show something about your character—a character with a well-ironed business suit is gonna be different from a character with tight jeans and baggy t-shirt. Therefore, only use clothing to tell something unique about the character.

Refrain from describing the clothing of characters that dress like most others. Like, in a school, it’s obvious that all characters are wearing school uniforms. Also, a normal teenage boy may wear t-shirts and denim jeans. If your character is this, no need to describe their clothing—anything the reader would be imagining is fine.

Refrain from describing the clothing of one-dimensional side-characters—there’s a high chance you’ve not really created them well enough that they have clothing that differs from the expectations of the readers. We all know what waiters wear, or what a college guy who was just passing by in the scene would be wearing.

You may describe the clothing of the important character in the story, but only in the first appearance. After that, describe their clothes only if the clothes seem really, really different from the first time. And stop describing their clothes if you’ve set your character well enough in the story that your readers know what to expect from them in normal circumstances—then, describe clothes only when they’re really, really different from their usual forms of clothing.

***

#06 - Conclusion

I think there was so much I had to say in this article, but I didn’t do a good job. However, I said all that I wanted to say. I hope you guys liked the article and it helps you in one way or the other.

And please subscribe if you want more articles like this straight in your inbox!

[luna-azzurra]

List of 40 character flaws

Stubbornness, Unyielding in one's own views, even when wrong.

Impatience, Difficulty waiting for long-term results.

Self-doubt, Constant uncertainty despite evident abilities.

Quick temper, Excessive reactions to provocations.

Selfishness, Prioritizing one's own needs over others'.

Arrogance, Overestimating one's own abilities.

Trust issues, Difficulty trusting others.

Perfectionism, Setting unreachable high standards.

Fear of change, Avoiding changes.

Haunted by the past, Old mistakes or traumas influencing the present.

Jealousy, Envious of others' successes.

Laziness, Hesitant to exert effort.

Vindictiveness, Strong desire for revenge.

Prejudice, Unfair biases against others.

Shyness, Excessive timidity.

Indecisiveness, Difficulty making decisions.

Vulnerability, Overly sensitive to criticism.

Greed, Strong desire for more (money, power, etc.).

Dishonesty, Tendency to distort the truth.

Recklessness, Ignoring the consequences of one's actions.

Cynicism, Negative attitude and distrust.

Cowardice, Lack of courage in critical moments.

Hotheadedness, Quick, often thoughtless reactions.

Contentiousness, Tendency to provoke conflicts.

Forgetfulness, Difficulty remembering important details.

Kleptomania, Compulsion to steal things.

Hypochondria, Excessive concern about one's health.

Pessimism, Expecting the worst in every situation.

Narcissism, Excessive self-love.

Control freak, Inability to let go or trust others.

Tactlessness, Inability to address sensitive topics sensitively.

Hopelessness, Feeling that nothing will get better.

Dogmatism, Rigidity in one's own beliefs.

Unreliability, Inability to keep promises.

Closed-offness, Difficulty expressing emotions.

Impulsiveness, Acting without thinking.

Wounded pride, Overly sensitive to criticism of oneself.

Isolation, Tendency to withdraw from others.

[deception-united]

Let's talk about character voices.

Giving a character a unique voice in your writing involves several elements, such as word choice, sentence structure, dialogue quirks, and mannerisms. Incorporating these elements into your writing can really help create characters with distinct voices that resonate with readers and bring your narrative to life, as well as avoiding making all your characters sound the same, which is important especially when switching POVs.

Here are some tips you may find helpful:

Distinct vocabulary: Choose words that reflect the character's background, personality, profession, interests, experiences, and education level. For example, a well-educated professor would probably use more sophisticated language.

Dialogue quirks: Give each character specific speech patterns or quirks that set them apart, like repeated phrases, stuttering, using or avoiding contractions, or speaking in a particular dialect or accent, but don't overdo it to the point where it's distracting or it's hard to decipher what's being said.

Sentence structure: Pay attention to the rhythm and structure of their sentences. Some characters might speak in short, abrupt sentences, while others might use long, flowing ones. This can convey their confidence, hesitation, or urgency in the particular scenario, but also their general demeanor or manner.

Internal monologue: Show the character's unique thought process through their internal monologue. This can help readers understand their motivations, fears, and desires, further distinguishing them from other characters. (This may not necessarily apply to your story if you're writing in a third person omniscient perspective, or if you intend to exclusively follow the internal monologue of the main character.)

Physical gestures/actions: State what the the character's physical gestures and actions are while speaking. A nervous character might fidget, slouch, or avoid eye contact, while a confident character would stand tall and make direct eye contact.

Background & history: The character's upbringing, cultural influences, and past experiences can all shape the way they speak and interact with others.

Consistency: It's important to maintain consistency in the character's voice throughout the story and make sure their speech patterns, vocabulary, and mannerisms remain true to their established personality and don't contradict with anything.

Real conversations: Pay attention to how people speak in real life, and the tone, vocabulary, and speech patterns of different people, to help create more authentic and believable dialogue.

Read aloud: Reading your dialogue aloud can help you identify areas where the character's voice may not sound authentic. If it doesn't sound like something they would say, revise.

Hope this helps!

Previous | Next

[3hks]

Flaws to Give to Characters II

When I first posted "Flaws to Add to Characters," it gained a lot more popularity than I thought it would! And since you all loved it so much, here's another one!

>>> Selfishness - When one becomes too focused on themselves, they start to ignore those around them who've helped along the way.

>>> Indecisiveness - When one can't make a decision, ultimately, they are stuck and unable to progress.

>>> Self-Centered - Self-centered people are often too consumed with themselves to worry about anything else. Sometimes it's similar to selfishness, and other times it's not. They may be too vain or too busy victimizing themselves to care about others.

>>> Gullibility - A seriously gullible person is easy to trick, manipulate, and hurt.

>>> Skepticality - People that are just too skeptical can be difficult to deal with because they seemingly have to question every action. There's always a motive behind kindness, right..?

>>> Bluntness - Though honesty is the best policy, bluntness is something else. Being too honest can be quite hurtful depending on the situation.

>>> Pushover - Not being able to say "no" when one wants to makes it difficult to be able to advocate for themselves. Additionally, they can get taken advantage of and used.

>>> Easily Offended - This person will absolutely take EVERYTHING personally. Those around them have to be careful about their words, actions, or even behavior because they will look too deep into the most non-meaningful actions. This is usually a result of insecurity.

>>> Overthinking - We all have our moments with this one. Overthinking can often lead to indecisiveness, ensuring that a decision won't be made in the future.

>>> Impulsivity - Sometimes it's better to just think things through. Being too impulsive can lead to unideal situations, events, and outcomes.

Whaddya think? Were these helpful? I'm thinking about continuing these series, but what do you think? (Not gonna lie, these posts help me get my ideas and thoughts in order too.)

Happy writing~

3hks <3

[imastoryteller]

Understanding Internal Conflict in Storytelling

Internal conflict is a vital tool in storytelling, enriching characters and deepening narrative impact. Understanding and effectively using internal conflict can transform a good story into a compelling, unforgettable one.

Introduction to Internal Conflict

Definition: Internal conflict refers to a psychological struggle within a character, often involving emotions, desires, or beliefs.

Purpose: It adds depth to characters, making them more relatable and complex.

Types of Internal Conflict

Moral Dilemmas: Situations where a character must choose between right and wrong, often with no clear answer.

Emotional Struggles: Conflicts arising from feelings like love, guilt, fear, or jealousy.

Identity Crises: Moments when characters question who they are or what they believe in.

Conflicting Desires: When a character's wants or needs are at odds with each other.

Examples of Internal Conflict

Classic Literature: Hamlet's indecision about avenging his father's death.

Modern Fiction: Katniss Everdeen's struggle between her survival instincts and her growing sense of rebellion in "The Hunger Games".

Film: Frodo Baggins grappling with the burden of the One Ring and its corrupting influence in "The Lord of the Rings".

Importance of Internal Conflict

Character Development: Drives growth and transformation, showing how characters evolve.

Engagement: Keeps readers invested in the character’s journey by creating empathy and tension.

Theme Exploration: Allows writers to explore complex themes like morality, identity, and human nature.

Crafting Internal Conflict

Believability: Ensure the conflict is realistic and relatable to the audience.

Depth: Give characters more than one internal conflict to make them richer and more interesting.

Resolution: Show how characters resolve or cope with their internal struggles, even if it’s not a happy ending.

Questions to Consider

What is the character’s main internal struggle?

How does this conflict affect their decisions and actions?

In what ways does the internal conflict drive the story forward?

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