#developing characters in books

[vickihinze]

Picking A Theme by Tara Randel

When setting out to write a book, there are many aspects that need to be considered. What is the story about? Who are the characters? The plot? The theme? All the components that, as an author, we sit down and consider before we even begin to type the first page in our story. Since there are genres in fiction, the answers to these questions depend on if you are writing a romance, or a mystery or…

[helpallthenamesaretakenblog]

percy, aged 15: ....annabeth.....is sitting.....right next to me 😧 illegal😳😳 but.... i like it🤭??

percy, aged 16: OHMYGOD 😱😱 ANNABETH WHAT ARE YOU DOING IN MY ROOM 🤯 ????😨 MOM PICK ME UP I SMELL SCANDALOUS😳😳 IM NOT EVEN LOOKING GOOD EITHER😭😭😭 lord forgive ME😭........yeah im having fun 😁

percy, aged 17: *sound of lock breaking at 3am*.......hey girlfriend✌️ yeah no worries come in 🥱 next time, knock maybe? ill open the window for you myself, just dont wake me up....yep ly👍.......k this is slightly annoying by now but i still love it 🥰

[egophiliac]

What do you like about the Diasomnia boys if I may ask?

I always love hearing about the different reasons people enjoy characters.

I mean, c'mon. he has split custody over Sebek okay

also, Lilia in particular has maybe the best timeskip character development of all time

[deception-united]

Writing Tips Master Post

Character writing/development:

Character Arcs

Making Character Profiles

Character Development

Comic Relief Arc

Internal Conflict

Creating Distinct Characters

Suicidal Urges/Martyr Complex

Creating Likeable Characters

Writing Strong Female Characters

Writing POC Characters

Character Voices

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

Book writing:

Connected vs. Stand-Alone Series

A & B Stories

Miscellaneous:

Overcoming Writer's Block

1000 Follower Special

Writing Fantasy

Character Ask Game

[toorumlk]

golden trio - character lineup

[poorly-drawn-mdzs]

Gaslight, Gatekeep, Girl found dead in a hidden room.

[First] Prev <–-> Next

[saraswritingtipps]

Here are Some things that people love reading in books

People have a wide range of preferences when it comes to reading, but there are several elements that tend to be universally loved in books. These elements often make a book more engaging and enjoyable for readers.

1. Compelling Characters: Readers enjoy well-developed, relatable, and complex characters with distinct personalities and growth throughout the story.

2. Engaging Dialogue: Well-crafted and realistic dialogue that brings characters to life and advances the plot is appreciated.

3. Emotional Connection: Books that evoke strong emotions such as joy, sadness, or empathy can be deeply satisfying for readers.

4. Imaginative Worlds: Readers often love books that transport them to imaginative, immersive settings, whether it's a fantasy realm, historical period, or a vivid contemporary world.

5. Page-Turning Plot: A well-structured, suspenseful, and fast-paced plot that keeps readers eagerly turning pages is a big draw.

6. Mystery and Intrigue: Elements of mystery, suspense, or a cleverly constructed puzzle can be very appealing to readers.

7. Character Development: Watching characters evolve, learn, and overcome challenges is a satisfying and relatable experience.

8. Universal Themes: Books that explore universal themes like love, friendship, identity, and the human condition resonate with a wide audience.

9. Beautiful Prose: Readers appreciate well-crafted, evocative prose and the use of vivid, descriptive language.

10. Unique Concepts: Original and unique concepts, ideas, or themes that challenge the norm or offer fresh perspectives can be captivating.

11. Humor: Well-placed humor and wit add charm and entertainment value to books.

12. Diversity and Inclusivity: Inclusion of diverse characters and perspectives that reflect the real world can be heartening for readers.

13. Twists and Surprises: Unexpected plot twists and surprises that challenge expectations and keep readers guessing are often welcome.

14. Moral and Ethical Dilemmas: Thought-provoking moral and ethical dilemmas that encourage introspection and discussion are appreciated.

15. Relatable Relationships: Well-developed relationships, whether they're romantic, familial, or friendships, can be deeply relatable and endearing.

16. Strong Beginnings and Endings: Memorable and powerful beginnings and endings that leave a lasting impact are highly valued.

17. Resonant Themes: Books that explore relevant and timely themes or social issues can resonate deeply with readers.

18. Empowering Narratives: Narratives that empower readers, offer hope, or inspire positive change can be incredibly uplifting.

Ultimately, what readers love in books can vary widely depending on personal preferences and tastes. A well-rounded book often incorporates several of these elements to create a rich and satisfying reading experience.

[writingwithfolklore]

Writing Character Arcs

                Here’s an easy secret about character arcs—they fit the same structure as plots (that’s because your main character’s arc is the main plot, but I’ve already talked about that here).

                That means, your character arc will somewhat follow this structure:

Normal world

Inciting Incident

Big thing happens 1

Fun and Games

Midpoint

Things get worse

Big thing happens #2

Crisis

Climax

Resolution

It begins with your character in their ‘normal state’—who they are from their backstory. They have some sort of problem that they aren’t addressing, because why would they? Change is hard.

Then, inciting incident. Something happens that sends them into a “change spiral”. They’re forced to face something they’ve been ignoring or avoiding. This incident can be just about anything that turns their world upside down—a new person comes into their life, an old person they left behind reappears, a close one dies, or a friend moves on. Etc. Etc.

Big thing #1 is the first action they take to “right” what happened in the inciting incident. An old flame reappears in their life, maybe they decide to meet up with them. A close friend dies—maybe they decide to take a trip away for a little while. It is an action taken by your character because of what happened in the inciting incident.

Fun and Games is the part where things seem to be going okay for them. Or things can be going terribly for them—it’s up to you. Either way, it accumulates to…

The midpoint. Something happens and it’s terrible and probably their fault. The old flame reinforces why they stopped going out by breaking your character’s heart again. The funeral for the friend is happening and MC missed it. Etc.

Things get worse is just hammering home this point. From their actions, things are going downhill.

Big thing happens #2 is the second action they take to right things again. This time they’re changing strategies from the first thing they tried. Maybe if they tried avoiding their problem first, they’re going to confront it (for better or for worse).

The crisis is the recognition of their initial problem or flaw. Leading to:

The climax, in which the character either chooses to change or to stay the same. Grow and do the right thing knowing what we now know, or stay stagnant and do the thing they would have done in the beginning. What you choose here depends on if your story is a tragedy or a comedy—tragic characters don’t recognize their flaw and grow from them.

Resolution is the consequences of their actions. For tragic characters, things are probably bad and remain that way—we need to show the readers their choice was the one wrong. For characters who do grow, we see them begin to thrive for the first time in the story. They’ve achieved what they wanted, though maybe not in the way they thought they wanted it.

(Pair this post with Character is Plot to flesh out your characters.)

[eggdrawsthings]

Miss Lupescu - a werewolf, or as they called themselves, the Hounds of God. She acts as Bod’s guardian when Silas is away 🐺

[yasmeensh]

Got the Master sword! I believe there is still one more upgrade to go...

Bonus Groose after Link sealed the imprisoned.

[projecttreehouse]

how to write relatable characters

writing relatable characters may seem like an easy task, especially when you’re constructing your protagonist. but what if you want to make your antagonist likeable? what if you want people to hate your protagonist but still root for them? all of this and more requires that your characters be relatable. they need to feel real, so how do you do that? here’s how:

- flaws: this is probably obvious. everyone has flaws, so we should give our characters flaws, too. this applies even if your character is non-human; they cannot escape the personification that we as writers or readers project onto them. we are humans reading, so we expect to see human qualities everywhere we look. if you’re having trouble of identifying your character’s flaws, here are some prompts for ways to think about flaws beyond a list:

what skills do they lack? what do they struggle with?

can their strengths be turned against them as a weakness?

what makes them react emotionally or impulsively?

are they aware of their flaws? if so, do they want to improve them or change them?

- quirks: these are what make your character unique or special, and no, i don’t mean purple eyes or unique physical traits. i mean: what makes your character authentically themselves? what traits define them that few others have? some ways to think about this are:

how do they react when nervous? do they have a tell? similarly, how do they react on behalf of any emotion?

what skills do they have that hardly anyone else has?

what obscure thing are they obsessed with?

do they have a unique outlook on life compared to their peers?

- values: these come from life experiences: where we were raised, our family and friends, our community, religious affiliations, etc. i suggest identifying eight to ten values that define your character and then narrowing that list down to five values that mark their core or essence. think about how these values influence their choices, decisions, and ultimately, the plot of the novel. here are some more prompts to think about values:

how do they react when their values are challenged? are they one to speak up or do they sit back in the shadows?

what, if anything, will change or shatter their values?

are their actual values misaligned with their believed values?

- stakes: what is at risk for your character? what is motivating them? stakes don’t need to be over the top or life or death; they can be as simple as maintaining a relationship or reaching a goal. unless there’s an outside influence (ie. percy’s mother being kidnapped in The Lightning Thief), most stakes—especially those relatable—tie back to values. even those influenced by outside factors can tie back to values: the only reason percy is motivated to get his mother back is because he cares for her and she is the one person who has always advocated for him and cared for him. he values family and riordan uses his family to motivate him and incite the plot. generally, there will be one overarching stake for your character, but throughout your novel, there should be several smaller stakes. these may not service the plot but should elaborate on your character nonetheless. some ways to think about stakes include:

how can i use internal or external factors to create convincing, relatable stakes that tie back to basic values?

why does the overarching stake matter to my character? why do they care?

how can i raise the stakes or introduce new ones that are relevant to my character and illustrate them as a relatable being?

- connection: even if your character is an introvert, they will still be connected to someone, something, or even an idea. we, as humans, look to certain people, pets, objects, and ideas to maintain our sense of reality whether we realize it or not. if your character prides themselves in having no attachments, think about the ideas or themes that mark the cornerstones of their reality. most human beings strive for some form of connection, so here are more prompts for thinking about your characters and connection:

what does connection mean to my character? how do they show how they value their connections or relationships?

how does my character’s behavior change when around different connections?

what connections define my character and their reality? how will these connections influence my character and/or the plot?

how will removing or challenging a connection change, influence, or motivate my character?

a good rule of thumb is to treat a character as a human, not a plot device. there is a time or place in which a character must act as a plot device, but if you’re wanting your readers to be compelled by your narration and the characters within them, you should strive to write your characters as human (aka as relatable). one of the greatest pleasures i find in writing is when other’s identify themselves in my writing.

you’re not just here to tell a story, you’re here to connect with others through the illustration of your characters. let the reader navigate your prose as a detective, to search for and identify the evidence provided by you. that is to say, show us how these things manifest in your character. don’t tell us.

happy writing! hopefully this post gave you some ways to start thinking about how to show the relatability of your character. if you have any questions about implementing these tools or about writing characters, our ask box is always open.

[byoldervine]

The Trick To Writing Filler

(TL;DR at the bottom)

Filler is when you spend a chapter padding the length of your story between plot-related events. Filler chapters have little to no impact on the overarching plot and can be self-contained, and thus in TV shows filler episodes are often reran the most as people unfamiliar with the show can casually watch without being confused without the knowledge of prior plot beats

So with the chapter being largely self-contained and acting outside of the plot, what do you use to make the filler chapter engaging? I’m going to use filler episodes from Avatar: The Last Airbender to provide examples

1. Worldbuilding. Zuko Alone depicts Zuko’s travels taking him through an Earth Kingdom village and becoming acquainted to the family that allows him to stay with them, especially their young son. He learns about what the Fire Nation’s impact on this village has been; destroyed houses, families torn apart, constant robbery and other abuses of power and injustices. And even after Zuko defends the villagers and his new friend, he’s venomously cast out from the village by even the little boy because he outed himself as a firebender. This episode explored the impact of the war on the people of the Earth Kingdom, the victims of war that have no involvement in it and no way of defending themselves from it

2. Character exploration. In The Beach, we learn more about Mai, Ty Lee, Azula and Zuko and how their own traumas and personal upbringings have impacted their personalities. For Zuko this is part of a turning point for him, but for the girls it’s more to understand why they are the people we’ve gotten to know over the seasons, especially Ty Lee and Mai. The episode also serves to showcase how Azula and Zuko are so out of place being just normal teenagers; Azula has no idea how to talk to her peers and no identity outside being Princess Azula of the Fire Nation, while Zuko’s hotheadedness and jealousy issues lead him to lash out and be far too confrontational and controlling for his own good. This episode isn’t really used to develop these characters, or at least not the girls, but instead explains and showcases their behaviours and the reasons behind them

3. Character development. Going back to The Beach, Zuko does indeed receive development rather than just character exploration like the girls do; he comes to understand that he’s not just angry at the world or angry in general, but angry with himself. This is a notable turning point for Zuko’s redemption arc, because he now understands fully that he truly regrets betraying Iroh and sacrificing his new start in life in favour of returning to the Fire Nation. He might not yet be fully decided on turning his back on Ozai, but without this moment I don’t know if he’d have gotten there, or at least not as quickly as he did

4. Relationship development. Sokka’s Master has a C plot of Aang, Katara and Toph all being rather bored and lost without Sokka’s presence. The A plot exploring Sokka’s feelings of inadequacy and uselessness in comparison to such powerful and formidable bending masters being contrasted with the Gaang unable to function without him already speaks volumes about their dynamics, but looking deeper into the C plot also shows how much value Sokka really does bring to the team; structure, planning, humour, a quick wit, strategic moves. The Gaang always supported Sokka and never seemed to view him as expendable outside of the occasional teasing, but having it acknowledged so clearly and plainly that they can feel a little aimless and flat without Sokka and being so delighted when he returns really shows us the kind of value Sokka brings to this team and brings us and the characters to further appreciate it

5. Downtime. The Ember Island Players depicts the characters taking a break to watch a comedic play based on their wacky adventures, only to be largely underwhelmed and displeased by how they’re portrayed. There are no stakes to this episode and barely any plot, just the Gaang taking a breather as they react to a bad play. This chance to relax and watch something inconsequential is just as important to the viewers as we’ve got the show’s finale in the next four episodes, which will be very plot-driven and intense. The Ember Island Players also has the additional viewer bonus of recapping the events of the show right before it all ends, giving the viewers time to reflect on the journey they’ve gone on with these characters. In order for the stakes to feel high and the tension to rise, there has to be downtime where there are low stakes and low tension; if things are intense all the time, the moments that are supposed to feel super intense will just feel average in comparison. Resetting that intensity right before such a big event while still acknowledging the looming threat coming soon will feel like the calm before the storm and allow your audience to soak it all up like the characters are

Wow, did I just go through all that without talking about Tales of Ba Sing Se? I’ll save that for another post if people are interested in more

TL;DR - filler provides a moment to breathe, reset the intensity levels the audience are experiencing and take a chance to step away from the external conflict (the overarching plot) in favour of worldbuilding and the characters within your setting. Small moments can amount to something big, and can help make large scale decisions or plot twists feel more build-up and in-character

[night-market-if]

The Night Market

Welcome to the Night Market! The nexus point between all the worlds. Lost and confused, play a character searching for a way home. Uncover secrets of the world, meet a cast of vastly different characters, and remember, that not all is as it seems. Over a million word interactive fiction for your viewing pleasure, actively updated and passionately loved.

Book One is complete!

Book Two TBA

Demo 🌿Steam🌿Itch.io🌿 Patreon 🌿Discord🌿FAQS

Art credit to @mooreaux

[pufftheninja]

Lilia Vanrouge 💚🖤🩷

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My commissions are open! If you’d like to commission me, please fill out the form here. DM me if you have any questions.

[ofswordsandpens]

I'm sincerely very happy for anyone who is enjoying the show but every time I see takes that the show has improved the book characterizations or that the book characters are underdeveloped in comparison to the show...

[luchia-a]

Jude the Spy

Jude the Queen of Mirth