HOW TO GIVE PERSONALITY TO A CHARACTER

Giving personality to a character is an essential part of character development in storytelling, whether you're writing a novel, screenplay, or creating a character for a role-playing game. Here are some steps and considerations to help you give personality to your character:

Understand Their Backstory:

Start by creating a detailed backstory for your character. Where were they born? What were their childhood experiences like? What significant events have shaped their life? Understanding their past can help you determine their motivations, fears, and desires.

2. Define Their Goals and Motivations:

Characters often become more interesting when they have clear goals and motivations. What does your character want? It could be something tangible like a job or a romantic relationship, or it could be an abstract desire like happiness or freedom.

3. Determine Their Strengths and Weaknesses:

No one is perfect, and characters should reflect this. Identify your character's strengths and weaknesses. This can include physical abilities, intellectual skills, and personality traits. Flaws can make characters relatable and three-dimensional.

4. Consider Their Personality Traits:

Think about your character's personality traits. Are they introverted or extroverted? Shy or outgoing? Kind or selfish? Create a list of traits that describe their character. You can use personality frameworks like the Myers-Briggs Type Indicator or the Big Five Personality Traits as a starting point.

5. Give Them Quirks and Habits:

Quirks and habits can make a character memorable. Do they have a specific way of speaking, a unique fashion style, or an unusual hobby? These details can help bring your character to life.

6. Explore Their Relationships:

Characters don't exist in isolation. Consider how your character interacts with others. What are their relationships like with family, friends, and enemies? These relationships can reveal a lot about their personality.

7. Show, Don't Tell:

Instead of explicitly telling the audience about your character's personality, show it through their actions, dialogue, and decisions. Let the reader or viewer infer their traits based on their behavior.

8. Create Internal Conflict:

Characters with internal conflicts are often more engaging. What inner struggles does your character face? These can be related to their goals, values, or past experiences.

9. Use Character Arcs:

Consider how your character will change or grow throughout the story. Character development is often about how a character evolves in response to the events and challenges they face.

10. Seek Inspiration:

Draw inspiration from real people, other fictional characters, or even historical figures. Study how people with similar traits and backgrounds behave to inform your character's actions and reactions.

11. Write Dialogue and Inner Monologues:

Writing dialogue and inner monologues from your character's perspective can help you get inside their head and understand their thought processes and emotions.

12. Consider the Setting:

The setting of your story can influence your character's personality. For example, a character who grows up in a war-torn environment may have a different personality than one raised in a peaceful, affluent society.

13. Revise and Refine:

Don't be afraid to revise and refine your character as you write and develop your story. Characters can evolve and change as the narrative unfolds.

Remember that well-developed characters are dynamic and multi-faceted. They should feel like real people with strengths, weaknesses, and complexities. As you write and develop your character, put yourself in their shoes and think about how they would react to various situations. This will help you create a compelling and believable personality for your character.

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Writing Tip!

An easy way to tell if you’re showing instead of telling is how much you’re using is/was. My English professor explained this to me a few semesters ago, and while he just wanted varied sentence structure in my papers, it also works very well for creative writing.

This isn’t to say that is and was are bad verbs, but rather that they are very basic and do not express anything beyond the fact that something exists. Sometimes, that’s all you need to know in a sentence, but often, the writer can make the story or the characters more engaging by explaining who someone is, what something is, where something is, when something is, why something is, or how something or someone is more powerfully by using one of a few tactics.

The first method is to use strong verbs. “Strong verbs” is a term that gets thrown around a lot, but a strong verb is simply a verb that explains what action is happening as clearly as possibly. For instance, when one “jumps” off the diving board, the reader doesn’t know how the person jumped, but the reader will be able to more clearly see the action if you write “she dove” or “he cannonballed” or “she belly-flopped.” Be aware of who is reading your writing and who the narrator is. In general, if your target demographic probably doesn’t know the word or if your narrator wouldn’t know the word, use a simpler, less precise verb and use adverbs to make it specific.

Another way is to show why the narrator was saying “it is/she was/there is” in the first place. Think of the is/was statement as the disease. You want your reader to guess the disease, so you start describing symptoms. For instance, “She is mourning her husband.” vs. “She stared at the empty seat at the table, unfazed by her mother’s repeated attempts to get her attention.” This way is more rambly than just swapping boring verbs for strong verbs, but it is a good way to show the narrator’s experience in life, the narrator’s biases, the narrator’s emotional state, etc.

One other way is to make the object of the sentence the subject instead. This just means that whatever “is/was” is now what the sentence is about. This is a simple fix in cases when the object is doing something in the sentence. Instead of “There was a ball rolling past her feet.” write “A ball rolled past her feet.”

Let me illustrate:

How you can use varied word choice to show who is being talked about:

Bland: Jason’s dad was standing in front of Jason.

Engaging: His dad loomed over him.

By using a stronger verb, the more hostile loomed, the reader gets a better idea of who Jason’s dad is and how Jason feels about him.

How you can use varied word choice to show who is talking:

Bland: Macy was sitting at the edge of her seat.

Engaging: Macy balanced very carefully at the very edge of the seat so her feet could touch the floor, because Macy was a very big girl now.

The POV character is a young girl at an age where she wants to be perceived as older than the height of chair legs and the lack of height of her own legs will let her be. She also refers unironically to herself as a big girl in her own thoughts, something grownups generally do not do. By expanding on the reason for the action instead of the action itself and with careful word choice, you can set the tone of the character and of the story.

How you can use varied word choice to show what something is:

Bland: That is a tree branch blowing against the window.

Still bland but better: A tree branch blew against the window.

Engaging: The branch smacked against the window.

This is an example of taking the object (the thing in the sentence that the verb is happening to) in this case “branch” and make it the subject. In the still bland but better version of the sentence, the fact that the tree branch is blowing against the window is obvious, but that doesn’t tell us anything about how the narrator feels about what the tree branch is doing. That tells us what, but it does not tell us what the character feels about this thing. Smacked is a more violent, sudden, startling verb that communicates suddenness, surprise, and unease.

How you can use varied word choice to show where something is:

Bland: The phone was on the far side of the nightstand.

Engaging: She flopped an arm blindly across the nightstand, but her fingers hit empty air just shy of the faint glow of her phone.

The engaging version of this sentence tells you more about the character’s mental state, fatigued, while also communicating where the phone is. Also, using a more descriptive word like flopped gives the reader a clearer mental image of what is physically happening in the scene.

How you can use varied word choice to show when something is set:

Bland: It was the early two thousands.

Engaging: Jana looked around the room and saw many a teenage male heinie, but not a belt among them.

Noting fashion trends, like sagging pants or hoop skirts, can reinforce the time period that you’re writing in and how the narrator fits or does not fit into that time period.

How you can use varied word choice to show when (what time) something is:

Bland: It was seven P.M. on a summer night.

Engaging: He watched the sun dip below the far reaches of the ocean as he wiped the sweat from his brow.

The engaging version of this sentence uses a few details to show about what time and when in the year this sentence takes place: it is sunset, so the exact time isn’t stated, but the rough time is implied; the ocean does exist at times of the year when humans aren’t on it as much (and here I though the entire state of Hawaii disappeared between September and April) but most readers will associate the beach with summer; and if the reader didn’t get the clue about the traditionally seasonal location, it is hot enough to make the main character sweat.

How you can use varied word choice to show why the narrator believes something:

Bland: Kai is a good friend.

Engaging: Kai held her hair away from her face as she threw up into the toilet bowl for the fourth time that night.

Anyone can say anything about anyone else, but the best way to get a reader to like a character, an idea, or a thing is to show them why they should like that thing. Instead of making bland moral claims like “Love is stronger than hate.” tell me how the Samaritan stopped to save the Jew, or how the enemies put aside their differences to protect what they care about. Instead of saying “He was scared of his dad.” show me the beer cans and the slurred speech, show me the belt falling and the voice yelling. Show the reader why.

How you can use varied word choice to show how something is:

Bland: The woman was looking at him.

Engaging: The woman ogled him.

Strong verbs again! Use strong verbs that are emotionally charged when you’re talking about emotionally charged situations! Being ogled is an uncomfortable sensation for the person being ogled, and it also shows disrespect on the part of the person ogling.

Keep in mind that these are guidelines! Sometimes is is the best word for the job, and don’t stress if you have a lot of is/was in your stories. Just because they’re bland doesn’t mean that sometimes you need bland verbs to communicate what you want to communicate. Still, you don’t want vagueness to be your crutch, either. Practice showing instead of telling when showing is more important, but have fun with it! Besides, you can always edit whatever you hate or are unsure of now sometime later.

Don’t sweat! Go write awesome papers and stories!

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lune-versatile

1 year ago

Controlling Your Pacing

Pacing is one of my favourite things to pay attention to when reading or writing something. The pacing of a scene is literally how ‘fast’ or ‘slow’ a scene appears to be moving. Action scenes that spring the story from one place to another tend to go faster than introspective scenes or scenes that explore character dynamics.

All of this is created through putting space and words between elements of the scene. What I mean by that is that readers interpret a passage of time between ‘things’ (actions, dialogue, gestures, etc.) on the page, and pacing is controlling that interpretation.

For example,

“Georgia sat on the couch, “wow it sure is hot in here,” she said. “It sure is,” Henry agreed, sitting next to her.”

This sentence is just about the actions with some breaking dialogue, but it goes pretty quickly through what’s happening.

Whereas, if we were to intentionally pace this scene, it may look like this:

“Georgia swiped at her brow, wandering over to sink into the couch. “It sure is hot in here,” she said, peering up at Henry through the wisps of her bangs. He nodded weakly, his entire body sagging from the heat. Crossing the room to collapse next to her, he added dryly, “it sure is.”

It’s not perfect, but you can get a sense of the time between things happening. The added detail between the two characters talking conveys maybe a minute between sentences, which might be accurate for two people dogged down by a heat wave.

To speed things up, we want less space between elements:

“Adam slammed open the door with his shoulder, letting it bounce off the concrete wall behind him. “Everyone out!” He shouted. A crack in the roof snapped above them.”

The added (or subtracted) elements of a scene that control your pacing is the sights/sounds/feelings/smells/maybe tastes of a place. When we’re anxiously rushing to get out of the house we may not acknowledge that the kitchen smells like the bread our roommate baked that morning, or that there are smudges on the window from when the dog climbed up on the couch. However, when we have a second to contemplate, we’re going to notice these things, and it would be appropriate to write them in.

Another important element to controlling pacing is your character’s thoughts or acknowledgement of feelings.

For example:

“Adam slammed open the door with his shoulder, it bounced off the concrete wall behind him. He winced, his mother’s high voice ringing in his head, chiding him for damaging the walls even though he knew the building was coming down on top of them. How long would he live with her constantly in his mind? He tried to wave away the memory. “Everyone out!” He shouted.”

That slows down the scene quite a bit, yeah? And maybe that’s what you wanted in that moment. Play around with the details and pacing in your scenes, you might be surprised how much can change.

Good luck!

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lune-versatile

4 years ago

Got these from Pinterest, idk how to credit but these are not mine.

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lune-versatile

4 years ago

The “What-If” Writing Method

Sometimes when I’m writing, brain just....stops. No more ideas. No more words. Nothing. Sometimes, the solution to this problem is to simply take a break from writing and let your brain relax. Other times, though, you really are just at a block for ideas. This happened to me significantly more often than I would like, but thankfully, I’ve developed a solution that works well for me, and it’s uncreativly titled the “what-if” method.

Get a piece of paper and pen. Or a Google doc, or whatever works best for you.

Start brainstorming questions about your story, or possible “what-if” scenarios. (Ex: What if my character got framed for a crime they didn’t commit?)

Write down every single idea that comes to your head. Even if it doesn’t really work for your story. Even ones that deviate from your existing plot. Even the stupid ones. Especially the stupidest ones.

Cross out the ideas you don’t like, circle the ones that you do like.

Start coming up with answers for the questions you circled, or expand in the by coming up with more questions. (Ex: They would have to prove they didn’t commit the crime to regain their freedom. How do they prove it?)

Repeat until you have a full idea that you can work on/write with.

That’s it. That’s the whole strategy. I’ve used this a million times, and it’s gotten me out of a million cases of writers block, so hopefully it can work well for you too! Happy writing!

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lune-versatile

1 year ago

Advice for planning your story

Plotting out a story is an essential step in bringing your ideas to life and creating a compelling narrative. Here are some valuable tips that I personally find helpful to effectively plot out new story ideas <3

1. Start with the basics: Begin by identifying the key elements of your story – the main characters, setting, and central conflict. Understand who your characters are, what they want, and what obstacles they will face. This foundation will serve as a solid starting point for your plot.

2. Outline the major plot points: Once you have a clear understanding of your story's foundation, outline the major plot points. These are the significant events or turning points that drive the story forward. Consider the introduction, inciting incident, rising action, climax, falling action, and resolution. This structure will give your story a sense of direction and progression.

3. Create a timeline: Develop a timeline or sequence of events that organizes the flow of your story. This helps you visualize the progression of events and ensures a logical and coherent narrative. Consider the cause-and-effect relationship between different plot points and how they impact your characters' journey.

4. Use storyboarding or visual aids: Visual aids, such as storyboards or visual diagrams, can be helpful for visual thinkers. Create a visual representation of your story's structure, mapping out the key scenes, character arcs, and plot developments. This can provide a clear overview and help you spot any gaps or inconsistencies.

5. Balance pacing and tension: As you plot out your story, consider the pacing and tension. Ensure that your story has a good balance of slower, introspective moments and high-stakes, action-packed sequences. Introduce obstacles and conflicts that keep readers engaged and eager to turn the pages.

6. Allow for flexibility: While it's important to have a solid plot outline, don't be afraid to deviate or adapt as you write. Sometimes, characters surprise you or new ideas emerge during the creative process. Stay open to these possibilities and be willing to adjust your plot if it serves the story better.

7. Revise and refine: Plotting is an iterative process. Once you have a draft of your plot, review it critically. Look for areas that may need more development, pacing adjustments, or additional conflict. Refine your plot to ensure it aligns with your overall story vision.

Remember, plotting is a guide, not a rigid framework. It's there to help you stay organized and focused, but don't be afraid to let your creativity flow and explore unexpected avenues. With practice and experimentation, you'll become more adept at plotting out your story ideas and creating narratives that captivate readers <3

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lune-versatile

4 years ago

102 Resources for Fiction Writers

Are you still stuck for ideas for National Novel Writing Month? Or are you working on a novel at a more leisurely pace? Here are 102 resources on Character, Point of View, Dialogue, Plot, Conflict, Structure, Outlining, Setting, and World Building, plus some links to generate Ideas and Inspiration.

CHARACTER, POINT OF VIEW, DIALOGUE

10 Days of Character Building

Name Generators

Name Playground

The Universal Mary Sue Litmus Test

Priming the idea pump (A character checklist shamlessly lifted from acting)

How to Create a Character

Seven Common Character Types

Handling a Cast of Thousands – Part I: Getting to Know Your Characters

It’s Not What They Say . . .

Establishing the Right Point of View: How to Avoid “Stepping Out of Character”

How to Start Writing in the Third Person

Web Resources for Developing Characters

What are the Sixteen Master Archetypes?

Character: A compilation of guidance from classical and contemporary experts on creating great dramatic characters

Building Fictional Characters

Fiction Writer’s Character Chart

Character Building Workshop

Tips for Characterization

Fiction Writer’s Character Chart

Villains are People, Too, But . . .

Top 10 Tips for Writing Dialogue

Speaking of Dialogue

Dialogue Tips

Advantages, Disadvantages and Skills (character traits)

How to Write a Character Bible

Character Development Exercises

All Your Characters Sounds the Same — And They’re Not a Hivemind!

Medieval Names Archive

Sympathy Without Saintliness

Writing the Other: Bridging Cultural Difference for Successful Fiction

Family Echo (family tree website)

Interviewing Characters: Follow the Energy

100 Character Development Questions for Writers

Behind the Name

Lineage Chart Layout Generator

PLOT, CONFLICT, STRUCTURE, OUTLINE

How to Write a Novel: The Snowflake Method

Effectively Outlining Your Plot

Conflict and Character within Story Structure

Outlining Your Plot

Ideas, Plots & Using the Premise Sheets

How to Write a Novel

Creating Conflict and Sustaining Suspense

Plunge Right In . . . Into Your Story, That Is!

Fiction Writing Tips: Story Grid

Tips for Creating a Compelling Plot

Writer’s “Cheat Sheets”

The Thirty-six (plus one) Dramatic Situations

The Evil Overlord Devises a Plot: Excerpt from Stupid Plotting Tricks

Conflict Test

What is Conflict?

Monomyth

The Hero’s Journey: Summary of the Steps

Outline Your Novel in Thirty Minutes

Plotting Without Fears

Novel Outlining 101

Writing the Perfect Scene

Fight Scenes 101

Basic Plots in Literature

One-Page Plotting

The Great Swampy Middle

SETTING, WORLD BUILDING

Magical World Builder’s Guide

I Love the End of the World

World Building 101

The Art of Description: Eight Tips to Help You Bring Your Settings to Life

Creating the Perfect Setting – Part I

Creating a Believable World

An Impatient Writer’s Approach to Worldbuilding

Fantasy Worldbuilding Questions

Setting

Character and Setting Interactions

Creating Fantasy and Science Fiction Worlds

Creating Fantasy Worlds

Questions About Worldbuilding

Maps Workshop — Developing the Fictional World Through Mapping

World Builder Projects

IDEAS, INSPIRATION

Quick Story Idea Generator

Solve Your Problems Simply by Saying Them Out Loud

Busting Your Writing Rut

Writing Inspiration, or Sex on a Bicycle

Creative Acceleration: 11 Tips to Engineer a Productive Flow

The Seven Major Beginner Mistakes

Complete Your First Book with these 9 Simple Writing Habits

Free Association, Active Imagination, Twilight Imaging

Random Book Title Generator

Finishing Your Novel

Story Starters and Idea Generators

REVISION

How to Rewrite

One-Pass Manuscript Revision: From First Draft to Last in One Cycle

Editing Recipe

Cliche Finder

Revising Your Novel: Read What You’ve Written

Writing 101: So You Want to Write a Novel Part 3: Revising a Novel

TOOLS and SOFTWARE

My Writing Nook (online text editor; free)

Bubbl.us (online mind map application; free)

Freemind (mind map application; free; Windows, Mac, Linux, portable)

XMind (mind map application; free; Windows, Mac, Linux, portable)

Liquid Story Binder (novel organization and writing software; free trial, $45.95; Windows, portable)

Scrivener (novel organization and writing software; free trial, $39.95; Mac)

SuperNotecard (novel organization and writing software; free trial, $29; Windows, Mac, Linux, portable)

yWriter (novel organization and writing software; free; Windows, Linux, portable)

JDarkRoom (minimalist text editor; free; Windows, Mac, Linux, portable)

AutoRealm (map creation software; free; Windows, Linux with Wine)

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lune-versatile

2 years ago

Afficher davantage

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lune-versatile

1 year ago

reminder to worldbuilders: don't get caught up in things that aren't important to the story you're writing, like plot and characters! instead, try to focus on what readers actually care about: detailed plate tectonics

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