Focus on personality and interests when making your character and those are the categories that should have the most information because they describe who this person is at a specific point in time, or how they develop over time.
Try to avoid listing standard things about your character that are super predictable or could describe just about anyone. Add details that show character depth and set them apart from the other characters out there. Certain ones you may want to make more memorable than others.
Don’t throw too many diverse things into your character. If your character is all over the place, they will easily lose their identity to the reader. Try to focus on a few main interests or skills for your character to highlight.
Your character should seem as if they could be a real person, no matter the world. They should have a personality easily understood by the reader that allows the reader to be able to picture them in various scenarios and know, in general, how they would act.
Avoid extra categories in bios. I've seen bios with favorite movie, favorite color, favorite drink, etc. listed when all of these things can just be listed under interests. It’s best to keep things efficient so that the reader is not overwhelmed when seeing your bio. It’s way better to have a long paragraph in one category than several unnecessary categories.
Try to avoid adding too many flaws. Some people like to do this to avoid making a Mary Sue but inadvertently end up with one anyway, or just a very annoying character. Things like depression or an abusive background are not character flaws, as some people have mistakenly labeled them.
Avoid clichés. Sometimes it’s hard, but try to think outside of the box when fleshing out your character and add things about them that people wouldn’t expect. Clichés are either boring or gag-worthy depending on the type and you definitely want to keep the reader interested!
DEVELOPMENT: OVERALL CHARACTER
The way your character looks doesn't have to reflect who they are on the inside. It adds a different side to your character if they dress just a little different than what you would expect from their personality.
Some people like to make the same type of character over and over, and that's fine, but they should show differences that separate them from the others. I’ve seen people with characters who are literally all warrior fighters, or all emo, both guys and girls, and they all sound the same. If you really adore this type of character sometimes less is more. If you don’t have a different idea for a character just yet, maybe don’t make a new one?
The opposite isn’t good either, where your characters are all so different from each other that they would be labeled “the goth one”, “the smart one”, “the popular one”. Characters are not just limited to their type (popular, emo, jock, nerd, geek, goth, etc), but can and should contain details that exceed the bounds of the stereotype. They may still be “the sporty one” but add some depth to their character that sets them apart from all the other sporty ones out there.
Your character should contain at least some amount of originality and be unique. They should seem cool on their own, without having to rely on the other characters in the grouping. By that, I mean, the character should be able to shine on their own without having to be compared to or partnered with another character.
A lot of people think characters need to be relatable when they don’t at all. Your character should seem cool, likeable, and real but doesn't necessarily need to have much, or anything at all in common with your target audience. Sometimes adding in things that would be considered relatable will ruin the mojo of your character, or seem forced.
Backstories aren’t as important as people make them out to be. The backstory should just contain the summed up incidents of their past, but all too often people make the backstory long enough to be its own story. Unless your character has been in multiple novels, this really isn’t necessary. Try to keep it short and sweet!
Also, avoid overly tragic backstories, for the reason that they are just annoying. Some people will think that adds character depth or whatever, but it is usually just needlessly depressing to the reader. Backstories should have a balance of both good and bad, depending on the character’s living situation. Some people haven’t really had anything severely bad happen to them and that’s totally fine.
Avoid basing characters off anything, especially yourself. I don't consider a full on self-insert to even be a character, because that's you. Unless the story is intended to be a full non-fiction, there's no reason to really have a self-insert. If your character is obviously based off something, it’s best to change it. Change it in a way so that you’re the only one who can recognize how it’s based off something else, and then that's fine. Stick to originality, or take something and add your originality to it.
Make sure your character isn’t overpowered or unrealistically powered for their universe. Characters don't all need to have powers. Not everyone is a fighter. Some people are weak, and there’s nothing wrong with that. Just try to keep things real.
Some people may think these tips only apply to certain characters but they are all-inclusive, even villains and background characters. You never know; you might use your background characters more later on so it’s best to develop them right so that they can blossom into a better character later. As for villains, they shouldn’t always be hateable. The bad guy’s bad, so what? They can still be a well-developed character.
It’s recommended that you list in the bio how the character reacts to or what they think of the other major characters in the story. The characters can and should develop a cool dynamic where they can play off each other in the story. Your character should grow from the other characters a bit, but not depend on them. They can help bring out your character’s not so obvious traits or interests too.
Don't just throw together a pair for no reason. The characters should balance with each other and work well together as a pair. If there isn’t any character who works with your character at the moment, its best to leave them single.
Be realistic in the social structure of your characters. For example, bullies are not popular. In fact, bullies will be very unpopular if the other characters know they are a bully. Another example; other characters aren’t going to suddenly fall for a shy character who barely interacts with them at all. Characters should not act out of character around your character either.
If your character has friends and I definitely recommend they should, it’s realistic for them to befriend people like them. Friends typically have shared interests and/or belong to the same social grouping. It’s totally fine if your character has friends outside of that grouping; you should just explain why and how they came to be friends. Some characters have an obvious connection that it is kind of unspoken that they will get along, but others kind of just seem thrown together. Just, be prepared to answer why these characters are friends if a reason isn’t listed in their bio, okay?
WRITING YOUR CHARACTER
Major characters should develop at least a little in the story and have a slight difference from beginning to end. If they don’t, then what has been accomplished? The character should have a point in the story and a purpose for existing. If you have extra characters that don't really do anything, it’s best to combine them or get rid of them altogether.
Continuing with extra characters, the two most common unnecessary ones are “the sister” and “the pet”. Lots of characters have some kind of animal with them that’s completely unnecessary to the world or plot. Either make this character important in the story or its best to just keep them in the background. As for the sister, I've noticed lots of people use their character having a sister as a way to add in another girl who’s just along for the ride and has no purpose. It is my personal view that most stories out there have way too many girls, and this is just another one that I think should stick to the background or not be in the story at all.
Characters should have a purpose in the story and not just be thrown in there. They don't necessarily have to be connected to the plot, but they should do something that shows why they are in there. Instead of making new characters, sometimes it will make a cool plot twist to reuse them later, or bring out seemingly insignificant characters.
Stories should never ever be centered around a character. There should be a focus on the main character, but the events and the other people should not revolve around them. Not everything ties back to this one person. Not everybody cares what they have to say. Not everybody will listen to them at all. If your character IS the story, then you’ve got a Mary Sue. That isn’t the only definition of a Sue but it’s one of many. Readers hate a Mary Sue, so if you don’t know much on the topic I suggest you research it. Sues can be redeemed most of the time with hard work, but not all Sues are salvageable. But if the story is centered around the Sue, the best thing to do is omit the sue completely and the rest of the literature should be fine. In a Sue story, it’s usually only the Sue that is bad, and the rest of the characters are written fine.
FAN CHARACTERS AND FANDOMS
Make sure your character fits with the predetermined universe of the fandom. Your character can be excellent, but still not seem like a fan character at the same time. Add something to them which ties in with the world naturally, without being forced into it. Don’t create a character just to ship with another character. Make sure they actually work as a ship and it seems realistic and natural
Don’t break canon. If a character only has three siblings, don’t add one…should be a no brainer but I hate it when there’s a secret sibling that breaks canon. We’ve gone through several episodes of the show and there was no mention of another sibling so its not necessary.
If this guide has helped you in any way, please do tell me. I'd love to see what kinds of characters you come up with, help you, or hear about how I've helped you without even knowing it. That's a really cool thing! I'm always always always available for helping you with your character if you're ready to be helped, but I'm not gonna make the character for you either. We can work together with any questions or concerns you have. I'm a very biased person with what kinds of characters I love and hate but I can work with you on your character and help you make them a good character even if I'm not a fan of the character at all. If you want my help, keep things appropriate please.
Now, almost certainly there will be some people who disagree with this guide. Hah, of course there will be, but that's because its my own personal opinion. After creating over three thousand characters and writing over twenty novels and an additional twenty novellas, I have developed very strict ideas on what makes a good character and what kind I like. But of course everyone has their own view. That's fine and all. If you don't like my guide, no one is forcing you to abide by it. If you don't like it, I don't need to hear it, because I don't care. If you feel like being one of those people who just wants to make a long rant about how you think I'm wrong and your character is perfect just the way they are, rest assured your comment will not only be ignored by me but also hidden so no one else will see it either. Don't like this guide? Make your own, in your own words and format. If we have the common goal of helping people create good characters, then there shouldn't be a problem
If you want to see my main characters, you can find them here. I'd love if you checked them out. It'd be amazing if you like them but it's fine if you don't. I'd love to answer any questions you have about them too!
Because they have been in many many novels, they are difficult to summarize apart from their full bios which are not posted here. Trust me, they have far more detail and depth than you see here and its been a pleasure to have them. These pictures are just meant to give the most basic ideas of them. I've never been good at summaries, but I'm getting there
Don't forget to let me know how my guide has helped you I was also not sure which category to put this under, so feel free to suggest a better one if this one isn't coture!
what annoys me is when people have Russian characters, or English characters but they have Japanese names.
My characters don't have particular flaws or talents (some are talented for the sake of the plot), I gave them regular human like flaws, but I believe the main flaw that all my characters have in common is their human nature. I believe this is what makes a character feel more natural, as on occasion (like the ones of Mary-Sues) flaws can become a merit (see what many arrogant people can acheive thank to their arrogance. Double edged swords may work best).
Tragic stories often belong to passive characters. I see often protagonists with tragic stories being unable to do anything. They don't try to defend theirselves, everything just happen to them. Other characters simpatize for them for no reason. Often characters with a tragic past are also Mary-Sues.
I gave sad past to some of my characters, but what they live is more everyday tragic events (death of a family member for example) or bad things that happens for their own fault.
I think you should be more specific than just saying human nature, as that can refer to a plethora of things XD
Yeah most mary sues tend to have tragic backstories
Thats better than what a lot of people do XD
yo también tengo personajes inventados, y la historia se compone de dos "Protagonistas" aunque eso no quiere decir que todo gire en torno a ellos pues también están los "Antagonistas" y aunque mi historia si la leerias dirías algo como "Está complicada demás" yo la verdad creo que realmente hace falta explicar algunas cosas para darle sentido a la aparición de unos personajes en especifico, y no es que sean héroes de hecho puedo decir que uno de los protagonistas es como si fuera el villano a la ves pero eso ya es otra cosa.
"I also have invented characters, and the story is composed of two "Protagonists" but that does not mean that everything revolves around them as they are also "Antagonists" and although my story if you would read say something like "It's complicated others" I really think we really need to explain some things to make sense of the appearance of characters in specific, and is not to be heroes in fact I can say that one of the protagonists is like it's the villain to see but that's it is something else."
google translator that detracts from the sense of my prayers :v
what about Oliver twist?
Pulla magi modoka magica?
there are very popular and well known stories like this
but i will say this. just because something is well known doesnt mean its well done.
and pulla magi modoka magica I can understand you not knowing but here it is: duckduckgo.com/?q=puella+magi+…
And yes both are well done though the later can and has been debated
I can agree with that but I still don't think that is like an absoult rule to story making many good stories are stories where the character is the affect of somthing that spirls and links each of the characters
Oliver Twist was born into a life of poverty and misfortune in a workhouse in an unnamed town (although when originally published in Bentley's Miscellany in 1837, the town was called Mudfog and said to be within 70 miles north of London – in reality this is the location of the town of Northampton). Orphaned by his mother's death in childbirth and his father's unexplained absence, Oliver is meagrely provided for under the terms of the Poor Law and spends the first nine years of his life living at a baby farm in the 'care' of a woman named Mrs. Mann. Oliver is brought up with little food and few comforts. Around the time of Oliver's ninth birthday, Mr. Bumble, the parish beadle, removes Oliver from the baby farm and puts him to work picking and weaving oakum at the main workhouse. Oliver, who toils with very little food, remains in the workhouse for six months. One day, the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal tremblingly comes up forward, bowl in hand, and begs Mr. Bumble for gruel with his famous request: "Please, sir, I want some more".
A great uproar ensues. The board of well-fed gentlemen who administer the workhouse hypocritically offer £5 to any person wishing to take on the boy as an apprentice. Mr. Gamfield, a brutal chimney sweep, almost claims Oliver. However, when he begs despairingly not to be sent away with "that dreadful man", a kindly old magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver better and, because of the boy's sorrowful countenance, uses him as a mourner at children's funerals. However, Mr. Sowerberry is in an unhappy marriage, and his wife takes an immediate dislike to Oliver – primarily because her husband seems to like him – and loses few opportunities to underfeed and mistreat him. He also suffers torment at the hands of Noah Claypole, an oafish but bullying fellow apprentice and "charity boy" who is jealous of Oliver's promotion to mute, and Charlotte, the Sowerberrys' maidservant, who is in love with Noah.
While trying to bait Oliver, Noah insults Oliver's biological mother, in which he called her "a regular right-down bad 'un". Oliver flies into a rage, attacking and even beating the much bigger boy. Mrs. Sowerberry takes Noah's side, helps him to subdue, punch, and beat Oliver, and later compels her husband and Mr. Bumble, who has been sent for in the aftermath of the fight, to beat Oliver once again. Once Oliver is sent to his room for the night, he breaks down and weeps, upset at the events which he had faced. The next day, Oliver escapes from the Sowerberrys' house and decides to run away to London instead.
During his journey to London, Oliver encounters Jack Dawkins, a pickpocket more commonly known by the nickname the "Artful Dodger", and his sidekick, a boy of a humorous nature, named Charley Bates, but Oliver's innocent nature prevents him from recognizing any hint that the boys may be dishonest. Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dodger to the "old gentleman's" residence. In this way, Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the so-called gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Later, Oliver naïvely goes out to "make handkerchiefs" (because there is no income) with the Artful Dodger and Charley Bates. Oliver realises too late that their real mission is to pick pockets. Dodger and Charley steal the handkerchief of an old gentleman named Mr. Brownlow, and promptly flee. When he finds his handkerchief missing, Mr. Brownlow turns round, sees Oliver running away in fright, and pursues him. Others join the chase and Oliver is caught and taken before the magistrate. Curiously, Mr. Brownlow has second thoughts about the boy – he seems reluctant to believe he is a pickpocket. To the judge's evident disappointment, a bookstall holder who saw Dodger commit the crime clears Oliver, who, by now actually ill, faints in the courtroom. Mr. Brownlow takes Oliver home and, along with his housekeeper Mrs. Bedwin, cares for him.
Oliver stays with Mr. Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss, however, is interrupted when Fagin, fearing Oliver might "peach" on his criminal gang, decides that Oliver must be brought back to his hideout. When Mr. Brownlow sends Oliver out to pay for some books, one of the gang, a young girl named Nancy, whom Oliver had previously met at Fagin's, accosts him with help from her abusive lover, a brutal robber named Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five-pound note Mr. Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver, dismayed, flees and attempts to call for police assistance, but is ruthlessly dragged back by the Artful Dodger, Charley and Fagin. Nancy, however, is sympathetic towards Oliver and saves him from beatings by Fagin and Sikes.
In a renewed attempt to draw Oliver into a life of crime, Fagin forces him to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not co-operate, sends Oliver through a small window and orders him to unlock the front door. The robbery goes wrong, however, and Oliver is shot and wounded in his left arm at the targeted house. After being abandoned by Sikes, the wounded Oliver makes it back to the house and ends up under the care of the people he was supposed to rob: Miss Rose and her guardian Mrs. Maylie.Mystery
A mysterious man named Monks has found Fagin and is plotting with him to destroy Oliver's reputation. Monks denounces Fagin's failure to turn Oliver into a criminal, and the two of them agree on a plan to make sure he does not find out about his past. Monks is apparently related to Oliver in some way, although it's not mentioned until later. Back in Oliver's home town, Mr. Bumble has married Mrs. Corney, the wealthy matron of the workhouse where the story first began, only to find himself in an unhappy marriage, constantly arguing with his domineering wife. After one such argument, Mr. Bumble walks over to a pub, where he meets Monks, who questions him about Oliver. Bumble informs Monks that he knows someone who can give Monks more information for a price, and later Monks meets secretly with the Bumbles. After Mrs. Bumble has told Monks all she knows, the three arrange to take a locket and ring which had once belonged to Oliver's mother and toss them into a nearby river. Monks relates this to Fagin as part of the plot to destroy Oliver, unaware that Nancy has eavesdropped on their conversation and gone ahead to inform Oliver's benefactors.
Now ashamed of her role in Oliver's kidnapping and fearful for the boy's safety, Nancy goes to Rose Maylie and Mr. Brownlow to warn them. She knows that Monks and Fagin are plotting to get their hands on the boy again and holds some secret meetings on the subject with Oliver's benefactors. One night, Nancy tries to leave for one of the meetings, but Sikes refuses permission when she doesn't state exactly where she's going. Fagin realises that Nancy is up to something and resolves to find out what her secret is. Meanwhile, Noah has fallen out with the undertaker Mr. Sowerberry, stolen money from him, and fled to London. Charlotte has accompanied him — they are now in a relationship. Using the name "Morris Bolter", he joins Fagin's gang for protection and becomes a practicer of "the kinchin lay" (kidnapping of children), and Charlotte (it is implied) becomes a prostitute. During Noah's stay with Fagin, the Artful Dodger is caught with a stolen silver snuff box, convicted (in a very humorous courtroom scene), and transported to Australia. Later, Noah is sent by Fagin to "dodge" (spy on) Nancy, and discovers her secret: she has been meeting secretly with Rose and Mr. Brownlow to discuss how to save Oliver from Fagin and Monks.
Fagin angrily passes the information on to Sikes, twisting the story just enough to make it sound as if Nancy had informed on him. Believing Nancy to be a traitor, Sikes beats her to death in a fit of rage and flees to the countryside to escape from the police. There, Sikes is haunted by visions of Nancy's ghost and increasingly alarmed by news of her murder spreading across the countryside. He returns to London to find a hiding place, only to die by accidentally hanging himself while attempting to flee across a rooftop from an angry mob.
Monks is forced by Mr. Brownlow to divulge his secrets: his real name is Edward Leeford, and he is Oliver's paternal half-brother and, although he is legitimate, he was born of a loveless marriage. Oliver's mother, Agnes, became their father's true love after Monks witnessed his parents' divorce. Mr. Brownlow has a picture of Agnes, and began making inquiries when he noticed a marked resemblance between her face and the face of Oliver. Monks has spent many years searching for his father's child – not to befriend him, but to destroy him (see Henry Fielding's Tom Jones for similar circumstances). Brownlow asks Oliver to give half his inheritance (which proves to be meagre) to Monks because he wants to give him a second chance; and Oliver, being prone to giving second chances, is more than happy to comply. Monks later moves to America, where he squanders his money, reverts to crime, and ultimately dies in prison. Fagin is arrested and condemned to the gallows. On the eve of his hanging, in an emotional scene, Oliver, accompanied by Mr. Brownlow, goes to visit the old reprobate in Newgate Gaol, where Fagin's terror at being hanged has caused him to lose himself in daydreams and come down with fever. As Mr. Brownlow and Oliver leave the prison, Fagin screams in terror and despair as a crowd gathers to see his hanging.
On a happier note, Rose Maylie turns out to be the long-lost sister of Agnes, and therefore Oliver's aunt. She marries her long-time sweetheart Harry, and Oliver lives happily with his saviour, Mr. Brownlow. Noah becomes a paid, semi-professional police informer. The Bumbles lose their jobs and are reduced to great poverty, eventually ending up in the same workhouse where they originally lorded it over Oliver and the other orphan boys. Charley Bates, horrified by Sikes's murder of Nancy, becomes an honest citizen, moves to the country, and works his way up to prosperity.
if you'd like me to take a look at your characters too, i'd love to see them!