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@secondhandsorrows
Writing Longing Tension
They reach out, about to touch them, but stop halfway, like they don’t have the right to.
One of them is asleep, and the other allows themselves just a moment to stare, to feel, before looking away.
They see the other person happy, with someone else. And they smile, but it doesn’t reach their eyes.
They hear a song, a phrase, a joke, and immediately think of them.
One of them finally confesses their feelings, but it’s too late.
Tips for writing flawed but lovable characters.
Flawed characters are the ones we root for, cry over, and remember long after the story ends. But creating a character who’s both imperfect and likable can feel like a tightrope walk.
1. Flaws That Stem From Their Strengths
When a character’s greatest strength is also their Achilles' heel, it creates depth.
Strength: Fiercely loyal.
Flaw: Blind to betrayal or willing to go to dangerous extremes for loved ones.
“She’d burn the whole world down to save her sister—even if it killed her.”
2. Let Their Flaws Cause Problems
Flaws should have consequences—messy, believable ones.
Flaw: Impatience.
Result: They rush into action, ruining carefully laid plans.
“I thought I could handle it myself,” he muttered, staring at the smoking wreckage. “Guess not.”
3. Show Self-Awareness—or Lack Thereof
Characters who know they’re flawed (but struggle to change) are relatable. Characters who don’t realize their flaws can create dramatic tension.
A self-aware flaw: “I know I talk too much. It’s just… silence makes me feel like I’m disappearing.” A blind spot: “What do you mean I always have to be right? I’m just better at solving problems than most people!”
4. Give Them Redeeming Traits
A mix of good and bad keeps characters balanced.
Flaw: They’re manipulative.
Redeeming Trait: They use it to protect vulnerable people.
“Yes, I lied to get him to trust me. But he would’ve died otherwise.”
Readers are more forgiving of flaws when they see the bigger picture.
5. Let Them Grow—But Slowly
Instant redemption feels cheap. Characters should stumble, fail, and backslide before they change.
Early in the story: “I don’t need anyone. I’ve got this.”
Midpoint: “Okay, fine. Maybe I could use some help. But don’t get used to it.”
End: “Thank you. For everything.”
The gradual arc makes their growth feel earned.
6. Make Them Relatable, Not Perfect
Readers connect with characters who feel human—messy emotions, bad decisions, and all.
A bad decision: Skipping their best friend’s wedding because they’re jealous of their happiness.
A messy emotion: Feeling guilty afterward but doubling down to justify their actions.
A vulnerable moment: Finally apologizing, unsure if they’ll be forgiven.
7. Use Humor as a Balancing Act
Humor softens even the most prickly characters.
Flaw: Cynicism.
Humorous side: Making snarky, self-deprecating remarks that reveal their softer side.
“Love? No thanks. I’m allergic to heartbreak—and flowers.”
8. Avoid Overdoing the Flaws
Too many flaws can make a character feel unlikable or overburdened.
Instead of: A character who’s selfish, cruel, cowardly, and rude.
Try: A character who’s selfish but occasionally shows surprising generosity.
“Don’t tell anyone I helped you. I have a reputation to maintain.”
9. Let Them Be Vulnerable
Vulnerability adds layers and makes flaws understandable.
Flaw: They’re cold and distant.
Vulnerability: They’ve been hurt before and are terrified of getting close to anyone again.
“It’s easier this way. If I don’t care about you, then you can’t leave me.”
10. Make Their Flaws Integral to the Plot
When flaws directly impact the story, they feel purposeful rather than tacked on.
Flaw: Their arrogance alienates the people they need.
Plot Impact: When their plan fails, they’re left scrambling because no one will help them.
Flawed but lovable characters are the backbone of compelling stories. They remind us that imperfection is human—and that growth is possible.
Writing Description Notes:
Updated 9th September 2024 More writing tips, review tips & writing description notes
Facial Expressions
Masking Emotions
Smiles/Smirks/Grins
Eye Contact/Eye Movements
Blushing
Voice/Tone
Body Language/Idle Movement
Thoughts/Thinking/Focusing/Distracted
Silence
Memories
Happy/Content/Comforted
Love/Romance
Sadness/Crying/Hurt
Confidence/Determination/Hopeful
Surprised/Shocked
Guilt/Regret
Disgusted/Jealous
Uncertain/Doubtful/Worried
Anger/Rage
Laughter
Confused
Speechless/Tongue Tied
Fear/Terrified
Mental Pain
Physical Pain
Tired/Drowsy/Exhausted
Eating
Drinking
Warm/Hot
How many of you actually use lists like this? I do.
Art by J.R.R. Tolkien
Protective Dialogue
"Please, tell me if your hurt."
"I won't let anything happen to you."
"They have to go through me."
"You are safe with me."
"Who has hurt you?"
"You stay here and I will check it out."
"I'm very much determined to keep you alive."
"Don't worry about me, I'm just happy to know you're safe."
"Just close your eyes and trust me."
"Can I take your hand? Don't let go, ok?"
"They will not get to you, I promise."
"You're safe with me. You always are."
"Anything happened to you?"
"Stay behind me."
"I will always stick up for you."
"Call me as soon as you get home."
"You protect me, I protect you."
"Can I walk with you? It would make me feel better."
"Nobody has the right to touch you."
"You can always come to me, alright?"
Master Prompt List
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Daily Writing Challenge
Write 5 sentences for your WIP right now. (x)
Imagine a place where you would like to be and write about what you would do there. (x)
What are your OCs pet peeves? (x)
Write a 10 sentence long short story about the object next to you. (x)
Write a summary for a book you would love to read. (x)
Write down 10 words that describe your MC. (x)
Write a micro story about an unusual love. (x)
Explain your MCs motivation in 3 sentences. (x)
Write a poem about an empty house. (x)
Write a 5 sentence long short story from three different perspectives. (x)
What nicknames does your MC have and who gave them to them? (x)
Write a new piece of lore for your WIP. (x)
Write a micro story about someone saying "thank you". (x)
Write about one your OC's tattoos or someone getting one done. (x)
What do you admire about your MC? (x)
Write the dialogue for a scene that's been on your mind. (x)
Write a road trip scene. (x)
Write about your MCs favourite outfit. (x)
Write about something that you can see from your window. (x)
Write about a normal day in your MC's life. (x)
Write 100 words today. It doesn't matter about what. (x)
Write a funny scene. (x)
Write down everything on your mind for five minutes. (x)
Write about your OC's first meeting. (x)
Write a scene in a grocery store. (x)
Write a micro story about an artist and their muse. (x)
Write an end scene, without the beginning. (x)
Write 10 sentences for your WIP right now. (x)
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Small fantasy worldbuilding elements you might want to think about:
A currency that isn’t gold-standard/having gold be as valuable as tin
A currency that runs entirely on a perishable resource, like cocoa beans
A clock that isn’t 24-hours
More or less than four seasons/seasons other than the ones we know
Fantastical weather patterns like irregular cloud formations, iridescent rain
Multiple moons/no moon
Planetary rings
A northern lights effect, but near the equator
Roads that aren’t brown or grey/black, like San Juan’s blue bricks
Jewelry beyond precious gems and metals
Marriage signifiers other than wedding bands
The husband taking the wife's name / newlyweds inventing a new surname upon marriage
No concept of virginity or bastardry
More than 2 genders/no concept of gender
Monotheism, but not creationism
Gods that don’t look like people
Domesticated pets that aren’t re-skinned dogs and cats
Some normalized supernatural element that has nothing to do with the plot
Magical communication that isn’t Fantasy Zoom
“Books” that aren’t bound or scrolls
A nonverbal means of communicating, like sign language
A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)
I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.
Writing Slow-Burn Romances
@not-the-girl-u-think said:
Hey Abby! Any tips for a slow burn romance??
Let’s start with a little thingy first: slow-burns, when done well, are my favorite thing to read. I love the suspense that comes with them, that feeling when you know they’re going to get to together but you’re on the edge of your seat wondering if it’ll happen anyway. That stuff melts my heart, so I’m really, really happy that you sent this.
What is a slow-burn?
Slow-burns are great because they work both as a main or a subplot. They’re extremely character-oriented romances that take a while (usually an entire book or, in some cases, an entire series) to develop. Oh, and they have a talent for making people like me freak out over every little detail.
From a writer’s perspective, a slow-burn is a pain in the neck. You want everything to go at the right pace with the right chemistry enough that it seems like everything happens naturally. You don’t want things to go too slow or too fast, but you don’t want the reader to be rushed or bored either. Two characters are needed that would making a slow-burn seem worth it to pursue, and there lies the issue.
Creating the Chemistry
This part of the post is going to build pretty heavily on this post about writing believable romances. As you’ve (hopefully) guessed, your main goal for creating a successful slow-burn should be to achieve realism. Creating chemistry between characters is a balance of everything you’ve learned about writing romance.
In order for two (or more) characters to have good chemistry, they have to be compatible. One of the biggest giveaways of an under-developed romance is seeing two characters forced together when you know it wouldn’t happen in real life. When I say “balance”, what I mean is this: your characters can’t only have traits that fit well together, but they also can’t be constantly conflicting.
People tend to like a challenge, so if their partner or partners just go along with everything they say it won’t become so much fun. However, constantly having to fight against the person/people you’re supposed to be with is physically and mentally exhausting. Once you get to this point, it’s easy to question whether this relationship is worth it.
This balance that you achieve is especially important because it’s one you’re going to be working with all throughout the development of this relationship. If there’s a trait you’re not necessarily “good” at writing, practice is going to be your best friend. You’ll need to know how their traits go together, where they clash and where they blend and where they don’t really act the way someone would expect.
The Relationship “Basis”
A slow-burn, as you know, doesn’t just happen. There are precursors, usually with them starting off as friends or a friend of a friend. Something was there first, and whatever this “something” was will have a pretty large effect on their current relationship.
If they were previously best friends, they’re probably already comfortable with each other. Depending on the length and depth of their friendship, taking it to a romantic level might not change anything other than the addition of kissing and… other activities.
If the previous relationship was based on a mutual dependency, depending on their personalities they might become more less dependent on each other. They might go out and learn/try new things together and use the codependency to help each other out, or they might make an effort to get a little more independent so they’re not constantly relying on each other.
You’ll want to consider how they met in the first place, and why they started talking in the first place. Was it a funny joke, a chance meeting on a vacation, something like tutoring at first? This basis will be the precedent for the relationship, and in my opinion it’s too important to be forgotten about.
Hinting at a Romance
Romance between people happens in weird ways. Sometimes someone points it out or sometimes it happens like in that one Tumblr post where one little thing happens and then it’s there. Sometimes it’s a stolen glance across the room or a game of spin the bottle gone wrong.
When there are situations involving a forcing of romantic interaction, the characters involved are absolutely correct to be made uncomfortable by this situation. I’ve seen too many stories where characters don’t act like themselves in these moments for purely the purpose of bringing in this romance… don’t do that.
What I tend to lean to are weird thoughts about the possibility of a romantic future and those thoughts that hit you unexpectedly. “Woah, I bet A would love this.” Things like that are what I usually do, just because that’s how I’ve always experienced things. If you want to go beyond your own perspective, ask your friends. It could definitely be a weird question, so if you’re not comfortable with that then Google will be your friend.
Everything else in a slow-burn is so character-oriented that there’s not really any more general advice I could give. Thanks again so much for asking, I hope this helps!
how to go from daydream to draft:
begin by daydreaming as you normally do, or just after you've finished doing so. write down every thought you have. one after another. do not reread. do not stop for spelling mistakes. just dump out every thought. this is called stream of consciousness writing. you can do this for every scene you need a first draft for.
struggling to draft the scene? try to daydream about it. start thinking about how it would look, feel, what the characters would say, act it out in your head and then write out the stream of your thoughts as they arrive.
by now you have a few scene dumps. you may be tempted to go back and edit. do not do this expect for obvious spelling mistakes. do not read closely and start thinking "i need to rework this sentence." that is for later. now you're in the zone. draft more scenes. or work out what the next scene needs to be, scaffold it with a few comments. this will be the inspiration for your next deliberate thought stream that you will write out. repeat this process until you have the whole draft.
now that you have a draft or part of a draft you get to do this very fun thing called revise until you're happy. sweep through your draft with specific goals each time. one sweep to fix spelling/grammar. another for character voice. another for plot. repeat until you're happy with it.
leave it alone. just leave it for a bit. at least a few hours or days or even weeks. forget it exists. this will allow you come back with fresh eyes. then you can do your revisions with an eagle eye. now you may realize you need to add/remove scenes. you know how to get the first version down. close your eyes and daydream at your desk if that's what takes!
remember that fiction writing is persuasive writing. you are trying to persuade the reader to care about what happens next, the character's, the world, the feelings. as you're revising, consider whether you are persuaded. is the feeling/thoughts you wanted to provoke being felt by you when you read it? when working with beta readers, be sure to communicate what you're trying to convey so they can tell you if you've been successful or not.
this got a bit beyond getting the first draft done. hope you found it helpful.
bonus tip: check the spellings of names and places and other nouns that are not typically used, like the name of a magic tool!
Can you please share some words to use instead of "Look", I really struggle with that, it's always "She looked at him in shock" or "He looked at her with a smile". I know there's "Gazed" and "Glanced" but I wanted some advice to use "Look" less
Words To Use Instead of "Look"
Words Closest in Meaning (w diff connotations!):
stare
eye
study
behold
glimpse
peek
glance
notice
observe
inspect
regarding
view
review
look-see
get an eyeful
peer
give the eye
eyeball
size up
size up
check out
examine
contemplate
scan
recognize
sweep
once-over
judge
watch
glare
consider
spot
scrunitize
gaze
gander
ogle
yawp
Other (more fancy) words:
glimmer
sntach
zero in
take stock of
poke into
mope
glaze
grope
rummage
frisk
probe
rivet
distinguish
witness
explore
gloat
scowl
have a gander
comb
detect
surveillance
squint
keeping watch
rubberneck
pout
bore
slant
ignore
audit
pipe
search
note
speculation
simper
on worldbuilding, and what people think is going on
there is one facet of fantasy worldbuilding that is, to me, the most interesting and essential but i don't see it come up in worldbuilding guides or writing prompts or anything, and that is the question of:
what do the inhabitants of your world believe about how the world works, and how are they wrong? a lot of fantasy media will set up their cosmology, gods, magic systems, planar systems, concepts of the afterlife, &c., and proceed as though the inhabitants of the world know and understand them.
from someone whose entire academic career is focused on studying human culture in various regions and time periods, with a focus on belief systems (religion, occultism, mythology, folklore): that sort of worldbuilding is unrealistic and missing out on so much fun.
people are always seeking new understanding about how the world works, and they are mostly wrong. how many models of the solar system were proposed before we reached our current one? look at the long, turbulent history of medicine and our various bizarre models for understanding the human body and how to fix it. so many religions and occult/magical traditions arise from people disagreeing with or adapting various models of the world based on new ideas, methods, technologies. many of them are wrong, but all of them are interesting and reflect a lot about the culture, beliefs, values, and fears of the people creating/practising them.
there is so much more to the story of what people believe about the world than just what is true.
to be clear: i think it's fine and important for the author to have a coherent explanation for where magic comes from or who the gods are, so they can maintain consistency in their story. but they should also be asking what people in the world (especially different people, in different regions/nations and different times) think is happening when they do magic, or say a prayer, or practise medicine, or grieve their dead. it is a rich vein for conflict between individuals and nations alike when two models of the world disagree. it is fascinating how different magic systems might develop according to different underlying beliefs.
personally, i think it is the most fun to spawn many diverse models of the world, but give none of them the 'right' answer.
(bonus points if you also have a thriving academic system in the world with its own theory, research, and discourse between factions! as an academic, it is very fun to imagine fictional academic debate over the topics i'm worldbuilding. sometimes i will be working out details for some underlying mechanic of the world and start imagining the papers being written by scholars researching it)
Writing Resources: WORDS ARE HARD
60 Synonyms for “Walk”
A list of sounds/onomatopoeias for writers
American vs British terms
Descriptionary
Insult names to use instead of "idiot”
Looking for a word you can’t remember
OneLook Reverse Dictionary
One look thesaurus
Power Thesaurus
Researching for WIPs : A Collection
Reverse Dictionary
Synonyms for Very
Using the appropriate vocabulary in your novel
Wild vs feral
Words to use instead of: cry/cried/crying
Writing websites
Writing Morally Gray Characters
Morally gray antagonists and heroes can bring up many interesting questions about your story's theme and plot. Yes, your hero does want to save the world, but resorts to cruel ways of bringing peace?
Being morally gray can also mean that the character is highly goal- oriented and values efficiency and success over anything.
Deceiving Appearances
As is true in real life, a person's intentions aren't always obvious. A character, their title, background or really just how they look might at first indicate they're the hero type but surprise - they're not.
By hiding ulterior motives behind more apparent ones, you can add depth to your morally gray characters. Appearances can be deceiving, and that makes for a juicy read.
Morally Gray vs. Villains
Morally gray characters and villains are not strictly one and the same. Yes, there is overlap-they can be villains-but the distinctions are there nonetheless.
I don't think having a dark past to provide motivations for morally gray characters is too effective. They do intend to harm others, and sometimes, that's just the way they are.
Recognition
Your morally gray character should recognize that their choices can cause harm, intentionally or otherwise.
Although he's willing to risk the chance in his pursuit of knowledge, he does actively recognize that his actions can result in negative consequences. He sometimes acknowledges this before he does something, and sometimes only in hindsight.
Remorse
They must understand and experience remorse. When the consequences of their actions wreck and story world and kills people around her, she would certainly have regrets and even struggle to undo what she did.
The point here is, she won't regret until she has already caused the wreckage.
Redemption
Finally, when even they feel things have gone too far, your morally gray character must seek redemption however that manifests itself in your story.
For all their logic and reasoning, they are not without feeling. They can grow to care for other characters and go out of their way to help them at times, even save their life.
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Master List of Superpowers
power themes: light, dark, earth, water, electricity, air, life, psychic, energy, fire +
Light ✨
Dark light manipulation: create the darkes light in existence
White light manipulation: create sacred light
Photokinesis
Force-field generation: create rpotective shield of solid photons
Invisibiity: be unseen
Laser emission: bend light wavelengths to create lasers
Light absorbtion: absorb the light around you
Light generation: emit blinding light or glow in the dark
Light mimicry: take on the traits of light
Photoportation: teleport by using photons
Projectie insibility: turn other things invisible
Evil banish: rid and banish all spirits of evil and black magic
Dark 🖤
Umbrakinesis - can manipulate and control darkness or shadows.
Animated Shadow - Animate one's shadow.
Light Absorption - block out light in an area
If a scene feels flat and you can't figure it out, ask yourself:
• What can MC smell? Is there an ocean breeze, sweat, a cinnamon roll fresh out the oven?
• What can MC hear, besides the dialogue? Is a bird singing, river flowing, a car speeding, clock ticking?
• Can they taste something, even if they're not eating? Previously drunk alcohol or juice, aftertaste of a cigarette, smog, too instense perfume?
• Can they feel something on their skin? Rough clothes or delicate material, blowing wind, an allergy or a rash, grass that theyre laying on?
• What does the character see, besides other characters? Is the room dark or is sunlight coming in nicely? Are the colours vibrant or dull? Are there any plants?
• What's the weather? Is it snowing and the cold is making goosebumps appear on their arms? Is it hot and sweaty and clothes are clinging to their body?
• HOW DOES IT MAKE THEM FEEL? To any of the above.
Do they like the smell of cinnamon rolls or are they weirdos (I'm a weirdo, I don't fit in).
Does the clock ticking calm them down or annoy them?
Do they enjoy the aftertaste of a cig and like how dirty it makes them feel?
Are they sensitive to touch and how their clothing feels on their skin or are they indifferent?
Would they enjoy the scenery more if it was more sunny out, because they're afraid of the darkness?
Do they like it snowy or are they always cold and hate winter?
Come on, give them persoanlity, likes and dislikes, don't be scared to make them people and not only likeable characters.
Good Traits Gone Bad
Exploring good traits gone bad in a novel can add depth and complexity to your characters. Here are a few examples of good traits that can take a negative turn:
1. Empathy turning into manipulation: A character with a strong sense of empathy may use it to manipulate others' emotions and gain an advantage.
2. Confidence becoming arrogance: Excessive confidence can lead to arrogance, where a character belittles others and dismisses their opinions.
3. Ambition turning into obsession: A character's ambition can transform into an unhealthy obsession, causing them to prioritize success at any cost, including sacrificing relationships and moral values.
4. Loyalty becoming blind devotion: Initially loyal, a character may become blindly devoted to a cause or person, disregarding their own well-being and critical thinking.
5. Courage turning into recklessness: A character's courage can morph into reckless behavior, endangering themselves and others due to an overestimation of their abilities.
6. Determination becoming stubbornness: Excessive determination can lead to stubbornness, where a character refuses to consider alternative perspectives or change their course of action, even when it's detrimental.
7. Optimism becoming naivety: Unwavering optimism can transform into naivety, causing a character to overlook dangers or be easily deceived.
8. Protectiveness turning into possessiveness: A character's protective nature can evolve into possessiveness, where they become overly controlling and jealous in relationships.
9. Altruism becoming self-neglect: A character's selflessness may lead to neglecting their own needs and well-being, to the point of self-sacrifice and burnout.
10. Honesty becoming brutal bluntness: A character's commitment to honesty can turn into brutal bluntness, hurting others with harsh and tactless remarks.
These examples demonstrate how even admirable traits can have negative consequences when taken to extremes or used improperly. By exploring the complexities of these traits, you can create compelling and multi-dimensional characters in your novel.
Happy writing!
Keys to Crafting Characters Readers Will Root For (w/ some examples)
As a writer and while making up this blog, I’m quite adamant that characters are just as important (if not more) as plot. In the grand scheme of things, an active, relatable, and engaging main character is crucial for a novel's success. But how exactly do we make a character all these things? There’s many ways, in fact. It is up to us as authors to keep track and manage the developmental arc of our protagonist: primarily, who they are on the inside, and how they grow or change / adapt to the situations or people around them.
Here are some examples and tips to help you develop a compelling protagonist (or all kinds of characters). Keep in mind these tips are at their most basic, essential level (there’s just so much that can be explored in each one), so I hope to go further into each point sometime in the future.
~`* They have clear goals and motivations.
First things first: you’d want to clearly define your character's goals and motivations — and the sooner, the better. Proper and well-set goals and motivations provide a sense of direction to the narrative. They should be specific, measurable, and achievable — or perhaps, not achievable, at least to its fullest extent. This would ultimately depend on the type of arc or ending you intend to write for your story, but there should at least be some main goal the character is vying for, and a motivation that dictates how much they want or need it.
For example: An aspiring actress hoping to make it to the stage and audition for the lead role in her favorite play. —> Why does she want to be an actress so badly? What does it mean to her to act in her favorite performance? What does she have to prove, to herself or others?
~`* They are flawed, yet relatable:
I’m sure you’ve all heard this before… but I’m still going to reiterate:
Your character should have relatable flaws that readers can sympathize with. It’s no secret that flaws make characters human and relatable. Flawed characters help us remember that nobody’s perfect, and that we’re not alone in our struggles and in our plights (stay back, Mary Sues!). These flaws can be anything, from fears, limitations, biases, misbeliefs, quirks, shortcomings, or behaviors. It’s useful two have at least two: a minor flaw and a major flaw, where the former affects only the only character and nothing else, and the latter hinders the character and affects the plot.
For example: A highly-knowledgeable yet socially awkward and oblivious professor who can hold a bar of soap better than a conversation. —> Does this flaw make him out to be charming or weird to others? How can his social-awkwardness affect the plot… does it hinder him from connecting to his students or colleagues?
~`* They have unique talents or interests.
Sometimes I read a story, and personally I have a hard time connecting with a character if all they care about from beginning to end is what’s happening in the plot. It’s like they exist for the sole purpose of the plot, and are nothing but a shell to see through the events or its challenges. This is understandable, especially when it’s an action-packed story or thriller.
Personally, I can’t help but wonder what its main character does for fun. What they’re like before the events of the novel.
I think it can be useful your character skills or interests that set them apart. This not only makes them interesting, but can drive the plot in unexpected ways. *Bonus points if they have a particular skill or hobby that conflicts with the way they present themselves to others, or if they hide it well if they are embarrassed by it or afraid of getting judged. Essentially, this is all to clue-in on the reader to the character’s backstory, their personality. It helps them seem more individualistic, like humans with their own sets of interests or ideas that give them more complexity and uniqueness. This can also be useful in creating parallels or connections to your story’s themes or your character’s arc.
For example: A brave warrior with an aptitude for gardening and flower arranging. —> Seems random, right? But what if this warrior had workin in their relative’s flower shop, and has kept the skill alive in their days of battle to see pieces of beauty around them, hope from fear and danger? They might dig graves of their fallen friends and leave behind flowers in remembrance. Just an obscure example, but see all the possibilities something like this can open up?
~`* They have deep, complex relationships.
Sometimes we can get a better idea of a character when we see them interact with the people around them. It’s like showing vs. telling, where we get a firsthand look at how the main character treats his family members, how he accepts or refuses help from those he’s close with, what he appreciates most about his significant other, how he feels about the annoying neighbor next door. Who’s the one person they most admire and never want to let down? Who’s the one person they despise with all their body and soul? Whether it's friends, family, enemies, or romantic entanglements, complex interactions and relationships add layers to your character and in how they showcase themselves to the world.
For example: An excellent, compassionate therapist with a strained relationship with his own family member. —> How does this character feel about this kind of relationship? Does it stem out of shared family troubles, or something deeper? Is there a glimmer of possibility the therapist might reconcile with this relative, or are they dashed because of mutual pride or distrust?
~`* They often face moral dilemmas.
It’s time to get philosophical. Human nature is full of paradoxes and tough moral questions, and so characters with conflicting qualities can be intriguing and relatable. Introduce moral dilemmas and conflicting values that force your character to make tough choices and confront their conflicting values. Do they have a friend with conflicting beliefs that challenge their own? Are they forced to act a certain way because of external pressures? Are they forced to choose between saving one person while destroying another?
No matter how serious this dilemma is, you can also add a moment of clarity or self-awareness for your character. This can be a turning point where they acknowledge and confront the conflict within themselves, thus becoming face-to-face with their internal crisis and how they decide to go from there. Do they weigh the pros and cons considerably, do they fumble because they’re hesitant, or do they embrace the new changes?
Despite conflicting values, make sure your character's behavior is consistent with their established personality. Consistency helps maintain authenticity and keeps the character grounded.
For example: A scientist torn between protecting humanity and the pressure of making a groundbreaking discovery. —> How does making this discovery very important to this character? What do they stand to lose… what do they stand to gain? Are they at the risk of becoming something completely opposite of who they were at the beginning of the story, losing their sense of morality or forced to choose a side?
~`* They show their quirks and habits.
Introduce quirks or habits that make your character memorable. These little details can make the character more relatable and interesting, because just like talents or hobbies, this can also give a clearer sense to the reader of what kind of personality the character has and what they’re like. Not to forget, it also helps them to stand out from other characters on the page, giving them a unique voice with their kind of dialogue, their behaviors, style, and mannerisms.
For example: A scholar who can focus only if she’s chewing gum or wearing her lucky ring. —> How might’ve this character started this habit or tradition? Does it actually work? Does it not work, but they still do it anyways because it’s comforting for them? Also, where did they get this quirk from?
~`* They have a backstory.
Most of what we’ve been discussing in this post already leaves some framework for the character’s backstory. It’s important to have a meaningful backstory in mind that influences the character's present actions and explains why they are they way that they are. This adds depth and helps readers understand their fears, desires, and motivations better; not shallow and two-dimensional as cardboard cut-outs.
Sometimes we don’t get a backstory for our character right away. Backstories takes time to brainstorm and shape — let alone into a complex or compelling one — but its helpful to trust the process. What you can do if you’re still looking for the right one, is to ask yourself questions on things that matter to you most. This pertains to your story’s themes and other main ideas you may like writing about, such as grief or family matters. It all boils down to who your character is (the present), and where it stemmed from (the past). If we take this a step further: does this backstory guide them or force them to make changes within themselves, thus leading to their changed self at the end of the novel/series (the future)?
For example: A woman with a fear of marriage because she’s seen firsthand its faults, including her own parents’. —> Is her parents’ divorce still something she’s struggling to come to terms with? Is her misbelief equating marriage to constant conflict? Does she have a secret desire to get married, yet it put off by its pressures? Does she make up for this fear by focusing on other matters? Will this fear later be disproven?
~`* They are often vulnerable.
Every hero needs vulnerabilities. Imperfections. Weaknesses. We’ve talked about strengths and flaws before, but giving them that dent in their armor, any little opening someone or something might get through, leaves a reminder that no one, especially our hero, is invincible. Nobody’s perfect, after all (side-eyeing you, Mary Sues…). Make your characters messy: adding vulnerabilities helps makes them more authentic and genuine, opening up chances for them to learn and evolve as the story moves along.
It can also add a layer of suspense to the story, especially in conflict and tension. How will the character handle someone breaking their walls down, or a bad experience threatening to make them crumble and fall back to old habits? How do they handle their insecurities? How well do they hide their fears, and will they ever admit them?
For example: An old woman with bad eyesight and lives alone can’t tell that the reluctant robber breaking into her home is not her grandson. —> This is a fun little example that opens up many possibilities. Her bad eyesight is a physical vulnerability, and so is her soft spot for her supposed grandson. The robber notices this, and he too may have a soft spot for any old woman who treats him kindly. Does he use this to his advantage to rob the house, or does he humor her for a while?
I’d definitely like to expand on these tips sometime. If there’s anything you’d like to share or add, please do so! I’d love to hear y’alls thoughts. Hope this helped!
