Giving life to a character is one of the most rewarding parts of being a writer. It’s also one of the most difficult. Too many times in fiction we witness the “cardboard” or one-dimensional character. It takes more than the snap of a finger to create real characters, those we can visualize and root for and love. Instead, they develop over time, over many hours spent together.
As a writer, you need to think of the development of characters as being a process, a life cycle, instead of a moment of genius creation. One of Inspiration for Writers most requested workshop is “The Life Cycle of a Character,” which breaks getting to know a character into several phases.
CONCEPTION is the initial spark, the idea that originally causes us to want to create this character. Sometimes the plot generates a spark—we know a story we want to tell and we need a character to tell it by. Sometimes we see a setting—a country porch with a dilapidated swing—that makes us wonder what kind of person lives there. Sometimes we run across a photograph that sparks our imagination and we create personality to go with the physical features. Or sometimes we see a possession like an antique spinning wheel and wonder the type of person who would own such a thing. Whatever the cause, writers conceive a character from an idea.
During the conception phase, we need to start assigning characteristics (knowing that once our character takes on a life of his own, he may change any of our assumptions about him). But, to get started, we still go through the paces. You may find it helpful to use a Character Trait Chart to assign physical description and background information.
BIRTH is when we pick up the limp character that we assigned physical attributes and psychological traits to, hold him in our arms, and breathe the breath of life into him from our very own souls. It’s also the turning point — his actual birth—and we cease having absolute control over him.
The first breath of life is when our character has a goal or “character statement.” What, more than anything else in the world, does this character want? Consider the following character statements:
- To become wealthy so the love of my life will return my love.
- To have fun.
- To keep my family together.
- To break into the Rock ‘n Roll charts and become a rock star.
As you can see, a character’s goal can be as deep or as vapid as the individual. Note that for some characters, this statement may be a life goal, but for others, it may change as the character matures. Regardless, this is what motivates our character, and we must understand this motivation if we are to continue to add depth to his personality.
Part of a character’s birth is the “layering” of personality traits. I have found that a good book of the Zodiac that includes both star signs and moon signs is a “cheap” way to add dimension to a character. Also, I search psychology books for complementary traits. Using resources can help with your writing. For example, you may find that alcoholics often possess irrational fears and suspicions or that a criminal skyjacker often has a religious mother who confided in him, that bed wetters are often aggressive and have difficulty adapting to new situations. These are the types of traits that add dimension to our characters.
ADOLESCENCE is when our character begins interacting with his environment. How does the setting of the story affect him? What is going to happen to him and how will he react to what happens to him? What conflict or fatal flaw will prevent him from achieving his goal? How will he overcome this conflict or flaw? How will he grow?
MATURITY is the final fleshing-out of a character. We now add body language (be sure to study a good body language text to understand how posture, facial expressions and mannerisms affect the way we are received by others) and dialogue to our character. We need to give him a distinctive voice, not just externally, but the way he will think in internal dialogue. Perhaps most importantly, we need to understand his emotional makeup. To fully understand our character, we need to mentally try him out in several emotional scenes so that we can know how he will react.
DEATH. Great characters never die. Never.
So—giving life to a character is much like being a parent. We do the best we can for our characters, give them years of our lives, our love and understanding, but the day comes when they rebel and say, “Enough. Let me be me,” and we must allow them to live their own lives. And that is when we as writers have truly given life.
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