Create Fictional Character With This Best Guide

The character’s level of development is a function of the role each person plays in the story. Simultaneous mention of a five-hour shadow bank clerk who receives a deposit slip should not be made further.

“Some (characters) will go on stage like kobold names, tell a line or two, do a short story about the story they gave them, and then leave,” said B Beachtel .


Think of your best friend. Did you know everything about him when you met him or did you just “click” as time expresses your common ideas, traits, beliefs, interests, feelings, and experiences? Similarly, the foundation of a media character should be laid very quickly and the following scenes will have his or her personality revealed and sponsored.

Characters and moods:

Similar to the character’s portrayal are story scenes, where he can act and show the traits that make him who he is in particular. It must, however, have several other features.

1). The character should fit the scene and the story, like characters fits in the Kobold fight club.

2). He must believe, convince the reader that he is a person or that he can be a real person in the real world.

3). He must be consistent with his actions, attitude, and behavior from the scene to the scene throughout the story. An 80-year-old grandmother who visits a church every Sunday and contributes to the site will not suddenly squander money, unless she has revealed what is under her and what has happened in the past to create such a personality.

4). There must be a conflict. Nothing reveals a person’s character more than arguments that test or divide him.


One of the many reasons why students immerse themselves in stories and books is to look at the aspects of life that they can identify with and perhaps find their own excerpts from one or more of their characters in the light that made them quietly conclude, “That’s me.”

“On a road he had never driven before, he hurried to an unknown place and city he did not know, to distribute according to some clever law, part of the burden of the boy’s and his own emergency; , ownership, he looked out and saw for himself.

This passage emphasizes the shared responsibility of the person — or those traits we unknowingly share — by enabling the character to look at himself or herself for the first time and to gain knowledge of the view that others have of him or her.


Letters are not and should not be stick numbers. They should be portrayed as complex, diverse, whether fictional or real, in order for the reader to believe that they exist. Their physical appearance can be a start for that person, but it is also a very important part. What motivates them, hidden in their pasts and psyches, which makes them squirm and turn into who they are, can be very important.

“They are words made of flesh. Sometimes they even speak for us, carrying a lot of burden of structure, context, feelings, mind and emotions.”


Consider clay dough. As you work with your hands and tools, you begin to shape and move slowly. He did the same with characters through body language, emotions, attitudes, and physical actions. Here, above all, show, don’t tell! Do not say, for example, that Billy was not hesitant. Demonstrate, for example, his difficulty in making decisions by consulting several friends, questioning his decisions, and finally deciding to do only one thing to change his decision an hour later. This demonstration would have the reader conclude, He does not seem to be making a decision.

If you described one of your best friends, you could say, “He’s six feet tall and has sandy hair” or “He’s funny, clever, philosophical, he understands the basics. He’s like a game. He’s like the spirit of relatives.” Would his height now really matter? The maximum depth indicates the person behind the body shell.


“We create characters with a specific physical meaning, by selecting sensory details and details about the character and the environment, and by describing the movement and speech of the character,” says Rebecca McClanahan in her book, “Word Painting: A Guide to Write More Explicitly” (Writer’s Digest Books, 1999, pages 115-116. ).

By describing the character with his own eyes, the author enables the reader to enter his unique world.

“The characters express their inner life – their worries, values, lifestyles, likes and dislikes, fears and desires – with things that fill their hands, houses, offices, cars, suitcases, food carts and dreams,” says Rebecca McClanahan in her book, Word Painting: A Guide to Write More Descriptively “.


1). Choose the right name, pronoun, and / or title.

2). Provide enough descriptive meaning for the reader to visualize the features that distinguish the character, but it is not enough to draw a picture. They should not be presented all at once, but one distinctive feature can serve as a character’s mark, such as a scar on his forehead or a gentle lisp or a repetitive expression, such as “anything not” at the end of it all. Other examples might include, “That he was anointed with oil showed that he was working in a car repair shop” or “His persistent cough suggests he was smoking heavily.”

3). Be aware of the power of the character’s place to show or enlighten him. Settings can often mean a lot. For example, “I don’t think his kitchen area ever was a mop friend.” What does Laura’s glass collection about Tennessee Williams’ The Glass Menagerie mean?


Characters should perform the following tasks:

1). They allow the student to live independently of them.

2). They give the reader an idea of ​​the time wisely planted in a story or book.

3). They give the student a contact, leaving him or her feeling like you are from someone or a friend with whom he or she has been intimately acquainted.

4). They allow the student to follow his or her journey, which shows how they interact, pull themselves together, and ultimately overcome, the obstacles encountered throughout the work.

5). They allow the reader to explore himself, but at the same time explore the features, methods, and solutions that he does not show in his life, giving them an alternative “angle”.


With page 50 of a story or a long book, the writer should be able to breathe enough life into his main character. Dimensional or paper letters do not give the reader any surprise, they allow him to know his profile without waiting for his next action or dialogue. They can be considered “stick figures.”

The main character has to be in a transition environment and has to be really complex. He may not even know how to handle the situation. Theoretically, there should be only one character.

A well-crafted novel should begin when the main character finds himself and when he is in the midst of major changes in life, such as losing a partner, dying, or winning the lottery. And in life, people rarely learn or grow unless they are challenged and faced with difficulties. Often they endured excruciating pain, stumbled, and found themselves in a state of flux.

Any novel or short story will provide a single main character or protagonist with specific side characters, acting as actors and providing support, communication and input. They became the riders of buildings and the flow of the building.

At the end of the task, the main character must make changes or alterations, while the side characters do not have to do so. The reader should be the originator of the main character.

Stories have two types of conflicts: internal conflict, which includes morality, rights — compared to evil, demons, and insecurity; and external conflict, which deals with people, parents, working conditions, finances and social problems.

Facial expressions can either reveal the truth or hide it. Take, for example, Colombo, who was outwardly complaining and empty-handed, but cleverly managed to piece together all the pieces to determine who had committed the crime. He equally expressed the level of uncertainty.

Every letter should hide something, as do most people in real life.

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