Write Believable Characters for Beginners | Selina Shapland | Skillshare

Write Believable Characters for Beginners

Selina Shapland, Art, Writing, Creativity

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7 Lessons (41m)
    • 1. Introduction to Writing Believable Characters

      1:45
    • 2. What is a character?

      4:43
    • 3. What makes a character interesting to readers?

      6:16
    • 4. What makes a character likeable?

      7:34
    • 5. Characters and Your Project

      4:43
    • 6. Summing up characters

      2:08
    • 7. Bonus Worksheet walk through

      13:58

About This Class

Do you have a story you would like to write? How about a character or two flashing scenes inside your mind? 

Maybe you have a keen interest in writing genre fiction such as horror, adventure, fantasy, paranormal or romance. If so, this class will give you the ability to make characters that will become the beating heart of your story.

Characters may be fictional but they are also people in the minds of your reader and they are a pivotal part of your story's creation process.

But what happens if your characters aren't yet three dimensional?

How do you go beyond creating cliche characters?

In my experience, it's important to know them as much as possible before writing the first scene. However, I do know there are writers who like to discover their characters as they build a story too.

No matter whether you prefer to write plot driven stories or discovery write your way through your novel, this course will help you to create characters with depth and interest. I will also help you to develop a basic character sheet that you can refer back to and tweak/add to as you write and discover more about your characters.

Characters are the lens through which the reader will experience your story. It is my belief that every writer wants their readers to fall in love with their characters and so, it's important to know who they are and what they have to offer the story.

This class is designed to introduce you to concepts of character creation that will help build characters that capture the imagination and interest of your readers. It will help you to create characters that come across as real to your readers too. 

In this class, we'll explore the following:

  • What makes a character interesting?
  • What makes a character likeable? And why you should you care.
  • What role your character performing in your story?
  • What conflicts do characters need?
  • And, how to create a character work sheet that will help create a well rounded character, from physical appearance to finding their greatest fears which will help make them stand out in a crowd.

Join this class and and learn to think about characters in a way that will build depth and interest in your genre fiction.

I hope you enjoy this class!

Please leave me a review, add your thoughts to the community section and let me know if you have questions. I'll do what I can to help you out. 

And if you have any creative genre fiction topics you would like me to explore in a future class, let me know.

All the best with your character creation and story development.

Selina

About the Project Character Work Sheet and where to find it 

I have created a bonus video where I walk through the project worksheet by fleshing out one of my characters, Luca, who is a love interest. I hope it helps you think through your project and helps you to build more confidence in not only your character development but world building, themes and other aspects that are closely tied to the story telling/story plotting and writing process. 

If you're looking for the Project Character work sheet document, it can be found under the Project & Resources section. It's a link on the right hand side of the screen. Just download it and start thinking through your character.

Try to think about what conflicts they have internally, what their facing externally and what they will do to overcome the obstacles to get what they want in their story. 
Feel free to add to this character work sheet so it is all relevant to you and your character. 

Transcripts

1. Introduction to Writing Believable Characters: welcome Teoh writing believable characters. My name's Selena, and I'll write almost every day. In particular, I enjoy running paranormal romance stories with fantasy elements. Horror, Bates, Adventure Bates and the orbit of humor are studied genre fiction writing since 2000 and eight in a private capacity, and I've been steadily working my way to publication standing in that time. I have two manuscripts written and finished, and I've been moving into the editing and publication faces for both of them. Ah, hope you will enjoy this class on how to build and write believable characters. I hope that what I have learned and that I shared here will help you to write, released in characters that will appeal to your target audience. And your Raiders will come back consistently seeking MAWR and asking you for paper will stories. The aim of this course is to help you to understand characters and to Ryan to build characters that come across as real people in your stories. So we'll be exploring the following what makes the character interesting. What makes characters likeable visits, being an unlikable character, the role your character supplying in your stories and what to think about when putting together cat a character profile. So please join me in the next video when we'll be exploring what characters are and thinking about how creating a character from the inside out can help to develop them into real people on the page. 2. What is a character?: hello and welcome to video to where we're going to talk about what our characters. So the first thing is, what is a character? A character is the lens through which the radar experiences a story, the kind of like you stepping into the character when you're writing a story and you're living vicariously through them characters of the players on the page, and in order to capture your audience and bring them into your world, it's important to make him Israel is possible. But what does? Making a character Israel is possible actually made to May. It means running a character who has false, who struggles in life and with their emotions, that they're relatable to human beings, that they're likable, especially there they protagonist or the main character. And if they're the antagonised so that they got some complexity to them as well, they it's important that they experience an inner conflict and that they have out of conflict, which they must rise to the action of the story and resolve. It also means going beyond pay that paper thin, cliche characters and often pay the thing cake cliche characters, characters that we have in our mind that we haven't fully explored well enough before. We've come to write the story, so it means that they don't have enough complexity to make them really in the minds of the Raiders. So at one point I did a story with a 19 fifties Greece ago. I so love interest for my main character, and the feedback that I received was that he came across a bit like clay shy, and I struggled with that for a while, and one of the reasons was that I made him a little bit too much like John Travolta, Grace and a little T, much like the thing that people had seen over and over again. So what I needed to do was building more complexity to who he waas and changed his mannerisms. He speaks in a subtle way so that he became real as a real person rather than as a an archetype. For example, off that character, it's about funny death in each of the characters that you have, so that when you write them, they are real to people inside of their minds. On that, what you've got in your head transfers tree that writing and into the minds off the Raiders , and that's the ultimate goal with writing as far as I've become aware, characters also have roles to play roles, such as the protagonist Still mine characters. That's the good guy or girl, the heroine or hero, the antagonist who is the character, the other main character in the opposing force to your protagonist. And they often work against the protagonist in the external conflict. You may also have a romantic interest or love, interest or love off your my character. Depending on who and what you're writing here you're writing for and what you're writing, you'll also need a sidekick or two or two for your main characters and maybe a henchman or three if you're antagonise to command. So in an example of that, think about Harry Potter daycare. Rolling was very smart when she did this. She gave Harry some psychics who were best friends, and people could sort of help him along the way. They support groups and the ones that helped him T based successful as he hasn't confront, confronts conflicts and on the other side had the ultimate antagonise involved. Bolt, who had the death date, is his attention, and he can command them. But they were not best friends. They were his sort of dark servants and wanted Teoh with him, but for their own means and also out of fear. But Harry also had another antagonised they had to deal with in A to the books and that what was strike home? Malfoy and Drake are in his antagonised role. Also ahead, Henchman and his henchman were crab in oil. And if you familiar with the Harry Potter series, you'll probably understand that. Okay, so in the next video, we're going to talk about what nights? A character interesting. 3. What makes a character interesting to readers?: so welcome to Video three and Video three. We're going to talk about what makes the character interesting to the radar. Sorry, one of the major things Mike's character truly interesting. T iRadio is that I have conflict, and there's three main types of conflict that I've discovered in my writing study. The 1st 1 is internal conflicts. It's on the inside of the character, and nobody else annoys about that. So character comes interesting when they conflict it on the inside of themselves, and they often where to find a solution to the internal conflict, which will help them to do the way, move away from pain and into a state of comfort and pleasure. So thats the goal for them in their internal conflict, so they don't want to be conflicted. But the really interesting part is how do they manage and move through being conflict completed about a subject or a situation on in on the inside with their emotions? One of the big internal conflicts, the usually protagonists in one of most interesting ones that I've investigated has seen the identity conflict, and that's an internal as well as an external conflict, like who am I those sorts of questions, the more that they tackle an internal conflict at the more will help them to grow and to learn as they as they go through the arc of the character character arc in the story and also give them the strengths and the qualities that I made in order. Teoh fulfill, they go. Or maybe they go at the climax of the story. So it's an important internalization or difficulties. And even as human beings, we all experience internal conflict. We may have to voices inside of ourselves telling us to go one way and then the other voices telling us to go another way. And that's sort of what can characters have with an internal conflict? As you prepare in your characters, Shade is important to think about what could baby in town conflict or maybe even three internal conflicts for them. So they're gonna level of interest, a level of complexity for each character, especially main characters. Main characters must have these nuances to be very interesting to the radar. The second type of conflict is an external or out of conflict, so that is the conflict that moves the story forward, and it's usually that appraising force between the protagonist and the antagonist, so the protagonist is trying to get somewhere on the tightness is trying to get somewhere else and stop the protagonist from from getting within one guard. And if you think about Sahwas and Luke from several weeks, score. Boakye. He and the Veda had this external conflict, which was complicated by their relationship, which became revealed over time and at one point that Fighter acknowledges have far. Luke Skywalker has come in his development and wants to bring him across to the dark side. So it's kind of like that's a temptation. And, of course, the internal and conflict for for Luke is. Do I guarantee the outside of do I stay true to my values and become a general of the life ? It's just kind of example of an external conflict that also into awaits with an internal conflict. The third type of complete is a romantic conflict. Now every story has a rhyme, unity, conflict. But if you're writing romance or with the primary debate, you native romance complete so somewhere in the main characters well, I've seen a lot of stories. There's a romantic conflict where that the character faces, and it could be an internal and an external conflict for them. So, for example, they may have been emotionally hurt by a previous relationship on its broken down a single . And, yeah, I live down that I never, ever fall in love again. I will never trust that person's It is the trust. Part of the conflict will never trust anyone to get that close to them again. But then, throughout the course of the story, another protagonists comes in who is like the love interest sort of role and the my character starts to really fall for them. I have feelings for this person, but there's mannerisms and experiences of the other person that remind them of the one that I had. Dad, I would never be falling in love again. So the internal internal romantic conflict is that they need to overcome their distrust and learn to trust. And the external conflict is coming to terms with physically allowing themselves to fall in love and to invulnerable again that resulted print pleasure. Teoh, the reader, when they see and experience that internal conflict become come to a resolution over a period of time throughout the arc of the story, though, to make a character interesting, it's best for them to be nuanced, tohave, different interests. Teoh. No wonder men, sure, for them to have conflict but have the inner and the outer conflict. They needed a conflict at the start of the story, which is like the inciting incident that will let them know that their life as they know it , has changed forever and that they need to rise to the call to action and that, in itself, convenient channel conflict is like I don't want to go and do that and basis. I will have to step up and make it happen. Conflicts how you write Woods Good character if a story 4. What makes a character likeable?: Hey, welcome back, Todo For where we're going to talk about well, makes a character likable and why you should care about being likable. And I'm talking about the protagonist, the mind character Kia. The reason it that your protagonist should be a likable character is that they are the main character of the story. The one that you want. Your rate is to buying Teoh to want to follow. So I think of characters such as Buffy the Vampire Slayer. She's got problems. She's a young teenager. He's got the weight of the world on her shoulders. She's also got a life to leave a Day life, a young high school student, And she also has to save the world multiple times from vampires and apocalypse and stuff last. And she has difficulty holding relationships, romantic relationships. Because of that, her greatest desire is to be a normal 16 year old slash into a twenties, let's and stuff as list. The arc of the story goes, so I really love barfi. She's a great example. Off A's, a likable character, you know, she's funny, she's serious, she's nuance cheese, and we, as viewers of that particular Siri's can enjoy living through it because we have May may have experienced similar situations in our lives and below were not necessarily out stating bad fires at night. But it's kind of cool to have a double life kind of thing happening. Sorry, and it adds just that extra inch bit of interest. So one of the reasons you need tohave a likable character is that your greatest buy into them and I will come along in the story with that. My character and my character is the lenses that same through which the cat this the Raiders will connect with your story, say it's coming like they got a little lens on the shoulder and that lens is also looking in the heads and sort of telling you what's going on inside them as well as what is happening to them and around them. The reader will. I want to see what happens. We killed my character and how they resolve the conflicts, the internal conflict, the external conflict in the romantic conflict. As they go through the story, the reader wants to connect with that person. He's some of the things that I learned about what makes character likable, lovable characters have people around them who loved it. Sorry, they might have a mother that loves them and wants the best for them. Then I have a partner who loves them and what's the best from them. I have best friends like Bridget Jones. She's got no I got a crazy Parents that she's got her best friends that, you know, surround her and support her when she's down and out. And that tells us something about how likable she's a person. Despite her difficulties in life, we like we resonate with him. I want to see how she comes out and ends up with falling in love with Mr Darcy. Likeable characters also have pits, or I'll like to buy animals. So there's nothing that I've heard about where it's conical pit, the pit, the dog. And I think it's a Hollywood screenwriter and saying, In basically the first few scenes of a movie or a story, you have the main character hitting the dog. And as they do that, they're connecting with nature, connecting with the world around. They're showing three their actions, that they are remarkable people and that they're not gonna harm creches. That's important to some rate is lovable. Characters step up and face their fees and build their courage true facing their fears and trying to resolve the problems before them. But they also fail, and that's an important part of the character's arc and the plotting of your story. Trying Teoh resolve the situation and failing is what makes the story interesting for the Raiders. Well, likeable characters are related for the reader, like we talked about Buffy and with Bridget Jones, as in the Rada, has may have experienced similar conflicts to the Mayan character. And I can resin night with the life of the character. And sometimes we we have normal personal experiences that a similar to mine captain. But we can feel into that, and we can connect with them as human beings. And that's what makes the character real for the reader. It's kind of living vicariously through these, other being on the unpaid. But one of the things I found that makes the character likable is that they can have heroic qualities but that they also quite vulnerable. So if I think about Buffy, she, uh, she is a hero. She's they save the world and all that stuff, But she has these vulnerabilities. She falls in love with band Are she's, she's a 16 year old. She's not mature in the world yet. She's she's not got a lot of the tool she has to keep learning and growing in order. Thio Thio grow up emotionally, but she also has this heroic ability to fight villains and defined vampires and said they have a rowing abilities and they also vulnerable. The other thing that can my characters quite lock always that great sense of humor. So you enjoy writing Huma in your stories, and that's really great that you go careful, that kind of human that you put out there. So it really has to be, you know, alignment with who the character is only inside and how they connect. So I like Bridget Jones is a character could quite funny, but she's quite vulnerable to say, Hey, see power is that she is quite quirky. Things get wrong for her. She keeps picking herself back up, she's vulnerable and she still keeps putting yourself out there. So it's superpower is her ability to find courage in fear. That's how I see it, and I think that the more you have a likable protagonist, the better. It'll baby for your story in the same case for an unlikable character. So if you might call my character mean that will turn off breeders and they will put your book down or your story away and you don't want to do that. And I learned that because I had a character that had funny saying on the train and author was Larry's and actually a few people, right, and told me that it was quite funny in my bed by the region's. But what I found was that it was, I mean, Huma and I had Teoh correct that because it wasn't in alignment with the character. And so that's what's really important is making sure that the actions that the character takes and the decisions and words dialogue ladies is all in alignment with through the hours character on a mine character really does need to be a likable character. So, however, answers what makes remarkable character and why we should care about them being remarkable . The next video we'll talk about how to build your arm character, Shayt. So join me then 5. Characters and Your Project: So we'll come back to video five, where we're going to talk about building your own characters through your own character shape and the project. There will be a word document that all attached to this project so that you can download it and begin to fill it out as a character shake. And it's some of the questions that I ask myself that I've learned a long way helped me to develop characters that become real people on the page. The first thing is left. What roles will I made for characters in my story? So depends on talks story we're going to tell. But for May only the protagonists to ease my mind character. My likeable character only did antagonised. It doesn't also another my character. It may not be in every scene. Then I have best friends also had kicks, and they may be one or more. Then I'll have henchman, which will do the bidding of the antagonised for May I like a love interest. I particularly enjoy having love triangles in my stories because it adds another level of conflict for my characters and having to resolve who they love and why, and I get a guide character to think about someone who could help them during their difficult times. Someone who's got wisdom is the kind of character that I'm looking for is a guide. So when I think about my characters, the one that comes to mind most easily is getting Delph from the Lord of the Rings trilogy in that he is the always it and he has experience. But he doesn't have a Leonsis doesn't have a magic that can change everything, but he has some knowledge, some experience in some magic. But beyond that, he is that guide for Fredo and enter Bill work. But he doesn't play a role in every single saying in the story, so I think that those those things, like for each character, I write down a few points on what their name is. This said age, sex, social status and employment status. What they look like because it's it's important to know physical features, so you don't forget what they look like when you go back when you brought in a moment. If you're writing the series and get back and think, Oh what what was the and color? Because that's easy to forget get wrong. So physical description. United main features. But I don't just say they have blue eyes. I describe. Their eyes are described. There are lessons, their eyebrows, the scars, tattoos, the way they walk, the build of the boarding, the color of the hair and have a big day. Easa because living on what? That's quite interesting because, you know, do they used to count that I'm concerned about having the papal back. You know this list and it gives you mannerisms that you to quit. And then I write a small paragraph on from their perspective, what they think about what? That how'd I look? And then I have them describe one thing that they dislike most about their bodies, and I asked him to tell me why. Then I moved to the gold. But what are they trying to achieve in the story? What is their internal conflict? And I usually look for three internal conflicts. What is the external conflicts? So that's a big conflict that they're going to try and resolve. And what is their romantic conflict? We've got one. So if I've got a love triangle, I'm going to have I lie. A demon I like Bob, but I don't know about each one. Say that this sort of, you know, which one do I go with? Then I think about what motivates them to keep trying to achieve their goal and what they'll do in order to succeed, even after failing. Because for May, they always fail at least twice before they succeed. What is think rightist? FIA. Well, I like this one because when they tell me they grow this Fiat, it's the one thing they want to avoid. And knowing this feel helps made poor little situations in the story where they could coming Teoh a situation where they have to have to face the fear and build the courage to face it and overcome it and makes and grow and mature. So that's about it. So I'm going to put the the word document together and pop it up here, so please feel free to download and use it to fill out your your own character. She'd would like to do like you to do is fill it out and just put a small snippet of that up on TV projects so I can have a look at it and give you something back 6. Summing up characters: Hello and welcome to Video six. This is the summary. So today we've discussed what our characters, why it's important to create characters that are interesting and neurons, the three types of conflicts that I learned about being internal, external and romantic conflicts. We've touched upon the romantic triangle, which can pretty much help the conflict of any book, especially for young adults. Uh, we've also touched on what makes a character likable and why you should care about character likability as it will help people to continue to read your stories. I've also talked about why it's important to stay away from writing, unlike my unlikable main characters and how that can affect the old Raiders. So do you try to keep them in the positive when you're talking about writing your main characters? And we've been thinking about how Teoh build your characters so that they come across Israel people when you write your stories and we've been talking about a project which is a product shape for character creation. So thanks for taking this class. I have enjoyed it and got some value out of it. Please do upload a snippet of your character shades to the project tab on this class so I can have a look at it and give you feedback. And if you want this class plays, feel afraid to recommend it. I very much appreciate that. So until next time, happy creative writing and writing believable characters. And if you have any feedback or questions that you want to ask that I may be all the help we have placed, feel free to put that in the community conversation section and I'll see seeing so bye for now. 7. Bonus Worksheet walk through: the's bonus content is where I'm going to work through the character work shaped and show you what I've written about a love interest character. But before we do that, let's just go back to skill share and have a look where you can find the worksheet. So just go to the class, go to projects and resource is tab, and on the right hand side, you'll see, I resource the section it says Project character, work shade. Just click that link and will download the word document with all of the prompts that you need to start your project and then just allow your imagination to go bit wild. This is part of creating a Bible for your cracked your characters and your world building, as well as your character development and understanding, your plot and conflicts and your theme of your story. This sheet will be very, very helpful to you as you move through your story and hopefully can learn Teoh. Get back to it from time to time when you need to refresh your memory. So it's not about getting everything in Hungary, but it's about capturing the start of it. I'm quite so we just get back up here and then we will get going with it. Oh, the right believable characters work shit that I've done. Not so much for my protagonist, who is Toddy James in my story. The Living Death of Tony James. It is Ah, today the focus is on the love interest. He was also a positive character with a little bit of a dark shade deem, So I've highlighted that is the love interest, so I know what role he's going to be taking the story. His name is Luca, and he's a white demon. He's male. His age is unknown, but he appears to be young and maybe from his early twenties. It's very difficult to tell what they thoughts, characters, whether they really 20 or 2 300 years old. And I like that for Lucas. So social status. He's actually kind of enslaved Tumen on who is the antagonised, and he's also bound in Servitude Tomb and on with Sarah, the Black Witch, who is his kind of dark a counterpart in the shop that they run. And she's a bit of a metaphor for the darkness that she has inside of here. So it's not always literal. He's a white demon and he's actually of royalty. But you don't know that when he's first introduced his employment statuses shopkeeper and he does bargain deals and he's, ah, deal my car in the esoteric important, which is the name of the shop. What his job is is he makes demon deals and bargains in this magical shop. He's a day worker while Sarah takes the night time shift and Luca works behind the counter is a sales person as well, and to quote him directly from my manuscript. It's where bargains are made and demonic deals are done. And he really gets a kick out of actually sighing that that's something he enjoys. Does he enjoys? You know, he doesn't tickly love his job. It's not really what he was brought up to bay or do. But he actually resents being bound to Sarah because he hasn't freedom. But he loves making deals, and he gets a rush every time that he gets to make that deal. So some people feed off making deals and bargains, and he's one of thumb. So in the physical attributes, I gave him pink eyes and they're really just normal looking eyes, fine, white eyebrows. And he doesn't have any scars. He doesn't have any tattoos, but he do. It does have to silver horns that are like P sings on either side of his forehead. He's skinny, and he's not particularly tall. He's a little bit taller than my main character, toddy, and a little bit quite a bit shorter than Nathaniel. Who's the angel? His hair type is. It's pure, pure white, and he's short. It's got it's short hair, and it's Kelly easy size and normal and because I like him to be able to pass for human if he goes into the human world and that's pretty cool fun as long as he learns Teoh, disguise his horns when he goes out in public. His favorite jewelry? Well, he actually doesn't have fiber jewelry. He has a silver trying the attached to touches to his wrist, and it goes invisible, and it's connected also to Sarah. So that's the binding between them, and he detests that chain. He also has a cast disk and crystal ball, which are important to him and by their important to the story, his favorite clothes. They're obviously a pristine white suit. As I've said here, what he's most uncomfortable wearing his James and a taste yet. So there's an opportunity for me to put him in the story in Jane's annotation and say what his reaction is then what's most comfortable thing that he likes to wear, obviously, the white suit. And he also likes his white loaf, our shoes. I just write a small paragraph about how Luca feels about what he looks, and I'll just take a moment to read that I like my pointy teeth, the moist When I green at my customers, they take a moment to reconsider any insidious or nefarious plans that had been hatching to do me out of a good deal or bargain. My silver horns glint when I get excited. There a bit of a giveaway or tell sign about my mood. What I dislike most about my body is the red welts. This binding cord leaves on my skin. It is a constant reminder of my 72 men on. The other thing I dislike is the golden light that flares at the most inopportune, opportune times. It is an inconvenience, but I have learned to live with it. Oh, These are things that really make you character sort of pop out on the page and help the reader to connect with them. So my characters goals have only actually put down to. At the moment, Luther is trying to get his freedom back as he was feeling humiliated women on bound into Sierra and took his freedom away from him. But Luca also sees Toddy as a way to get what he wants. But when he starts to get to know here, he begins to feel conflicted about what man on has asked him to do. Now this is where the internal conflict gets interesting. If he does Azman on Wants and Mr X here, he may be able to get his freedom. If he doesn't and he chooses to help Toddy, then he forfeits his freedom, potentially potentially for the love that he finds with here and that he noise he can really never have. So that's a really good internal conflict that's also very much a romance conflict, which is in alignment with the kind of role of the characters playing. So what motivates him to keep trying is Luca is motivated to help Toddy because he has figured out that if she can get the knife that he needs from the mother of beasts, he can then use that knife to cut the binding between himself and Sarah and then seek vengeance on the non. So he's not really thinking about love there. It's really all about self serving stuff. He's other internal conflicts, and some of it's a little bit repetitive because it's the same type of stuff that goes through the threads of the character arc. He doesn't want Toddy to nori that he that he is royalty and has fallen from his place among his own kind. The pain of this displacement is too much, and letting you know about it hurts too much. But then he finds himself wanting to tell here, and it just complicates things. So what does he do? Says again, a question to be answered in the story. He has an ongoing conflict about Sarah. He has to work with her. And isn't this the typical thing of we have to work and get along with people we don't like unnecessarily at times. So they run the esoteric Emporium shop, and she's being driven crazy by unrequited love and say that she switches moves very often . He can never tell what she's gonna be like, and it's like walking on eggshells. But he has to try to get along with here, and it's really annoying for him. Sometimes he loses his temper, and that's when the magic battles of wills between them flare up. He doesn't want to fall in love any with anyone. He only wants to get what he's already. So this is conflict number three. Basically, it's his place back in the Demon Clans. But then when you made 20 things change and so cause she's sassy and bold, and she's vulnerable and innocent as well. And even though she's touched by darkness that she's also got a lot of light in here. And so I can't help but find her really irresistible because in a way she's a mirror image of himself, and he wages an internal war about helping here versus doing what men on once. That's quite a big conflict, but he's gonna be dealing with. So what is the external conflict? Silica seleka is facing an eternity of servitude Tumen on and the binding to Sarah. It's just too much to take. His time goes by, so he's going to face a choice. Does he continue to try to make deals with men on? Now that man on himself has been frayed from an entrapment and is back into building an army. Or does he help 20 get the knife that she needs to finish my non off and use her to take back his freedom? It's all very self serving, and he then has the internal conflict about it as well. Like if only he wasn't born with feelings. If only he wasn't born with the sole in, the choice would be clear for him. But it's not so because he could just act. But there's so much more toe way up. This is what brings more believability to the character and make seem not so much of, ah, cliche on the pay. So there is a a romance plan. There is this three potential love interests in this story, and Lucas, one of Thumb Week. It isn't on the out. Look out for love. He hasn't thought much about it, really. All the NYSE is that love and being rebuffed a Sarah Waas and what she went through 10 too crazy, and he just doesn't want to experience anything like that. But when he made study, finds it irresistible. But is her, you know, irresistible. It e enough to make him trust in love and put his own selfish needs to one side. Now that's the big question, isn't it? And you're throughout the story. He will grapple with that, even though he's no main character, as in the protagonist. He's the main character, but he's not the protagonist, and we're not looking through that lens. So I do know I can't when I write it, I can't write. He's internal thoughts because it's all from the viewpoint of Tory James. That's how she sees him. So describing my characters Greatest fear. Lucas Gross fears that he will never, ever be the kind of white demon that he was born to bay. He wants to rule the clans, but he's afraid to rule him because he has a soul, and that might seem wake in the eyes of the plans. He's afraid that if he ever gets to his gets his freedom back, then hell, hell, attempt to reclaim what he's wrought for places among his kind. But once again. He may endure the humiliation of losing that battle. And then where would he be in? Who would he be? So there's the identity conflicts starting to really rise up for that particular character . What makes them so likable? Well, Luke saves Toddy from Poppet, who's a possessed doll in the store when she returns from another realm, which is the mother of bastes realm with the knife that he needs to cut himself free. Sure, it's somewhat of a self serving act, but what do you do? And what do you expect for a demon who's trying to redeem his darkest features whilst also possessing a soul of light? He's got jewel motivation here, but it makes him likeable cause he's riel. How many of us have two different cells inside of us that are always maybe working towards something with different motivations? He's tender and funny, and he watches out for Toddy. He even begins to open up to love, and it does begin to change him, so his motivations change over the arc of the story they have carried to tell you something important about themselves. It could be their most embarrassing moment that has affected them and think this is really important to allay self some time to delve into its not necessarily going to be easy. They may not be forthcoming and his bitch of you going to tell your character and put out there for other people to read right now, they may not want to tell you right now, and that seems a bit silly, but he's sort of get in the way of us doing this sort of stuff. So need to just give it the space to allow the character to talk to you. And then if you feel comfortable, they input on the project paid. So this is Lucas response to May. The day I fled the hell realms I was beaten down and bloody Mike in the White Demons had picked me for what I waas a fraud to their kind my soul, this golden light that emanates from within me I cannot disguise it Too dark, malicious eyes rejected by my kind. I was almost ripped apart. I staggered out into the world of humans and discovered the sorcerer old Mr Hubert. He caught me in an entrapment. Such a humiliation going from one humiliation toe another he bound me to his will, Commanded me to do his blood bidding compelled May to call the darkest of entities the most twisted creature I could find. And so, like a pup who has bean beaten. I went into the shadows once more and took my chances somehow getting myself caught up, human ons, clutches. He bound me to his will. And so I had to masters and I was the master of nothing, not even my own freedom. Do you know how humiliating it is? Toe have to serve others and fear that I would never be free? It is excruciating. But there was an upside to the red hot pain that stabbed through my heart and forced me to my knees. And that was the glorious moment. Man on also found himself the unwilling play thing off the old fool sorcerer. And that's my my character shape. For the moment, of course, I'll add to that. Overtime is I discover more about my character as he grows through the story. But this was so helpful for May, because secondary characters or, you know, psychics, love interests, and that sums up. They all have to feel riel, so don't just do your protagonist do all of the role. And I know it seems like a big job, but it will truly help you to write a better story. Okay, Thanks for watching.