Character Development for Beginners

1. Introduction: Hello and welcome to Character Development for Beginners. My name is Nia Hogan and I'm a multi published fiction author and educator. Character Development is one of my favorite things about storytelling. I love creating characters that I can connect to and who have rich pass an unforgettable personalities. Characters drive our stories. So an underdeveloped character will likely result in an underdeveloped plot. I created this course to help new writers develop characters for their own stories that will withstand the test of time and resonate with your audience. I created this course for writers who struggle with creating strong dynamic characters. And writers who are new to the Art of storytelling, who want a crash course on character development? This course is not for seasoned writers who already know how to develop strong characters or for writers of nonfiction. In this course, we will cover character Roles and Archetypes. Developing characters with a purpose, character traits, how to take care of your characters, character Creation and character Analysis. At the end of this course, I will also be providing you with my free character development resource to help you examine your own characters, whether they're new or existing 2. Character Roles and Archetypes: If you're ready to learn about the different roles characters play in stories and archetypes that they might fall under. Let's get into our first lecture, character Roles and Archetypes. The role is the part the character plays in the story. There are different angles to examine roles. So all start with the two main umbrellas, and those are main and minor characters. Main characters of the characters that are seen and heard from the most, whether that's through dialogue or thoughts. These characters control the direction of the plot. Minor characters appear in a story of varying lengths. Some minor characters have more spotlight than others. Some make a singular appearance that may or may not be super memorable, but their existence is needed in that scene. As far as main characters go, your protagonist is the most important character of them all. They are the star of the story and the action centers around them. This is who your reader is most invested in. Some books that merge perspectives may have more than one protagonist, but even then the person with the most Page time is considered the protagonist while the other is second in command. I like to use cars as a metaphor for plot, stories or character-driven. They are the driver of your vehicle. Protagonists don't always equal a good character. Sometimes your protagonist is a terribly flawed character. While this type of protagonist is harder to sell to your readers, it is still a possibility, antagonist or another main character. And they do exactly what it sounds like. They'll do. They antagonize. Making life harder for your protagonist is their primary focus, but their actions throughout the story are not always exclusive to creating problems. We often view the relationship between protagonist and antagonist as good and evil, but it doesn't always have to be that way. Antagonists do play an important role by creating tension in the story, but their actions are not always rooted in evil. The dude or agonist is another main character that you see often, but probably didn't have the terminology for them. Sometimes these characters are considered the best friend, the confidante or the sidekick. This character is very close to the protagonist and also gets a lot of scene time. Sometimes they're there to give advice, be the voice of reason, or to just simply help out. Don't be fooled though. Sometimes these characters are frenemies in disguise. Readers identify the doodler agonist because they are the second most important character in the story. You've probably never heard of a trite agonist, mostly because this term comes from ancient Greek dramas. But it's worthy of mentioning that this character is the third in line when it comes to order of importance. This character could also be your antagonist. Moving onto minor characters, I like to refer to these characters as supporting characters. These are any characters that are needed to advance the scene. Some supporting characters provide more support to the main characters and others. But support just means that without them, something cannot happen in that scene. Support characters are much like extras in a film. They may not speak, but their presence is noted in some way. Sometimes these characters are called tertiary characters. They may also appear a few times. Sometimes they are super memorable, but other times they're just in the background helping to glue the scene together. Like the barista in a coffee shop who makes the protagonist order. Next, I'd like to discuss character qualities, not to be confused with character traits. Understanding these qualities can help you to analyze your characters better. First off, let's discuss dynamic characters. These are characters who undergo an internal change. All protagonist should be dynamic. If your other main or major characters are also dynamic than that supplies. By the end of the story, a dynamic characters should not leave as the same person they came into the story as just like our experience has changed us, the same thing should happen to your dynamic characters. The people they interact with, the choices they make, the things that happen as a result, and the things that occur around them gives them new information. And therefore, a different perspective on life. Being dynamic doesn't require a dramatic change, but authentic characters grow over time. Some characters are static characters, meaning they stay the same. All characters can be static, but I strongly discourage you creating a static protagonist. Yes, sometimes your protagonist will not change. But I consider, I challenged you to consider, why aren't they changing through their experiences? And what smaller ways can they see the world differently? Static doesn't always have to be a bad thing either. Sometimes characters are just stubborn. They don't play a big role in the story for the reader to notice the change. Or maybe it's fitting that the Character remains the same. Just make sure that there is a valid reason for the main character to remain static. Flat characters are simple characters. They're given that term because they don't have any dimension to them. One, maybe two adjectives may define them. They are intentionally over, underdeveloped and they don't need to undergo change or exhibit complex emotions because that change isn't necessary for their character. They don't have much depth or layer and the reader isn't looking for that from them either. Now round characters are very similar to dynamic characters. It's easy to identify this difference because they change more often than a dynamic character does. For us to recognize these changes, this character must be well-developed and present enough for their storylines be relevant and worth following. Up. Protagonists can also be around character. The key with creating around character is to create one that is realistic but complex. For example, we all know someone in our lives who is always changing their mind about something. Maybe this is an impulsive need to change hobbies or move on to the next relationship, which is a sign of a deeper internal conflict. Maybe they're all always reflecting on life and looking for meaning. There are signs. These are signs that they're around character. It doesn't take much for them to learn, grow, change, or adapt to their environment. Next, we're talking about character archetypes. These are reoccurring types of characters that can be seen between different literary texts. And because they are universal, they can also be seen throughout different genres. Some archetypes are more common than others, and there is a long list, but I will only be covering what I consider to be the most common and sharing a little bit about their characteristics. First stop is the symbolic character who represents something bigger than themselves, hence, the root word symbol. There purpose is usually tied to a message for the protagonist or for the reader. Sometimes it's symbolic character is actually a group of people. Their presence doesn't have to be heavily felt for it to be symbolic. As long as it can be understood that that is there archetype by the end. Often the nature of who they are and how they navigate the story speaks volumes and connection to this theme. Jonas in the giver is a perfect example of a symbolic character, as he is a representation of hope. The romantic interests character isn't exclusive to the romantic genres, so we'll talk about them next. They are the romantic interests that can be admired from afar. They could be a key player in the protagonist's life, whether they're obtainable or unobtainable to the protagonist. And they can also know that they're being admired or be completely oblivious that they are the ABL of another characters I, this characters presence creates a romantic energy or attention, whether they know that they're doing it or not. The protagonist might be working towards expressing their feelings or they might keep their iteration secret for part of or the entire length of the story. And interests does not have to be mutual either. Next, we'll talk about Competent, Competent characters. They often show up as the protagonists, good friend. What maybe that's a best friend or a love interest or sometimes as a mentor. This character often knows the protagonist's inner thoughts and feelings that they don't share with everyone else necessarily. Sometimes the confidant character changes over the course of the story are, for example, friends turning into lovers. The confidant is who the protagonist chooses to confide in. Next, I'd like to talk about the caregiver archetype. They are closely connected to the protagonist as well. They support their journey and they can show up as numerous roles such as parents, teachers, mentors, neighbors, or maybe even religious leaders. They are carrying like their name says, as they push the protagonist along their journey. The caregiver can also be the confidant and vice versa. Moving on to the foil or villain character, they often clash with the protagonist, but that doesn't always have to be your antagonists. They are often fundamentally opposite of the protagonist. Sometimes the foil becomes the protagonist friend, and they develop a different type of relationship with the protagonist. The foil is usually a very self-serving character that is often unlikeable at first, but that can change over time. Draco Malfoy, for example, from Harry Potter, is always the first character that comes to mind when I hear villain. If you've read the series, then you see their relationship changes over time and you see how different they are as well. Next, let's talk about the hero character. This is typically your protagonist They embody everything that we consider heroic in the real-world. They are an ordinary character navigating extraordinary circumstances. There are different types of hero archetypes depending on the genre or the type of here was in that they're displaying. You should do your research independently about this one. That way you can have a better understanding of the different types of examples. There are so many different types of heroes that you can explore if you'd like to incorporate that type of archetypes and your story. This character also keep in mind, goes beyond fantasy or comics. This leads me to the anti-hero, which is an atypical hero that is heavily flawed. And they challenge the norms of what a hero looks and acts like. This character is unconventional and they may challenge morality in the process of their journey. The anti-hero is usually your doodle agonist rather than your protagonist. So Robin Hood is my favorite literary example of an anti-hero. Next up, let's talk about the jester. This character also provides comedic relief to your story. They are likable characters who often have a close relationship with the protagonist. They are easy to identify because they are typically people who bring joy, laughter, and light the protagonist's life. They created a touch of humor to the story, and sometimes they do that unintentionally. The gesture doesn't always have to show up as the class Cloud, for example. Sometimes they are the character that doesn't take social cues well, or they're just so blunt that their observations and personality, It's just naturally comedic. Let's also talk about the magician characters. They can show up as a protagonist and antagonist or another supporting character. They aren't always literal magicians or even have actual magic. They are, however, very powerful, intelligent, skilled, or strong characters who are seeking more power than they already have. This character might be a leader who has power hungry or a villain who just makes life very hard for the protagonist. Or maybe they even are a magical creature who can cast spells. The rebel is a courageous, resourceful leader who is also a flawed character. They see that something in society is broken and they rebel against the status quo. They are unapologetic about being themselves and they want change. So a huge part of their journey is creating that change. You see the protagonist take on the rebel archetype a lot in dystopian novels. Next, I'd like to touch on the mentor character. Sometimes we refer to that character as the sage. And their purpose is to teach the protagonist something. This archetype is not exclusive to characters who are in teacher or mentor coaching Roles. Many characters outside of the protagonist and antagonist can hold this archetype. But this is a great character to reinforce the theme of your story with. They are wise, they provide insight and perspective on life that your protagonist's otherwise might not have considered. Now, keep in mind that not all characters are human either. This is not an archetype. I just wanted to remind you of this. Some writers personify animals and objects in certain genres. When this happens, the writer is challenged with not only developing a well-rounded character, but also thinking like a non-human subject. So what would a dog, a chair or a cloud thing? How can they communicate? What do they have to say? What is their motivation? There are plenty of stories out there with rich non-human protagonists, such as in water shipped down, Animal Farm Beauty and the Beast. Animals and objects can be brought to life and take on any of the roles are archetypes that I've mentioned in this section. While there are many Archetypes out there, I wanted to mention some of the most common that I've seen in Literature. If you have a character archetype that you love and you want to share your knowledge about in the discussion section. Please feel free to. Now that we've covered some Roles and Archetypes, I'd like to give you some insight on creating characters with a purpose. All characters should serve a purpose. Some purposes are bigger and more important to the story ark than others. But unlike in film, when you might have several extras and a bar that don't speak or interact with the main characters. In Fiction and less the Character acts, reacts or is noticed by the main characters in that scene. They are not considered characters and won't be mentioned at all. I've used the following example in many of my courses. So this may sound familiar if you're a returning student. It's the perfect way to explain characters and their purpose. Your plot is like the car. I'm not talking about autonomous vehicles here. So the car requires a driver to move it. Your protagonist is your driver majority of the time and less. Of course, your book changes perspectives and then your car has multiple drivers, or multiple cars with drivers. The point here is that a plot is driven by the characters. Without characters, you have no plot. Therefore, it's important to know your characters. So you know how they would drive the car. Will they make good or smart decisions behind the wheel? Or are they inexperienced or irrational drivers? Are they aware of their surroundings? Are still learning how to navigate the world around them? Are they quick thinkers? Are problem-solvers? Do they need support behind the wheel? Do they care about the choices they make? Are they even capable of driving at all? If the answer to that last question is no, then you're character needs to be workshopped. If you don't know enough about your character to know their next move. This character is not developed enough to drive a storyline. Like I mentioned before, all character should serve a purpose. Your main characters are doing most, if not all of the decision-making with your protagonist at the wheel. These characters are reacting to your protagonist moves. Minor characters should also serve a purpose to help advance a scene, even though they aren't doing any real big decision-making. For example, the waiter in the diner that has an attitude because the protagonist can't decide on what they want to eat, is revealing many things about themselves and the protagonist without having a backstory, a ton of dialogue, or any connection to the protagonist outside of the scene. The waiters purpose is to build the scene and to reveal that the protagonist is possibly finicky or distracted, or just likes to take their time when making minor decisions. As you develop characters, you should always be asking yourself, what purpose does this character serve? If you can't answer this question, it's important to put this character on the backburner until that question can be answered. Asking yourself, is this character required for this scene is a guiding question to help you revise your existing work. 3. Taking Care of Characters: Now that you understand the importance of purposeful characters, we can discuss how to take care of them. And the next section, taking Care of Characters. The characters we create our hours. We gave them life. When we do so, it's important to treat them like the real and build them with authenticity. So who they are translates clearly to the reader. I grew up during a time when there weren't a lot of books in my public library with black protagonist. Therefore, most of the books I read usually had one identified black character. And one thing I noticed was that authors bought into many of the stereotypes that the people living in my town also bought into. These white characters weren't very developed. And when they were, their family life and backstories were very similar, was filled with struggle, maybe an absent parent. Or often they faced racial disparities as the root of their storyline. All this is to say while libraries and authors, if young adult fiction of come a long way with diversifying how people that look like me are represented in mainstream Literature. There's still a risk we run when we create characters that come from a different background than our own. This is not to discourage you from developing characters who aren't like you in any way. It's just to remind you to avoid stereotypes and bias as much as possible unless it's necessary to the plot. When I first started writing, my main characters were never black. Part of this is because I wrote stories that I like to read. I also wasn't very comfortable in my own identity at the time and prefer to escaping into a world of privilege that I didn't grow up in. My mother and sister who are also writers, asked me why none of my main characters were black. And I took some time to analyze why I was so afraid to write for my own perspective and tap into what I know. I don't feel that those characters I created were inauthentic necessarily. But there are things about them that I could never understand. Due to my age, race, gender. Had I tapped into things I know and had lived. The story is, I wrote, as a younger writer, may have been more powerful. Stereotypes are deeply ingrained in our culture. This general belief about a group of people is not only harmful, but in Writing simplifies to this character will become by the end of the story. If you want to character to be perceived as dynamic and unique, you can't give them to stereotypes. There are ways to limit your characters based on gender and gender identity, religion, nationality, social status, age, or physical appearance. If you're not sure if you're character is falling into the trap of a stereotype than it's your job to do the research. The easiest way to figure this out is to define the things I just listed. Then type in stereotypes for that group. Ignorance is not a defense. If you create a character who is stereotypical, readers might find it distasteful. In the same way, choosing to lean into these stereotypes for whatever reason you justify it is, is you're right. I also want to mention literary bias here. We know that bias is when facts are replaced with opinions. Because all stories have a theme or lesson to be learned by the end, it's easy for our natural bias to get in the way. It's okay to teach your beliefs throughout a story. But it's important to ensure that the information your characters present, especially if you're dealing with history, real people, laws, or anything that can be proven as a fact is presented accurately. If, for example, your character is ignorant to a fact, It's important that you as the author, clear up that fact in some way so that readers are not being fed inaccurate information is truth. Our youth is extremely impressionable and they learn a lot of what they know about life and the world around them through Literature. Creating an authentic experience for your readers is important. My best advice for creating characters who come from a background different from your own, who don't share the same culture or customs as you do, maybe older than you, or have lived through experience you haven't, is to do your research off the Internet to get to know more about the things that you don't know personally. In the same way you research a setting to ensure accuracy. You can ask questions, observe cultural norms and traditions, even asked to participate. It's important to immerse yourself so you can best to pick the things that have shaped who they are. Being culturally sensitive and accurate as part of being a responsible writer. Don't just assume because of what you've read in a book or one interaction that you've had that you know, all there is to know. Yes, there may be plenty of people that fit the Character you're creating, but it's important to know that what you are presenting is not only accurate, but it's a fair representation. The older I get, the more I realized how different norms are from one household to another. There are some things that are supernormal in your household that some people might not even consider to be necessary. Sometimes these norms come from the region of the world you live in, such as colloquialisms. And it's a good idea to do your research on those as well. Moving on to the subject of colloquialisms, my husband jokes with me all the time about how New Yorkers taught and the colloquialisms he uses are extremely dated. Like his main reference is how people in New York talked from '90s music videos. Of course, he's kidding in the comfort of our home. But this is a real problem for some writers. If you're creating characters who are born and raised in a place you've never visited. It's important to do your research on the slang sayings and speech of people from that region, as well as from that time period that your writing in to ensure accuracy of language and dialogue, readers will quickly realize if you haven't done your research. And this is also something that goes beyond the Internet. Take a trip, talk to people from that area. Listen well and take notes. Accuracy is the key to authenticity. My next point is about choosing appropriate language and actions. Now when I say appropriate, I mean, would this character really say or do that in order to know that you need to know your character. In middle-school my class read the pin balls by Betsy buyers. The main character, Carly is rightfully hostile and skeptical due to her history of abuse. I remember this book so vividly because Carly hat off foul Now, do I want my kids talking like Carley? No. But was this language appropriate for the type of character Carly was despite her age? Absolutely. Buyers knew what her character would sound like based on lived experiences. You must know what things you're character would and would not say in order to create the most accurate and authentic dialogue for them. The same way you must know what their boundaries are, what things will or won't they do, except are given to readers sense when I character is not acting like themselves. And the only way they'll know this is through how you present them in the opening scenes. And as they change over time. The final point I want to make about caring for our characters is The Art of killing them off. While murder is not an Art, removing characters permanently from your Writing is not all books will have a character pass away or be phased out. But the, in the event that you choose to do this, it's important that you do so with Care. Yes, death can happen suddenly, but it's important to know your genre, your audience, and the weight that this character holds. In terms of genre, you have to know the physical limits of your world as well. Is this death realistic in this world you've built for the genre? When I mentioned audience, death for juvenile Fiction should be handled much differently than death for an adult novel. Juvenile Fiction isn't going to include Gore in detailed descriptions of death. Making mention of death or loss is not inappropriate. This is a natural part of the life cycle. But how do you introduce depth to this audience? It, or how you do it, I should say, is part of taking care of your characters. But more importantly, taking care of the mind of young readers. Young adult fiction geared towards teens might include more detailed descriptions, but it won't be anything like what you'd find in adult lit. Knowing your audience is a big part of knowing how you can approach death or loss in your writing. When we talk about the weight the Character holds, I'll use the example of the Harry Potter series. So spoiler alert if this is on your to be read list. When Dumbledore dies, his death holds a lot of weight to the characters and to the readers. This is because JK Rowling did a great job developing this character, connecting him to the protagonist and also to the rest of the characters in the story. Dumbledore played a huge role in his death was felt by readers around the world. Losing Dumbledore didn't destroy what remained of the series because she did this with Care. His death was justifiable despite being sad because it was authentic. It's important that your readers, that you give them time to mourn and a reason to also keep reading. Also be sure that depth is productive to the plot so that readers understand your why. Hopefully this section is help you understand ways to care for the characters that you create by making them as authentic as possible 4. Character Creation: Now that you understand some things to consider about character building, Let's get into character Creation. This section is going to cover some things to consider rather than take you through creating character step-by-step. The earlier lectures have taught you how to classify your characters and things to be aware of. The Character Development Resource provided at the end of this course, should help fill in any of the blanks that you're still unsure about by the end this lecture. To begin, if you have story ideas, you naturally have character ideas. The problem you're likely running into is how to take flat static characters and make them round and dynamic. Let's start with putting a name to your characters. Shakespeare once asked what's in a name. Some people believed that name shape our identity and our destiny. Others believed that names don't mean much at all. I am one of those people who believed that names are important. And as parents, we should take great consideration into the meaning of the names that we choose. When it comes to creating characters, almost all main characters will have a name. Half the time when I'm creating my characters, they're named just simply comes to me. And the other half, the name is well-researched. I look at the origin and what it means in different languages. Sometimes I start with conducting my research. For example, I'll look up names that mean bravery. I don't believe that people always embody the meaning of their given name, but I do think it's FUN when readers investigate a unique name that I've assigned to a character and realized that it fits their characteristics. Another thing to consider when naming characters is how easily readers will be able to distinguish between other characters. Have you ever read a book where the two main characters have super similar names, like Carlene kami For example. In the beginning it was probably hard to remember who ASU, especially if the characters weren't much different personality or appearance wise. If your characters are siblings and they have names with the same first letter, well then that's an exception to consider when naming characters. There are no rules, but I would ask yourself, Well, my readers be able to easily differentiate them between other characters. And does the name field like the right fit for them? Now, onto my favorite part of character Creation, which is establishing backstory. Backstory is the defining information about a Characters past, their history, the things about their life before the story started. That's important to understanding who they are in present day. Not all stories require a character's backstory to be presented, but that doesn't mean that you shouldn't explore it as the writer. All of your main characters should have a well-established backstory during the planning process. This information helps you to guide your decision-making and to determine the changes that they'll undergo. Sometimes backstory will never be revealed to the reader, but it can be explored in many ways through flashbacks, dialogue, or internal thoughts. For most characters, you can consider their backstory at a surface level, much like a resume. What are the key pivotal moments that define this character's personality? For your protagonist and your antagonist. However, you might want to dive a bit deeper. Think about their family history, tap into their trauma. What are their strengths and weaknesses? What do they want out of life? Knowing the answers to these questions is like being an unlicensed behavioral therapist. How can I better understand why this character thinks and feels this way? By looking into their past and understanding the patterns and thought processes that are shaping their decision-making and beliefs. For your minor characters, you might not want to explore any backstory and instead jot down a few defining Adjectives. Next up is creating variety and uniqueness. It's easier to tell characters apart by their traits. Think about your family for a moment. Does everyone have the same personality? Likely not. Your beliefs might be the same due to your environment and your primary teachers, such as parents or leaders. You might have different passions and interests. Even if some things are the same. It's important that when building characters that you do give them differences that set them apart. Just like we are all unique, your characters should also have things that set them apart. Well-developed characters or like a layered cake. I challenge you to choose your favorite literary character and examine their layers. Who are they on the outside? Or how are they perceived by the people in their storyworld? How do they view themselves? How do I want to be perceived? Because sometimes that's different from what others see. How do you view them based on what you know about them from your reading? What interests and desires do they hold that the world knows about? What do they secretly like or want for themselves? How do their internal and external motivations differ? Once you examine all the layers, it's easy to see who they are as a character. Your main characters should be layered as well. There more than what meets the eye and first impressions. You are in the driver's seat when you create characters. This is the time to flex your creative wings and give life to someone the world has never seen before. If you believe in the power of your character and you get to know them inside and out is a good chance that your readers will be invested in their journey. That's the mission of creating characters to give the reader someone or something to be invested in. Sometimes the people around us become the foundation for the characters we create. We leave a little bit of ourselves in the characters that we give our attention to. Don't be afraid to get feedback on your characters before you start writing, either 5. Character Analysis: Now that we've covered character Creation, I'd like to touch on character Analysis. When we analyze characters, we're taking a deep look into their role in the story there traits and personality. But also what they're going through. This section is all about helping you create characters that are worth analyzing. We've covered all the things a well-developed character will be from dynamic two, unique. And who you say character is, is different from who will character sometimes reveals themselves to be in your story. A characters who they think they are, who they say they are, and who they reveal themselves to be. What I mean by this is their internal thoughts and external responses are all the reader has to rely on as they get to know your characters. Dialogue reveals a lot. What they say, how they say it, their vocabulary, and their presentation of ideas is very telling. Some characters don't always say what's on their mind or tell the truth, which lets us know that they might be shy or even dishonest. But it could also be a reflection of their lack of comfortability or that they want to protect the feelings of the person they're speaking to. A character might be condescending in their language or be very diplomatic. These things don't need descriptions. I'm going to take this to a personal place for just a second. An old roommate of mine used to always say, your words mean something when I get flustered and say, I don't know how to explain it. This would encourage me to stop, think and find the right words to explore what I was feeling. This exchange tells you a lot about us both. My roommate was a straight shooter patient and sought understanding. Me at that time, I struggled with expressing emotions and prefer the easy way out of conversations. But in the same way, I was emotionally intelligent when challenged. Someone might argue that this is a very deep analysis based on very little information. But this is what character Analysis is all about. Some readers love to analyze characters and are able to infer and conclude things with very little information. When you read a scene, a good way to ensure that your characters are becoming who you want them to be to your reader is to analyze how they interact with other characters within a scene. What is their dialogue saying about them? Is this what you want readers to get from that? How we react under pressure in times of desperation, when we're in an emotional state or when we're trying to please. Other also tells us a lot about the type of people we are. These are just some examples, but it's important to note that readers are observing your main characters every move. If the answer is ever know, this is not what I want my readers to think about this character. When you're done reading a scene, it is now your job to figure out what you need to do to make the dialogue match your characters characteristics. In the same way if you're writing in first-person, it's important that internal thoughts match up as well. Hello character thinks and speaks may not always be the same. For example, maybe you're character is very buttoned up and strategic in how they speak to others due to where they live and work and the people they surround themselves with. But maybe internally their thoughts are chaotic and shrewd and all around different from how they act. This is where those observations and descriptions will come into play. External responses or how a character reacts to a certain situation. Your characters are making choices around every corner. Will or won't die is always looming over their head. If a character has shown themselves to be a rational thinker the entire length of the book and then suddenly makes a very irrational choice. The reader is going to want to understand why this came out of the blue. To some extent, characters should be predictable, but predictable doesn't equal boring here, it equals sensible. If a character is XYZ, then they will react in this particular way. Yes, characters can get out of character, but there might be a catalyst that sets them off. Sure, sometimes characters do things that are unexpected, but that response must make sense to who they are, what they're capable of, and who they are becoming. External responses are very telling and part of dictating those responses. And knowing the Character well enough is knowing the Character well enough to be there puppeteer. It's important to reflect on who your characters are, just like you reflect on your Writing. Holistically. Readers can be tough critics. They will always mentioned if there's something inauthentic about a character, because it's hard to connect with characters that either aren't realistic or so far from people we've interacted with in the past. This interaction could be in real life or within other books or other storytelling devices. I'm sure most of us don't personally know a serial killer, but we know what to expect because we have exposure to this type of character through storytelling. Just like in the criminal justice system, behavioral analysts can create profiles on who their suspect might be. Readers are your books behavioral analyst. They are using their background knowledge to make connections to your characters as they read. In this section, we talked about ways to analyze your own characters to test their authenticity before they hit center stage in your next Writing, peace, knowing the ins and outs of your character and understanding them on a personal level is important to ensuring they are well-represented throughout your story 6. Conclusion: We've come to the end of this course on character development. We cover character Roles and Archetypes. Creating characters with a purpose, character traits, caring for our characters, as well as creating and analyzing them. If you haven't already downloaded it from the project section of this course, there is a Character Development resource that I created for you to use that will aid in developing well-rounded characters that your readers will fall in love with. Please upload a copy or an image of your completed resource to share your classmates how helpful this resource has been for you. As always, if you'd like feedback on your document, please feel free to solicit that. It has been a pleasure walking you through Character Development for Beginners. Again, my name is Nia Hogan. And if you found this course helpful, please leave a positive review so that other writers can benefit from the information in this course. If you have private questions or concerns, feel free to e-mail me at novel Writing For beginners@gmail.com, have been creating or developing your existing characters. And I will see you in the next course until next time.