Creating a Character (Fiction)

Reporter: Nikka Stella Louise Q. Allaba

A character (aka fictional character) is a person or other being in a narrative. The
character may be entirely fictional or based on a real-life person. In fiction writing, authors
create dynamic characters by many methods. Sometimes characters are conjured up
from imagination; in other instances, they are created by amplifying the character trait of
a real person into a new fictional creation.

Fictional Characters are usually made up of three types: appearance, attributes and
aspirations.

1. Appearance refers to the physicality of a character. This does not refer to

what they look like on a visual level but other sensory details as well.
Describe the way they move, the way their voice sounds like, how they feel
to the touch, how they smell like or even what they taste like.
2. Attributes refers to the personality and preferences of a character. They can
be kind or mean, selfish or selfless, introvert or an extrovert. In other words,
attribute describes what your character is like outside of the plot of your
story.
3. Aspirations refer to the motivation of your character. In other words, this
answer to the question, “What do they want?” Example: Do they want to
avenge the death of their father at the hands of their uncle, like Hamlet?
Furthermore, more stories usually have a cast of characters to provide for different points
of view or to move the plot along. They can be classified in different ways. You can refer
to the chart below to figure out where your character might belong:

Presence Position Characterization Movement

Refers to how we Refers to whether The manner of How far the plot
often we see the the reader is for or creating or portraying of your character
character/s in the against the a character in a story moves along
story motivation of the
character
Major Protagonist Round Dynamic
Major characters The major Round Characters are Dynamic
are usually point-of- character whose portrayed using all characters
view characters motivation the three aspects of a usually exist
and are central to audience believes character: throughout the
the plot of the story. and empathizes appearance, entire plot. A
with. attributes and change usually
aspirations. occurs in their
characterization
(e.g from a
coward to a
brave person)
Minor Antagonist Flat Static
Minor characters The major Flat characters are Static characters
only appear in character whose portrayed using only usually exist only
specific scenes or motivation the one or two aspects of during a certain
have specific role audience does not a character. They section of the
and are not central plot. Their
 to the plot of the believe or exist to support round characterization
story. empathizes with. characters. does not change
(e.g a coward
remains a
coward).
Putting all these things to create characters is what we call characterization. There are
four major ways of characterizing anyone in your story. These are:

1. Direct characterization- This is when you directly describe the characters in terms
of their appearance or even their attributes.
2. Indirect characterization- This is when you allow the audience to slowly recognize
who the characters are and what kind of person they are.
3. Comparative characterization- This is when you allow show the flaws or strengths
of your character compared to other characters in the story.
4. Active characterization- This is when you allow the characters’ action, movements,
or physicality to show the reader what kind of person they are.
You do note: Whichever form of characterization you choose, you must remember to craft
your characters consistently. This means that your characters stay true to the way you
created them, and they do not do anything out of character. Creating your characters with
consistency shows your reader that they are correct in trusting the characters in the first
place, and that you created them in a believable way.
***
1) Flat Characters
In some instances, they may be more parts of the setting than characters. For
example, if two main characters are eating in a restaurant, their server- if portrayed at
all- likely would be a flat character.
2) Static characters
Perhaps your main character lives in a building with a doorman, and to develop
your character, you show the kind of small talk she engages in with the doorman each
time she enters or leaves. The doorman would be described as static character
because he never changes; he is there only to help show a small part of the main
character’s personality.
3) Round characters
They don’t have to be the main characters in a story, but they serve an important
enough role in the plot or a subplot that giving their personalities multiple layers is a
necessity.
4) Dynamic characters
Consider how the doorman use as an example of a static character could instead be a
dynamic character if fleshed out a bit more. As the doorman gets to know the main
character a little better, perhaps he discovers something unsavory about her character
and must decide whether to act on that information. Regardless of what he chooses, his
encounters with the main character are likely to change as his perception of her
changes.
5) Stock Characters
For example, the main character might be on the run from the mob and encounters
a mob enforcer. While it's unoriginal to present the character as a stereotypical goon, it
does move the story along quicker because the audience already is familiar with what
that stock character represents.
6) Protagonists
Captain Ahab in Herman Melville's "Moby Dick" is a good example of a protagonist
who is relatable yet unlikable. Ahab's stubbornness and obsession with the whale that
bit off his leg negatively impact the rest of the characters in the story, yet readers can
relate to the emotion of becoming obsessed to the point of detriment to themselves and
those around them.
7) Antagonists
One of the most iconic antagonists in film history is Darth Vader from "Star Wars."
At first, he seems to be little more than the embodiment of pure evil for reasons that
aren't clear. As the story develops, his character also is developed and viewers learn
how and why he became such a violent and intimidating figure.
8) Confidantes.
In Leo Tolstoy's "Anna Karenina," Anna often turns to her sister-in-law, Dolly, to
discuss the problems that have arisen because of her relationship with Vronsky. Dolly is
an interesting choice because she herself has been victimized by her own husband's
infidelities, and as the novel begins, it is Anna who is serving as Dolly's confidante.
9) Foils
For example, if you create a character who is known for being honest, that can be
highlighted by creating a foil for the main character who is consistently dishonest and
perhaps challenges the main character's own commitment to honesty.