So I don’t have a process for creating/developing characters (to me the process is intuitive to the point where I wouldn’t even know how to explain it), but I do have a process for revising characters that just… fall flat, for whatever reason.
I like to get to know my characters by throwing them into a bunch of different situations and seeing how they react, but sometimes that’s not enough. In these cases I need to go back to the drawing board and figure out how to make them not feel like a cardboard caricature of the role I need them to fill. Here’s the process I use, and it involves three key questions to understand what makes your character tick.
Alright, here’s what the process looks like in action.
Let’s say I have a character I need to flesh out for my story.
Character A is a middle aged coffee shop owner and the protagonist of her story. The central conflict of the story revolves around trying to save the family run coffee shop she inherited from her father when he passed away, which has recently fallen on hard times.
Character A believes that the world is an inherently good and fair place. She believes that good is always rewarded and bad is always punished, even if the timing isn't always perfect. As such, she strives to live a virtuous life, putting as much good into the world as she possibly can. While she understands that even good people can face hard times, she believes that in the long term, if things don't work out, it'll be because she didn't put in the work needed to turn things around.
Character A grew up in a solidly middle class household with good parents that treated her well- rewarding her for good work, and fairly punishing her for misdeeds. Her parents gave her everything she needed, but also expected her to work hard for the things she wanted. She also had the experience of watching her father build a successful business through hard work and by building strong connections with the people in town. If we want to push this further, we could also say that this belief was reaffirmed by watching her brother ruin his own life, squandering all his money and goodwill with those around him on failed get-rich-quick-schemes and outright scams that landed him in jail.
Let's say that Character A recently hired a barista who seems perfect for the job. Strapped for help, she gets him started right away before getting the results of his background check. When the results come in, she finds out that he is on probation and was recently released from jail for a violent crime. Shocked, she fires him. Believing that people who end up in jail always deserve it, she can't see past her initial prejudices. As a result, her coffee shop suffers from the loss of her new star barista.
Some time goes on, and Character A encounters the barista again, and learns more about the circumstances that landed him in jail (maybe he was falsely convicted, maybe he was battling psychosis, maybe the violent act was done to prevent a loved one- anything that makes her question her initial assumptions). He then confesses that he is struggling to provide for himself and his family because no one will hire him because of his criminal record. Character A comes to realize that her belief isn't completely true, and that the world isn't entirely fair. Though it takes a lot of inner work to do so, including coming to terms with her privilege, she eventually accepts this, and revises her beliefs. She decides that even though the world isn't fair, people have the responsibility to make it fair.
She decides to re-hire the barista she fired. After doing everything she can to make things right with him, she proposes an idea she wants his help with. Together, they transform her family business into a joint coffee shop and community rehabilitation center. In addition to selling coffee, they also launch a program to provide resources to recently incarcerated individuals looking to reenter society. They'll host weekly events on job interview coaching, alcoholics anonymous, motivational speeches, group therapy, opportunities to connect with open-minded employers, and more. Their promotion of this new program enables them to secure funding from local patrons and public grants, and customers are willing to pay for more expensive coffee with the knowledge that that money will be put to good use.
Additionally, if we want to go with the brother in jail backstory, we could have this ending be an opportunity for her to reconnect with him and maybe even repair their relationship as she gets to see him in a new light.
And there you have it!
You can use this process on any character- protagonist, antagonist, side character, etc. By grounding your character's motivations and development in their beliefs, you can easily introduce depth and internal conflict while keeping everything connected to the themes and plot driving your story.
Depending on your character's role or your story's plot, the belief can be wide reaching and complex (such as a philosophy or ideology), or specific and personal (such as having to do with their self-esteem). Either way, it should always be tied to their personal experiences or observations. This doesn't necessarily mean a tragic backstory. It could be, but I encourage you not to make this your default way of creating character depth. A mundane but grounded and sincere motivation will always be more compelling than cheap, dark shock factor.
Generally, protagonists with happy endings and villains with successful redemption arcs are capable of moving past their beliefs, while tragic heroes and antagonists aren't, and this failure is usually the source of their downfall. Keep in mind that even if characters do move past their old beliefs, it will always be a difficult thing to do. It will require them to confront their own mistakes, biases, and emotional wounds, and require both internal and external work in order to fix whatever their old beliefs have damaged.
Hopefully this guide will help you approach your characters from a different perspective. Feel free to share any insights.
Happy writing y'all!
Dawn pt. 9
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I was going to make this a tagging game & include my taglist, but it's pretty involved and I don't want anyone to feel pressured to do it if it's a chore/they don't want to/it's not helpful to them.
Below are some exercises I find really, really useful for pulling brand new characters out of my ass. Barring that, they're fun to do for existing characters as well!
Whip up a new one right now, fall back on a tried and true OC. Or a canon character; I’m not the boss of you.
For those of you who struggle to “see” imagined things, just tell me what’s goin’ on in that beautiful noodle of yours. Also, please tell me the song so I can listen to it while I read this part!
what has it got in its pocketses?
Think photos, payment methods, notes, messages, Internet searches, receipts, etc. If cell phones and Waffle Houses aren't things in your character's world, pretend they are.
If you do all or some of these, please tag me because I would be overjoyed to read them!
Clothing and Fashion Worldbuilding Questions:
What is considered typical or everyday dress for each region?
What values or status does society confer to clothing (or is it entirely functional, or even non-existent)?
Who is permitted to wear what? Are there taboos, superstitions, or laws governing dress? Why?
Who has access to clothing? Which fabrics are cheaper and which more expensive (and why)?
Where are fabrics and other materials used in clothing sourced, and is their production ethical or problematic in some way?
Where are specific dress codes or uniforms enforced, and what are they?
When do styles or what people typically wear change, are there seasonal, spiritual, customary or other aspects to this?
When have (or will) clothing styles change in the world, and what are the economic, environmental, or other contributing factors?
Why is clothing in this world the way it is, what are the aesthetic beliefs, meanings or symbolism ascribed to colors, and other contributing factors?
Why does gender, class or race impact what people wear (for example, a group may have spiritual or familial meaning attached to the type of jewelry or body modification members embrace).
❯ ❯ ❯ Read other writing masterposts in this series: Worldbuilding Questions for Deeper Settings
Bleeding:
Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.
It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.
Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.
blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.
it’s slow. use this to your advantage! more sad writer times hehehe.
Stab wounds:
I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.
also, bleeding takes FOREVER to stop, as mentioned above.
if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)
whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites
Concussion:
despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.
if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.
Fever:
you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.
ACTUAL SYMPTOMS:
sluggishness
seizures (severe)
inability to speak clearly
feeling chilly/shivering
nausea
pain
delirium
symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.
ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.
fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.
keep writing u sadistic nerds xox love you
ALSO I FORGOT LEMME ADD ON:
YOU DIE AT 85F
sorry I forgot. at that point for a sustained period of time you're too cold to survive.
pt 2
also please stop traumadumping in the notes/tags, that's not the point of this post. it's really upsetting to see on my feed, so i'm muting the notifs for this post. if you have a question about this post, dm me, but i don't want a constant influx of traumatic stories. xox
Viscous/vicious – Viscous is generally used to describe the consistency of blood or other thick liquids. Vicious is used to describe something or someone who is violent.
Piqued/Peaked/Peeked – To pique someone’s interest is to catch or tease their attention. When something peaks, it reaches its total height or intensity. To peek (at) something is to look briefly, or glance.
Discrete/Discreet – this is a tough one. Discrete means to be separate, or distinct, i.e., two discrete theories. Conversely, when someone is discreet, they are being secretive or cautious to avoid attention.
Segue/Segway – one is a transition between things, the other is a thing you can ride at the park and definitely fall off of.
Conscious/Conscience/Conscientious – to be conscious is to be awake, i.e., not unconscious, or to be aware of something. Your conscience is the little voice in your head telling you not to eat the entire pint of ice cream. Finally, to be conscientious is to be good, to do things thoroughly, to be ruled by an inner moral code.
Hope this helped! Please add more if you think of them!
(Beware, long post!)
As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.
But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.
If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.
Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:
Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.
Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.
Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.
Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.
Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.
This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.
Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.
The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.
Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.
Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:
Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."
While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.
Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.
To layer that sense of unspoken tension into your own dialogue, consider techniques like:
• Having characters contradict themselves or say one thing while their body language says another
• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence
• Injecting subtle sarcasm, skepticism, or implication into a character's word choices
• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying
The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.
Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?
One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.
You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.
Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.
Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.
Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.
Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.
Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?
Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.
Hopefully, this can help you all!
The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?
Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!
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