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In addition to what's answer, I'd like to share some of my experiences with character development. what is right: There is an abundcance of books and practical guides to character development. However, none of them have worked very well for me. Now and then I picked up a technique that made sense to me, and more or less forged it into a reliable algorithm of ...


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There are great books and many online resources about character development. They all rely on something like creating lists of characteristics (e.g. personality traits, moral values and so on) or writing your characters' curriculum vitae, but I take a somewhat different and much simpler approach. When I read, I am usually deeply irritated by characters that ...


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There is no minimum. When I look in the mirror, I recognise myself. Good enough. Does it matter if I have more hair above my nose or below it? Only when I get soup in my mustache. Does it matter to your character? If your character is vain or insecure, you can use their description of themselves as a way to show that. The descriptions you should include are ...


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To me a plot driven story is like real life: you have no idea what goes on in another person's mind and all you know about them you deduce from their actions. If a person sees some event and reacts to this in a particular way, it is completely unnecessary to explain that person's motivation, because it is apparent. That is the basis of "show, don't tell". ...


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There a couple of ways to deal with the issue. Maybe he knows a bit of everything, but not a lot. Have issues in the plot where his lack of specialist knowledge causes him issues. Great at learning in some areas, but terribly inept in others. A lot of Anime with powerful heroes balance them out by having them completely inept at things like notice a girl ...


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Well, there is simple realism. Things happen in real life that are (or appear to us) unrelated to our current plight and random. You might be running to save your loved ones and get run over by a car because you didn't look. That will cut the "plot" short without resolution. Or you might catch a cold and have to lie in bed, instead of saving the world. ...


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Your readers will substitute either themselves or a standard archetype for the hero unless you tell them otherwise. They only will need to know enough to know why the hero is doing the things he/she does, why he/she is upset or angry at the actions of the antagonist or why the hero doesn't just take the obvious route to the story solution. Even then you only ...


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There are two main themes that you might want to consider. The first is "man against nature." If you believe that the hero's main future struggles will be with "nature," e.g. pain, I would have "nature" inflict the injury by "accident." If the story is about a struggle with another man, then it would make better sense to have the antagonist inflict the ...


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That sounds more like a twist ending, the big reveal with "haha! I was acting this entire time!" Having the protagonist act one way the entire time and then pulling the rug out from the audience will leave them feeling a little bit confused and annoyed. If they've rooted for a genuine person all along and then they turn out to be a bitch, they won't feel ...


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I think you may need to look at the traditional three act structure. Act one is setting up the every day life of your character(s) and ends with the inciting event which leads into act two. Act two is the main bulk of the story, leading up to a large peak and ends with that moment where it looks like your hero(ine) cannot possibly succeed. Act three is ...


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I think there's a difference between character development and character depth. Development means change. You can have an interesting villain who is only ever a villain, but still has backstory, motivation, relationships, and hobbies. That's a deep character who doesn't change. But if your character acts like a boring, shallow buffoon for two acts and then ...



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