Notes I had to make for myself: 1. Laugh in the face of cannibals: have characters react to events in very counterintuitive ways David Benioff - City of Thieves 2. Make your character carry something: a person’s prize possessions say something about them Cormac McCarthy - No Country for Old Men; Leonard Shelby - Guy Pierce & Polaroids; Tim O’Brien - The Things They Carried 3. Contradictory characters: they have some surprizing element not guessable from the stereotype Walter Mosley - known for Easy Rawlins, wrote Always Outnumbered, Always Outgunned Triangle method of character creation 4. 3 Things to do every time you introduce a new character: 1. Say something (Six Levels of Dialogue) - what they say defines them; 2. Do something - Arthur Dent in Hitchhiker’s Guide to the Galaxy; 3. Show what the character’s problem is, what he/she struggles with John Green - The Fault in our Stars 5. How to Make your Character Likable: a. not flawless, but with relatable flaws Sally Rooney - Normal People (Maryann Sheridan) b. Save the cat: Cormac McCarthy - All the Pretty Horses (John Grady Cole) - Border Trilogy 01 c. Suffers - Margaret Atwood - The Handmaid’s Tale d. Show competence - Stieg Larsson - The Girl with the Dragon Tattoo - Millennium Series (Lisbeth Salander) 6. Give your Character an Odd Habit: boy ties string around everything because of abandonment issues 7. Widen the Perception Gap: create distance between how a character sees his/herself and how others do - who is right? Breaking Bad and why Walter White is doing his thing - for his family or himself? Game of Thrones (Cersei Lannister vs Daenerys Targaryen) from George R.R. Martin - A Song of Ice and Fire John Kennedy Toole - A Confederacy of Dunces (Ignatius J. Reilly) 8. Create foils: an inverted version of the character Victor Hugo - Les Misérables (Jean Valjean vs Inspector Javert) Shrek (unfunny Shrek vs funny Donkey); C.S. Lewis - Narnia Series (Puddleglum, a funny pessimist) 9. Three-Time Character: haunted by the past, wrestle with the present, and worry about the future Claire Keegan - Small Things Like These (Bill Furlong vs nuns) Have layers of problems, i.e., main and minor
man, i was totally surprised by something i was writing the other day. this kid was standing up to some bullies. i didn't specifically plan they'd call him princess diana, but, you know, bullies. i totally didn't expect him to shout "call me bloody mary!"and karate chop the biggest one in the neck, "off with your head!" and then run like hell. i literally, and literarily, did not see it coming!
I have a guy like that. He doesn’t like being told what to do. I try to get him to do stuff on page he says no goes downstairs and starts ransacking the pantry. I think he’s the main character now
This video just helped me clear an 8 month mental block on how to not only improve, but also link my characters, work out my villain motivation/arc/ties to the hero, give a side character more relevance, expand on my world building and finally figure out the logistics of my ending. Omg how??? THANK YOU!!!!
5:00 crocheting tough guy isn't as rare as one might think. Well maybe now-a-days but there was a fair amount of WW2 submarine veterans that took to crochet and knitting because the intricate action and the attention to detail needed for either distracted them from weight of the ocean bearing down trying to crush them, or the hours in forced and intense quite trying to hide from enemy ships. nutts.
I agree it isn't the rarest, but it can be memorable. A similar example is Rosey Grier, the 6'-5", 284 lbs American football player who was also famous for his needlepoint hobby.
For my grandfather it was cross-stitching. Did a tour in the navy, became a firefighter, (beat his wife) and stitched murals and other presents for his daughter and granddaughters. Sometimes people really are just a walking contradiction
Not only that but many people in the armed forces (didn’t matter which branch) all had to sew, knit and crochet because they were in charge of keeping their uniform in good repair and to keep themselves warm in an era where heating was a luxury.
As someone who's been learning about the enneagram, I see many people touching on "tough guys" having a soft side, but not many of them having a nerdy side. Sometimes if you tickle the right fancy, they'll be more than happy to share how something works, especially if they can get you to practice it. If your characters are facing a tough decision, maybe your tough guy not only jumps into or pushes everyone into action, but also offers an angle no one's really considered before.
This is the most underrated channel on this platform 😐 I’m about to finish my first completed first draft ever and you just gave me so much to think about as I go in for my first round of edits.
A gang leader who likes to crochet, in Japanese, would be referred to as "gap moe", where gap (gyappu) refers to the gap between your expectations and reality, and moe refers in this context to feelings of endearment towards that character.
I’ve been doing the whole “what does your character have in their pockets (or rather soldier’s trunk, aka knapsack, as they’re soldiers in the Civil War) for a while. Doing that helped me realize that my MMC was not only a knitter (he even knits a shawl for the FMC) but he was destined for the priesthood but enlisted in the Army to get out of it.
As with every rule, a lot of them may backfire if you drag them too far. Much like "subverting the expectations" became basically a shoddy excuse for bad writing - "expected something good and logical? Consider your expectations subverted!". Some of these rules are best done in moderation - especially in a cast of characters. "Laugh in face of cannibals" - this may also lead to a character acting in an unappealing, disjointed way - instead of a compelling character, you may end up with "lol so random" or "opposite day" nonsense. This needs careful balancing in order to work. Personal possessions - it is important to not turn it into a gimmick. For one, maybe two character, it is ok, but every character carries a gimmick item... It becomes noticeable, and therefore unnatural. This needs certain subtlety to handle - this rule is very nice, because everyone personalises their items or space to certain degree. It is often the rule best done without thinking about it - let the character flow dictate what would they carry or have. Contradictory character - it is a very good idea to make a character distinct, true. BUT if you have a cast of characters, if everyone's special, nobody is. It is easy to make the contradiction too significant, too much in your face as well. Oftentimes a small contradiction, a character quirk that feels out of place for specific archetype adds to the character - makes them look like more than meets the eye. But overdo it, and it becomes obnoxious. A good thing to remember - with rules like these, the most important element is to make them look natural - a lot of the newbie writers turn such advise lists into a literal checklist. You need your character to have these aspects in a believable manner - you need to think "would this person actually do this or act like that"? If the answer is yes, go ahead. If the answer is no... Don't.
they're in a diner. what do they order? where do they sit? why? do they see if there's a jukebox? check escape routes? stare into their drink? scarf and skate? flirt? tip? pay? what did they talk about? to whom? etc
👍 Very good points, ideas, and thoughts, @intellectually_lazy. 😉 I feel like you might not live up to your name. 1. English is not my native language, so this is practice for me, and I have a question. Trying to write this on a cellphone certainly doesn't make it easier, but that is what I have at hand (😉) right now. I instantly liked the expression "scarf and skate". I'm thinking you don't mean it literally (leaving on skates), but does it only mean "focus on eating, and then leave", or is there a subtext to it, like that you really rush eating it, or perhaps some other subtext? 2. I like your examples, and I have some thoughts about this. Those are very good samples of questions to at least have at (in?) the back of your mind as you are preparing a framework/toolbox for a story, and to have ongoing as you are writing scenes that includes or references a character. My experience is that this is badly underused in digital games with characters and stories, in TTRPG:s, and in comic-books. This toolbox/framwork is useful to keep you consistent and "on topic" while you write. If you later find that some traits/behaviours doesn't mesh with where you want to take the story in general, or with how a particular character is portrayed, you can always change those details, and learn from that for future stories and characters you write. It hurts so much to have to rewrite large portions, but leaving inconsistencies in can be quite damning once you get to your reader/viewer/player. I would expect some traits/behaviours to be more or less relevant depending on genre, themes, and in what part of society the character lives and acts. If the story is a typical fantasy, having the character check for a jukebox might have the reader wonder what the writer is suffering from... UNLESS this is a "from another universe" kind of story. Then it really is part of showing how poorly the character fits in. Even if a particular point makes no sense IN the story, it can still help you form a "portrait" of a character's personality, as in "IF my character lived in [insert different century], they would like [insert thing from said century that doesn't exist in the characters century]". Just some thoughts I had when I read your comment, or as MatPat might say: But hey! It just a theory, a writing theory! Thanks for reading!
@@RockBrentwood : Ha, ha, ha! Could be a challenge. These sample-questions admittedly sounds very funny with such a character (more in my other comment in this thread). I'm guessing this was part of your point. The thoughtprocess could still work though, if it is of interest. Just to show what I mean, I'm going to play around a little with your questions, just for fun and practice! Perhaps it has traits closer to that of a princip of physics or something like a muse/daemon ("daemon" in the ancient greek sense, hence the choice of spelling). I think the word "inspiration" is related: to be in-spirited, as in to be possessed/guided by a non-corporal entity, possibly also related to "spirits" in the meaning of strong, alcoholic beverages. There could be some ideas for personal traits in that. 1. How does it view itself? "Evil" tends to be how we view people in stark and destructive opposition to ourselves. Some also apply this tag to people merely for BEING in opposition. Is it generally malicious and destructive in all its actions? Is it actually "evil" in ANY sense, or is that a misconception by those that have seen one or more of what it looks like, its actions, and/or its powers? 2. Does it interact with the purposes of others, or solely does "its thing" for either relief of boredom, actual enjoyment, a sense of purpose/obligation/princip, or is it just a drive even itself can't explain, or perhaps even control? 3. Is it selfdestructive? 4. Is it actually intelligent, or is this just how observers has perceived it? Is it intelligent in the sense of being selfaware and driving its own developent of goals and personality, or is it rather that it is clever in seeing opportunities and calculating ways to be "evil" (kind of being a machine)? As a sidenote: Being intelligent does not automatically give necessary knowledge or a good memory. 5. Is it inclined to care about what another entity does, as opposed to just acting on whatever? Would it aid someone acting "evil" and/or target someone acting "good"? Does it consider someone/something an enemy, an ally, or an equal? Is it careful to not "do its thing" around something/someone to prevent bad consequences for itself? Would it try to socialise/ally with something like an avatar of entropy (as in its concept in physics)? Would that be a happy union? Would an avatar of non-entropic death and rebirth be of more interest, as "evil" might loose all purpose if entropy "wins" (see "heatdeath of the universe")? ✌️ See! I got some "flirting" in there too! I hope you find inspiration to write that story! I wish you good ideas and good effort!
now, you've just given me a super interesting frame to view my thing with, because much of the time my protagonist is actively trying to not think of the past or the future. the times he can see a future worth looking to at all are actually times in which he's thriving comparatively. thanks for that
a lot of times i pause to think or look at something i've written that seems relevant. i'm sure this isn't how it was intendfed to be consumed, but here we are
I don't know how to word this better just yet, but there's also a notion I've picked up on that I don't agree with. It's where a character can only be interesting if they behave differently than the rest of the people in the same profession, team, etc. It's the cop who breaks the rules; it's the young uppity character disrupting the seasoned professionals trying to solve the same problem. In real life, for example, nobody is perfect, including priests. They know that they're imperfect, and most take their vows joyfully and seriously. But in fiction it'll be treated as if they all believe they are perfect, and yet are all dour and sad about it, while the one who stands out / is treated as interesting is the alcoholic, vow-breaking one. I haven't seen many Father Brown-like priest characters, is what I'm getting at in that specific example.
Wow, this is fantastic advice, and you referenced several of my favorite novels: City of Thieves, The Things They Carried, Game of Thrones, and No Country For Old Men. Thanks!
I’ve been going through some insecurities over my storytelling lately (I’m writing my first long form project, which is hard as someone exclusively accustomed to short form; the difficulty in this is remembering that all first drafts are going to look bad at the outset, and not losing heart.) This video is an encouragement, because it’s a mixture of some things I can consciously try to implement and other things that I am subconsciously already implementing, but simply can’t see through the lens of criticism. With the last few tips on the list, I considered my characters and thought “oh hey, I’m doing that already!” I feel a little more competent now, lol.
I must say, I introduced a lot of these even though I didn't know how they are called, so thanks to you I can use these techniques more consciously and can tweak mys tory where it's lacking. I guess, after watching many other youtubers' advice on writing your's most concrete and solid. You always give examples, present it in a neat way of points or short lists and develop on a subject a bit - what's not to like. I am gonna follow you, sir.
This video was really helpful for me in fleshing out my protagonist! Personally, I feel that the last suggestion is very good advice for a lot of characters and stories, but your phrasing that you ‘have to’ have those things I would disagree with. Bilbo Baggins doesn’t really have to grapple much with the past, beyond coming to terms with how his life changes throughout his journey. His past life was idyllic and, from his perspective, unremarkable. Not all characters have particularly haunting or remarkable pasts. Similarly, not all characters worry or prepare much for the future. Even if they don’t know what’s going to happen, they might not give much thought to it, and just go with the flow.
You just added so much to my book! I already had an idea for the epigraphs in my book to be journal entries from the protag but now I have ideas for the other characters that will expand them immensely and add an entirely new level of depth to my novel. This was the best!
Really happy to know I managed to fulfill all of these tips before watching 🙏 even then I'd still say these are great for anybody learning to write novels.
Thx I'll definitely try to implement these techniques I'm writing a compelling sci-fi psychological thriller.I got an amazing story with plenty of plot twists and realistic struggles but my delivery could use some work.im hoping to have it ready by 2026 lol😅. it's called technically paradise
I read a book where the young girl in it finds someone has committed suicide in the room she’s supposed to be staying in. She is fine staying in the room after the body is removed and not spooked about it at all. It was a while ago but really stood out to me as a different reaction to most people.
i went home. i knew she wasn't there. i had no doubt about it at all. her abscence was palpable but i had to see. i just couldn't let m,yself believe it until i could see. i clung frantically to the hope i was somehow wrong. i checked, a quick sweep of the rooms and the adjacent space we had not yet incorporated into our living area. i checked the closets, behind the shower curtain. i nosed around ridiculous places, but, of course she wasn't there. then i checked the drawers into which i empty my pockets when i undress and rounded up whichever random substances i found within. on my way out i skipped my fancy wine rack and checked the liquor cart for a fifth of bourbon
@@Bookfox Oh, it is! He's a little silly, but the show sometimes shows his intellectual side. Sometimes he tries to convince the main character Johnny not to fall into his typical teenage boy errors, but usually he just goes along either because it's fun, or because Johnny's in too much trouble. There's just this mix of fun and intellect in your speech patterns that reminded me of him. I apologize if any ambiguity worried you.
What sort of characters need this full treatment? Main character, obviously. What threshold do I need to get to before I start giving a character all these traits? Obviously, the waiter for one scene doesn't need a backstory. But what about the police chief who's the exposition dump guy? Or the bartender who pours beer and wisdom at key points in the story?
True. But if you can add the little bit of spice to the background characters and things in the story (for example, the scene starts with the background character walking past the only Ford in the Chevy lot) it makes the scene stick with the reader without getting in the way
About the character saying something for their introduction: Does it still work well if it's internal dialog (short and punchy)? About the character doing something for their introduction: Does it still work well if it's something symbolic and mysterious, with a significance the reader might not get right away? Awesome video. Thanks!
Sometimes a character's doing can be more powerful than any words they could say. The character leering over the top of their paper, observing the action could create more than any word.
Maybe. Sometimes the tick or quirk is what compels you, and if it gets you curious, it may hook a reader too. It's then your job as a creator to justify and explain why we should care
As always, I appreciate your tips, John. Thanks so much. Question for you: What are your thoughts on creating a character profile BEFORE writing? Should it be that much of a template, or should it be "discovery based" as I write him/her? Thanks for considering my question.
Great writers do it both ways. For me, I have a general sense of some aspects of the character before I begin, and then continue to add and refine as I learn about them during the writing process.
@@anthonycosentino463 It is a great argument because your comment is stupid..There is no deferential there! Those two things can never be separate in my mind! They are either likeable or not. I don't even agree on this for the Seinfeld cast.
Okay, let me explain to these ignorants. You like Hannibal Lecter as a character because he's interesting and engaging, right? But you cannot like him as a person if he were real.
I wrote 15 Likes and Dislikes for each of my characters, and every one of them have it different and uniquely They also have multiple examle dialogue with 10 questions QnA that reflects their personality
1. That seems like a very fundamental tip. Of course different characters would react different in the same situations. That's the point of having different personalities. 2. Oddly specific. I wouldn't do that. 3. Yeah, that's interesting. Not too special. Because real persons usually don't fit into stereotypes completely. Like every man has some feminine properties, too. 4. The first two of these three things seem pretty obvious. It's generally a good idea, but not always. But I'm not sure about problems. I wrote a stroy about a character who doesn't have a problem most of the time. Maybe some small things like the roommate coming in, wanting to do something, but MC rather wants to stay in bed and read. And then the "problem" is quickly resolved again. But I at least will talk about this before I talk about hair color. I didn't mention hair color at all for this story.
oddly enough, through the experience of creating AI characters I've actually learned some of these techniques due to the token limit it's a lot less detail-heavy, but it has things the overall personality is very short, just single words that when meshed together create a basic archetype but then the next part is thinking of what would work well with that archetype I've created for example, if they're archetype: shy, should I lean into it and say they like reading or should I instead say they hate other people? the archetype is how a character executes a certain action or idea, shy + reading meaning they are either held back by their shyness and doesn't often discuss their likes with others or books are something they enjoy talking about despite their shyness, both are valid interpretations that the AI can process shy + hates other people is pretty similar, either that they don't show it or they're really heated about it and then for more specific things there's the behavior, which is like habits, "if this happens, the character does this because of this", it includes the specific scenario, a response, and the reason behind that response I usually leave this for characters where I think it can trigger interesting conversation for the appearance I've shortened it to just the vibe and quirks/charms, the reason behind it isn't because I've figured out that I shouldn't focus on too many unnecessary details, but because there's a token limit that forces me to keep it short, but because of that now I have actually learned and then for the starting text, that's when I put in all the details that lets the user know what kind of character and scenario they're heading into, but because of limitations is also kept concise I like to establish the relationship of the user and character, the necessary details leading up to the current scenario, and some of the character details that you wouldn't get unless you read the character personality with the exception of if it's in the perspective of the character instead of the user because then you'll just get the character's thoughts and perception instead of the user's and then I also like to have the character speak at least once, because that then establishes the way that character speaks, not just accents and stuff but also for example "Their voice trembles, not in fear, but in excitement.", I think it's because speaking is something the user's character can confirm easily and doesn't require a certain personality that I'm telling them they should have, whereas something like "Their body trembles behind you, not in fear, but in excitement." takes away from the created perception of the user and is basically just narrating in third person at that point
@ I like the thought of using stereotypes to trick my potential audience about the nature of a character. Present them one way and eventually drop the facade or pull the rug out from under the reader. Subverting stereotypes is better than desperately trying to avoid them. There’s a prominent gay character in my novel, he’s set up to be a chaotic comic relief character. Until he snaps and reveals he is actually one of the deadliest characters in the book. If I get the execution right, it could be something special.
@@evanwoodward6376 in the video he also said sometimes you don't have to avoid clichés, but it's poorly explained for whatever reason. Basically just let it be, don't look for it but no need to avoid it either
I feel like the bad cliche 'trust the flow of your story' feels like the right answer. Not everything and everyone can be special because your audience will lose a lot of it's cues and if you do it all the time, you become the anti-cliche cliche.
I write regency romance so there’s only so much weirdness I can write about. Although if my heroine likes sleeping in the closet and has a tick…. Wait a minute…you might be onto something here. I have some rewriting to do brb.
I'm a writer and have questions. I have a weird, complex character motivation. It goes something like this. Someone's orders are what sparked the (MC) to pursue his wants, which also holds the subconscious need. He does the orders out of brainwashing and authority. As the story progresses, he becomes less dehumanized. (Is this a character motivation I can do?) The dualtagonsit motivation happens to connect with the (MC) and she wants to end the corruption that has plagued their land. I know this sounds weird, but I've created a spectrum in my story. Who my character hangs around can influence his behavior. Characters that are on the positive end give him a reason to live in a sense. Characters on the negative end take advantage of his brainwashing to commit terrible acts. Throughout the story, he would be tugged between the two sides and will have to make a choice. (I wanted to ask if this would work or not.) The theme is mostly about morality and justice in a corrupt dystopian world.
that's sounds interestingh. i got a character a little similar but totally different, telepath possibly with a type b cluster personality diosorder, or features there of at any rate. these things keep saying i need a main theme, idk. i have many, but identity is definitely one, and the interplay of one's perception of themselves and that of the people around them is an aspect of that i really lean into
I believe that the 1:25 short clip from Czech movie Kolja has nothing to do with City if Thieves's character Kolya :D Your videos are great, though, thanks for them.
re giving the character a problem, do you recommend this for only the main character(s)? Or all the secondary characters, too. Because the latter feels like overkill. No?
I'd think that sometimes the purpose of the character is merely to bring the water from the story well. The character may be unnecessary, but the bucket he's carrying... Maybe that's where character definition can be placed.
I really don’t mind my terrible characters. I love them. I love my bad developed character the most. I hate that he exists but I enjoy that he’s given me something for 24 years to talk with. He’s ridiculous. He’s mean. He’s a degenerate. He doesn’t want to be developed he wants to stay as he is since his creation when I was in elementary school. Told me to F off, when I asked him if I could make him a better character and a better person. I talk to my own characters very often. He’s like my imaginary fiend. Instead of an imaginary friend. I don’t control his actions or words. He’s got his own little sick twisted mind and ways of what he wants to do. He glared at me like everyday I’m trying to better myself, he laughs at me for even trying. he’s so mean to me! So my characters. They respond on their own fruition and they always act out angrily towards me, if I want to change something about them. He’s such a jerk sometimes though. Gives me intrusive thoughts and chuckles at me when I’m having anxiety or depression. He says I’m his form of entertainment. Watching me fail over and over in life and struggle with my self esteem. And he’s happy when I’m getting back up only to slip up again. I tell him all the time not to laugh at me! He’s always using his hands as well! He’s a very handsy kind of character. He’s always holding his cigarette or something smallish to play around with. His favorite kind of Cigarette is no longer made so he grumbles at me when I’m not giving him what he wants. He enjoys teasing me and making me shriek too. I love him and hate him. 😂
in a way, i kinda wanna put off some readers early on, not nec essarily by delay. quite the opposite, better they find out early on what kind of story i'm telling. then i can do a lot more with the ones who make it that far, but it's a hard line to walk. on top of that i consistently make things so much harder than they have to be. i s'pose, i possess the cardinal virtue of @ss-backwardness, but that too is one of my many central themes
omg! my protagonist and supporting lead character are both totes over the top in different ways. the third most prominant character is the one most people would find more relatable, kinda has a wild backstory, but, not near as crazy as the other two. that actually makes him pivotal in a way
@@infidelcastro6687 Yes it is! Good and evil, likeable and unlikeable are points of views and this highly subjective. So terms like Protagonist and Antagonist are very boast and out dated terms and concepts. There is much more grey in real life than everything being so black and white. That is why most movies and shows have more "Anti-heroes" then straight heros and Villains.
On phone the audio for this video sounds really, really bad. Like lots of audio ducking as you move your head around, its really incredibly distracting.
Cool character. All kinds of things about him will be off by a little or a lot. Amazing skills but cluelessness about some everyday things for normies. A homeschooled character, kid with hippie parents, kid who was a child actor, a kid of immigrant parents etc. My own kids describe me as quirky... they may be right. Totally normal to eat the soft ends of chicken bones (isn't the cartilage a given?) "for the minerals" when they were growing up. ALL their friends think it's odd.
of course, his dad's a no nosense type who hates the circus and everyone in it, but does it for his horses and his family, and while his parents are performing is the only time my protagonist could do divination in a home made tent behind the trailer, and being a telepath studies magick, hence alchemy, hence chemistry and so can do that too. the section in which i deal with is backstory is called the amazing arthur kinswood
immediately, in media res, my guy wants drugs. he has ditched and robbed by a former partner and wakes up a the bus pulls into a city he's never been to , but he is in hiding having escaped from an unethical psychic research project he was talked into participating in under the false promise he'd be able to attend school, his primary character motivation. along the way he faces challenges involving identity, relationships,, chemistry, erspionage, etc
Yeah but there's something to the notion of a tasteful aristocracy. Well, and a good frankfurter.. or a dozen. Living a writer's life of all sorts of jobs and close scrapes with death, insanity and horrible people can give one a bit different lense with which to view the book. Joy is fleeting, agony is a constant companion.
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Notes I had to make for myself:
1. Laugh in the face of cannibals: have characters react to events in very counterintuitive ways
David Benioff - City of Thieves
2. Make your character carry something: a person’s prize possessions say something about them
Cormac McCarthy - No Country for Old Men; Leonard Shelby - Guy Pierce & Polaroids;
Tim O’Brien - The Things They Carried
3. Contradictory characters: they have some surprizing element not guessable from the stereotype
Walter Mosley - known for Easy Rawlins, wrote Always Outnumbered, Always Outgunned
Triangle method of character creation
4. 3 Things to do every time you introduce a new character: 1. Say something (Six Levels of Dialogue) - what they say defines them; 2. Do something - Arthur Dent in Hitchhiker’s Guide to the Galaxy; 3. Show what the character’s problem is, what he/she struggles with
John Green - The Fault in our Stars
5. How to Make your Character Likable: a. not flawless, but with relatable flaws
Sally Rooney - Normal People (Maryann Sheridan)
b. Save the cat: Cormac McCarthy - All the Pretty Horses (John Grady Cole) - Border Trilogy 01
c. Suffers - Margaret Atwood - The Handmaid’s Tale
d. Show competence - Stieg Larsson - The Girl with the Dragon Tattoo - Millennium Series (Lisbeth Salander)
6. Give your Character an Odd Habit: boy ties string around everything because of abandonment issues
7. Widen the Perception Gap: create distance between how a character sees his/herself and how others do - who is right?
Breaking Bad and why Walter White is doing his thing - for his family or himself?
Game of Thrones (Cersei Lannister vs Daenerys Targaryen) from George R.R. Martin - A Song of Ice and Fire
John Kennedy Toole - A Confederacy of Dunces (Ignatius J. Reilly)
8. Create foils: an inverted version of the character
Victor Hugo - Les Misérables (Jean Valjean vs Inspector Javert)
Shrek (unfunny Shrek vs funny Donkey); C.S. Lewis - Narnia Series (Puddleglum, a funny pessimist)
9. Three-Time Character: haunted by the past, wrestle with the present, and worry about the future
Claire Keegan - Small Things Like These (Bill Furlong vs nuns)
Have layers of problems, i.e., main and minor
Sorry, sir (or ma'am (or th'em)), i think you dropped your cape. 🎉🎉🎉 This is a fantastic summary!!
this is great!
man, i was totally surprised by something i was writing the other day. this kid was standing up to some bullies. i didn't specifically plan they'd call him princess diana, but, you know, bullies. i totally didn't expect him to shout "call me bloody mary!"and karate chop the biggest one in the neck, "off with your head!" and then run like hell. i literally, and literarily, did not see it coming!
oh, hes *funny*
Help I NEED to read one of your books now
That sounds both funny and amazing.
That is amazing. Even more when you yourself were surprised
I have a guy like that. He doesn’t like being told what to do. I try to get him to do stuff on page he says no goes downstairs and starts ransacking the pantry. I think he’s the main character now
This video just helped me clear an 8 month mental block on how to not only improve, but also link my characters, work out my villain motivation/arc/ties to the hero, give a side character more relevance, expand on my world building and finally figure out the logistics of my ending.
Omg how??? THANK YOU!!!!
5:00 crocheting tough guy isn't as rare as one might think. Well maybe now-a-days but there was a fair amount of WW2 submarine veterans that took to crochet and knitting because the intricate action and the attention to detail needed for either distracted them from weight of the ocean bearing down trying to crush them, or the hours in forced and intense quite trying to hide from enemy ships. nutts.
I agree it isn't the rarest, but it can be memorable. A similar example is Rosey Grier, the 6'-5", 284 lbs American football player who was also famous for his needlepoint hobby.
For my grandfather it was cross-stitching. Did a tour in the navy, became a firefighter, (beat his wife) and stitched murals and other presents for his daughter and granddaughters.
Sometimes people really are just a walking contradiction
Not only that but many people in the armed forces (didn’t matter which branch) all had to sew, knit and crochet because they were in charge of keeping their uniform in good repair and to keep themselves warm in an era where heating was a luxury.
As someone who's been learning about the enneagram, I see many people touching on "tough guys" having a soft side, but not many of them having a nerdy side. Sometimes if you tickle the right fancy, they'll be more than happy to share how something works, especially if they can get you to practice it. If your characters are facing a tough decision, maybe your tough guy not only jumps into or pushes everyone into action, but also offers an angle no one's really considered before.
One Persona tough guy made it famous among the younger generation.
This is the most underrated channel on this platform 😐 I’m about to finish my first completed first draft ever and you just gave me so much to think about as I go in for my first round of edits.
A gang leader who likes to crochet, in Japanese, would be referred to as "gap moe", where gap (gyappu) refers to the gap between your expectations and reality, and moe refers in this context to feelings of endearment towards that character.
Basically Kanji Tatsumi from Persona 4.
@@Surikoazimaet Exactly!
@Surikoazimaet I was just thinking that 😅
I’ve been doing the whole “what does your character have in their pockets (or rather soldier’s trunk, aka knapsack, as they’re soldiers in the Civil War) for a while.
Doing that helped me realize that my MMC was not only a knitter (he even knits a shawl for the FMC) but he was destined for the priesthood but enlisted in the Army to get out of it.
As with every rule, a lot of them may backfire if you drag them too far.
Much like "subverting the expectations" became basically a shoddy excuse for bad writing - "expected something good and logical? Consider your expectations subverted!".
Some of these rules are best done in moderation - especially in a cast of characters.
"Laugh in face of cannibals" - this may also lead to a character acting in an unappealing, disjointed way - instead of a compelling character, you may end up with "lol so random" or "opposite day" nonsense. This needs careful balancing in order to work.
Personal possessions - it is important to not turn it into a gimmick. For one, maybe two character, it is ok, but every character carries a gimmick item... It becomes noticeable, and therefore unnatural. This needs certain subtlety to handle - this rule is very nice, because everyone personalises their items or space to certain degree. It is often the rule best done without thinking about it - let the character flow dictate what would they carry or have.
Contradictory character - it is a very good idea to make a character distinct, true. BUT if you have a cast of characters, if everyone's special, nobody is. It is easy to make the contradiction too significant, too much in your face as well. Oftentimes a small contradiction, a character quirk that feels out of place for specific archetype adds to the character - makes them look like more than meets the eye. But overdo it, and it becomes obnoxious.
A good thing to remember - with rules like these, the most important element is to make them look natural - a lot of the newbie writers turn such advise lists into a literal checklist.
You need your character to have these aspects in a believable manner - you need to think "would this person actually do this or act like that"? If the answer is yes, go ahead. If the answer is no... Don't.
Well said. Agree that you can do these badly by pushing too far. Thanks for the clarifications.
Your comment should be pinned on the top of the comment section. Well said.
they're in a diner. what do they order? where do they sit? why? do they see if there's a jukebox? check escape routes? stare into their drink? scarf and skate? flirt? tip? pay? what did they talk about? to whom? etc
I don't care.
@@GaryTongue-zn5didaaaaamn goteem!!!
This is awesome
👍 Very good points, ideas, and thoughts, @intellectually_lazy.
😉 I feel like you might not live up to your name.
1. English is not my native language, so this is practice for me, and I have a question. Trying to write this on a cellphone certainly doesn't make it easier, but that is what I have at hand (😉) right now.
I instantly liked the expression "scarf and skate". I'm thinking you don't mean it literally (leaving on skates), but does it only mean "focus on eating, and then leave", or is there a subtext to it, like that you really rush eating it, or perhaps some other subtext?
2. I like your examples, and I have some thoughts about this. Those are very good samples of questions to at least have at (in?) the back of your mind as you are preparing a framework/toolbox for a story, and to have ongoing as you are writing scenes that includes or references a character. My experience is that this is badly underused in digital games with characters and stories, in TTRPG:s, and in comic-books.
This toolbox/framwork is useful to keep you consistent and "on topic" while you write.
If you later find that some traits/behaviours doesn't mesh with where you want to take the story in general, or with how a particular character is portrayed, you can always change those details, and learn from that for future stories and characters you write. It hurts so much to have to rewrite large portions, but leaving inconsistencies in can be quite damning once you get to your reader/viewer/player.
I would expect some traits/behaviours to be more or less relevant depending on genre, themes, and in what part of society the character lives and acts. If the story is a typical fantasy, having the character check for a jukebox might have the reader wonder what the writer is suffering from... UNLESS this is a "from another universe" kind of story. Then it really is part of showing how poorly the character fits in.
Even if a particular point makes no sense IN the story, it can still help you form a "portrait" of a character's personality, as in "IF my character lived in [insert different century], they would like [insert thing from said century that doesn't exist in the characters century]".
Just some thoughts I had when I read your comment, or as MatPat might say:
But hey! It just a theory, a writing theory! Thanks for reading!
@@RockBrentwood : Ha, ha, ha! Could be a challenge. These sample-questions admittedly sounds very funny with such a character (more in my other comment in this thread). I'm guessing this was part of your point. The thoughtprocess could still work though, if it is of interest.
Just to show what I mean, I'm going to play around a little with your questions, just for fun and practice!
Perhaps it has traits closer to that of a princip of physics or something like a muse/daemon ("daemon" in the ancient greek sense, hence the choice of spelling). I think the word "inspiration" is related: to be in-spirited, as in to be possessed/guided by a non-corporal entity, possibly also related to "spirits" in the meaning of strong, alcoholic beverages. There could be some ideas for personal traits in that.
1. How does it view itself? "Evil" tends to be how we view people in stark and destructive opposition to ourselves. Some also apply this tag to people merely for BEING in opposition. Is it generally malicious and destructive in all its actions? Is it actually "evil" in ANY sense, or is that a misconception by those that have seen one or more of what it looks like, its actions, and/or its powers?
2. Does it interact with the purposes of others, or solely does "its thing" for either relief of boredom, actual enjoyment, a sense of purpose/obligation/princip, or is it just a drive even itself can't explain, or perhaps even control?
3. Is it selfdestructive?
4. Is it actually intelligent, or is this just how observers has perceived it? Is it intelligent in the sense of being selfaware and driving its own developent of goals and personality, or is it rather that it is clever in seeing opportunities and calculating ways to be "evil" (kind of being a machine)? As a sidenote: Being intelligent does not automatically give necessary knowledge or a good memory.
5. Is it inclined to care about what another entity does, as opposed to just acting on whatever? Would it aid someone acting "evil" and/or target someone acting "good"? Does it consider someone/something an enemy, an ally, or an equal? Is it careful to not "do its thing" around something/someone to prevent bad consequences for itself? Would it try to socialise/ally with something like an avatar of entropy (as in its concept in physics)? Would that be a happy union? Would an avatar of non-entropic death and rebirth be of more interest, as "evil" might loose all purpose if entropy "wins" (see "heatdeath of the universe")? ✌️ See! I got some "flirting" in there too!
I hope you find inspiration to write that story! I wish you good ideas and good effort!
Life is about finding the most appropriate solutions for problems. Writing is about finding the most appropriate problem for solutions.
now, you've just given me a super interesting frame to view my thing with, because much of the time my protagonist is actively trying to not think of the past or the future. the times he can see a future worth looking to at all are actually times in which he's thriving comparatively. thanks for that
Why is he so afraid to hope for the future? That's something worth exploring.
@@j.munday7913 good point
Perfect timing! I need help getting my characters fleshed out a little better.
a lot of times i pause to think or look at something i've written that seems relevant. i'm sure this isn't how it was intendfed to be consumed, but here we are
Man you're the best. I am happy to be this early. Your writing tips video are good and well compiled.
I don't know how to word this better just yet, but there's also a notion I've picked up on that I don't agree with. It's where a character can only be interesting if they behave differently than the rest of the people in the same profession, team, etc. It's the cop who breaks the rules; it's the young uppity character disrupting the seasoned professionals trying to solve the same problem.
In real life, for example, nobody is perfect, including priests. They know that they're imperfect, and most take their vows joyfully and seriously. But in fiction it'll be treated as if they all believe they are perfect, and yet are all dour and sad about it, while the one who stands out / is treated as interesting is the alcoholic, vow-breaking one. I haven't seen many Father Brown-like priest characters, is what I'm getting at in that specific example.
Absolutely brilliant and not a second wasted on fluff. Thank you!!
So it’s like that scene from meet the Robinsons. Where Goob thought everyone hated him but that wasn’t reality.
Wow, this is fantastic advice, and you referenced several of my favorite novels: City of Thieves, The Things They Carried, Game of Thrones, and No Country For Old Men. Thanks!
Your writing advice videos are a cut above.
I love listening your videos when I'm writing. They're so insightful.
Glad they can help you in the writing journey!
I’ve been going through some insecurities over my storytelling lately (I’m writing my first long form project, which is hard as someone exclusively accustomed to short form; the difficulty in this is remembering that all first drafts are going to look bad at the outset, and not losing heart.) This video is an encouragement, because it’s a mixture of some things I can consciously try to implement and other things that I am subconsciously already implementing, but simply can’t see through the lens of criticism. With the last few tips on the list, I considered my characters and thought “oh hey, I’m doing that already!” I feel a little more competent now, lol.
Biker doing crochet ... Rosie Grier doing needlepoint, because it was soothing.
I must say, I introduced a lot of these even though I didn't know how they are called, so thanks to you I can use these techniques more consciously and can tweak mys tory where it's lacking. I guess, after watching many other youtubers' advice on writing your's most concrete and solid. You always give examples, present it in a neat way of points or short lists and develop on a subject a bit - what's not to like. I am gonna follow you, sir.
Probably my favorite video of yours so far. Great advice!
Best channel I've discovered this year by farrrrr. Your wisdom is palpable. Thanks for sharing it 🥹🤞🏾
EXCELLENT VIDEO! Thank you so much!
Aaaand another video of yours added to my "Editing first draft" Playlist!
This video was really helpful for me in fleshing out my protagonist! Personally, I feel that the last suggestion is very good advice for a lot of characters and stories, but your phrasing that you ‘have to’ have those things I would disagree with.
Bilbo Baggins doesn’t really have to grapple much with the past, beyond coming to terms with how his life changes throughout his journey. His past life was idyllic and, from his perspective, unremarkable. Not all characters have particularly haunting or remarkable pasts.
Similarly, not all characters worry or prepare much for the future. Even if they don’t know what’s going to happen, they might not give much thought to it, and just go with the flow.
This is a very helpful guide for adding depth to a character. Thanks.
You just added so much to my book! I already had an idea for the epigraphs in my book to be journal entries from the protag but now I have ideas for the other characters that will expand them immensely and add an entirely new level of depth to my novel. This was the best!
Really happy to know I managed to fulfill all of these tips before watching 🙏 even then I'd still say these are great for anybody learning to write novels.
5:08 Dandadan Turbo Granny is a menace 😂
What she said was random and completely out of context lol 😆
Damn, you’ve been killing it lately
This is a good one. I took several pages of notes.
Side character:My grandmother died.
Main character: Time to kill your grandfather.
Thx I'll definitely try to implement these techniques I'm writing a compelling sci-fi psychological thriller.I got an amazing story with plenty of plot twists and realistic struggles but my delivery could use some work.im hoping to have it ready by 2026 lol😅. it's called technically paradise
all your writing advice is very helpful
A great example is darkis pemberton someone who grins when hearing of a powerful pirate leader showing up in his land
I was just thinking about this, thanks Mr. Fox!
Would you do a video about organization and storyboarding? That and afantasia are my two biggest hurdles.
this is a massively helpful video!!
Very good tips, thank you
I read a book where the young girl in it finds someone has committed suicide in the room she’s supposed to be staying in. She is fine staying in the room after the body is removed and not spooked about it at all. It was a while ago but really stood out to me as a different reaction to most people.
That is strange! Good example.
Excellent advice. Thank you.
Glad it was helpful!
Characterization through object sounds new to me. Gotta check that book ASAP
Man i owe you my life if my book gets published
Me, who has multiple dnd characters in many games, taking notes....
"I see.. yes.. O.o ok I do alot of these actually."
i went home. i knew she wasn't there. i had no doubt about it at all. her abscence was palpable but i had to see. i just couldn't let m,yself believe it until i could see. i clung frantically to the hope i was somehow wrong. i checked, a quick sweep of the rooms and the adjacent space we had not yet incorporated into our living area. i checked the closets, behind the shower curtain. i nosed around ridiculous places, but, of course she wasn't there. then i checked the drawers into which i empty my pockets when i undress and rounded up whichever random substances i found within. on my way out i skipped my fancy wine rack and checked the liquor cart for a fifth of bourbon
that was more to the point than the passage i was gonna put here about going through pockets, but kinda a similar thing
1:20 Laughing after the danger has passed is the natural human response. That's the point of it: the ending of a defense response.
I've been meaning to say this but never got a chance until now:
You sometimes remind me of Dukey from Johnny Test. (And I like it.)
Ha ha! That's a new one. But hopefully a positive link?
@@Bookfox Oh, it is! He's a little silly, but the show sometimes shows his intellectual side. Sometimes he tries to convince the main character Johnny not to fall into his typical teenage boy errors, but usually he just goes along either because it's fun, or because Johnny's in too much trouble.
There's just this mix of fun and intellect in your speech patterns that reminded me of him. I apologize if any ambiguity worried you.
Not a writer but a great outlook on how God thinks and designs our lives.
Thanks John!
Never been so early. Love your vids!❤
What sort of characters need this full treatment? Main character, obviously. What threshold do I need to get to before I start giving a character all these traits? Obviously, the waiter for one scene doesn't need a backstory. But what about the police chief who's the exposition dump guy? Or the bartender who pours beer and wisdom at key points in the story?
True. But if you can add the little bit of spice to the background characters and things in the story (for example, the scene starts with the background character walking past the only Ford in the Chevy lot) it makes the scene stick with the reader without getting in the way
About the character saying something for their introduction: Does it still work well if it's internal dialog (short and punchy)?
About the character doing something for their introduction: Does it still work well if it's something symbolic and mysterious, with a significance the reader might not get right away?
Awesome video. Thanks!
I think both of those can work, absolutely.
@@Bookfox Thanks again, Mr. Fox.
Sometimes a character's doing can be more powerful than any words they could say. The character leering over the top of their paper, observing the action could create more than any word.
I would LOVE to see you analyze Steins;Gate. It has absolutely jaw dropping storytelling and characters.
For #6, it would be better to come up with the reason for the tick or quirk first. Once you know the cause, then the effect will come more naturally.
Maybe. Sometimes the tick or quirk is what compels you, and if it gets you curious, it may hook a reader too. It's then your job as a creator to justify and explain why we should care
Many ideas forming in my head. Many ideas.
I read this in Trump’s voice
As always, I appreciate your tips, John. Thanks so much. Question for you:
What are your thoughts on creating a character profile BEFORE writing? Should it be that much of a template, or should it be "discovery based" as I write him/her?
Thanks for considering my question.
Great writers do it both ways. For me, I have a general sense of some aspects of the character before I begin, and then continue to add and refine as I learn about them during the writing process.
@@Bookfox Hey John, thanks for taking the time to answer. It's appreciated!
Thank you, this is really helpful :)
Interesting concepts. I don't follow them personally, but they are still interesting.
what's the coupon code for the Black Friday sale?
writingcheatcode
The characters need to be likable as characters, not as people.
No! ...and No!,
Great argument you have there.
Ridiculous
Yeah, I don't get this either. 😂 Example? 🤔
@@anthonycosentino463
It is a great argument because your comment is stupid..There is no deferential there! Those two things can never be separate in my mind! They are either likeable or not. I don't even agree on this for the Seinfeld cast.
Okay, let me explain to these ignorants. You like Hannibal Lecter as a character because he's interesting and engaging, right? But you cannot like him as a person if he were real.
awesome!! 😍😍😍😍
memento... what else can i even say about that? like, wow, momento
This was a great, insightful video, but my favorite part was at 4:59 when you acted like a 'stereotypic tough dude.'
That's not a bulldozer or 'dozer', it's a rubber tire loader, commonly called a 'rubber tire'.
by the time you make it through a couple seaons of handmaid's tale you're trauma bonded with june. that is not an easy watch
I know! I actually couldn't get through all the seasons. In many ways it's more traumatizing than the book, for sure.
@@Bookfox well, it goes on a lot longer
I wrote 15 Likes and Dislikes for each of my characters, and every one of them have it different and uniquely
They also have multiple examle dialogue with 10 questions QnA that reflects their personality
The inspector's name in "Les Miserables" is Javert, not Javier.
That drove me a little crazy when he said Javier 😂
Total slip of the tongue, you're right. My California influence is showing -- too much Spanish, not enough French.
1. That seems like a very fundamental tip. Of course different characters would react different in the same situations. That's the point of having different personalities.
2. Oddly specific. I wouldn't do that.
3. Yeah, that's interesting. Not too special. Because real persons usually don't fit into stereotypes completely. Like every man has some feminine properties, too.
4. The first two of these three things seem pretty obvious. It's generally a good idea, but not always. But I'm not sure about problems. I wrote a stroy about a character who doesn't have a problem most of the time. Maybe some small things like the roommate coming in, wanting to do something, but MC rather wants to stay in bed and read. And then the "problem" is quickly resolved again. But I at least will talk about this before I talk about hair color. I didn't mention hair color at all for this story.
Nobody is ordering your book tho
very useful, thanks
12:37 Isn't Freud passe?
oddly enough, through the experience of creating AI characters I've actually learned some of these techniques
due to the token limit it's a lot less detail-heavy, but it has things
the overall personality is very short, just single words that when meshed together create a basic archetype
but then the next part is thinking of what would work well with that archetype I've created
for example, if they're archetype: shy, should I lean into it and say they like reading or should I instead say they hate other people?
the archetype is how a character executes a certain action or idea, shy + reading meaning they are either held back by their shyness and doesn't often discuss their likes with others or books are something they enjoy talking about despite their shyness, both are valid interpretations that the AI can process
shy + hates other people is pretty similar, either that they don't show it or they're really heated about it
and then for more specific things there's the behavior, which is like habits, "if this happens, the character does this because of this", it includes the specific scenario, a response, and the reason behind that response
I usually leave this for characters where I think it can trigger interesting conversation
for the appearance I've shortened it to just the vibe and quirks/charms, the reason behind it isn't because I've figured out that I shouldn't focus on too many unnecessary details, but because there's a token limit that forces me to keep it short, but because of that now I have actually learned
and then for the starting text, that's when I put in all the details that lets the user know what kind of character and scenario they're heading into, but because of limitations is also kept concise
I like to establish the relationship of the user and character, the necessary details leading up to the current scenario, and some of the character details that you wouldn't get unless you read the character personality with the exception of if it's in the perspective of the character instead of the user because then you'll just get the character's thoughts and perception instead of the user's
and then I also like to have the character speak at least once, because that then establishes the way that character speaks, not just accents and stuff but also for example "Their voice trembles, not in fear, but in excitement.", I think it's because speaking is something the user's character can confirm easily and doesn't require a certain personality that I'm telling them they should have, whereas something like "Their body trembles behind you, not in fear, but in excitement." takes away from the created perception of the user and is basically just narrating in third person at that point
11:10 immediately remembers photograph of H!tler and his dog
Please make next video a long length video about tips for beginners
You mentioned a competent character in The Millenium series...I tried to find the series but might have the wrong title. Can you put it in the chat?
Girl with the Dragon Tattoo is the first one, by Stieg Larsson.
@@Bookfox Thank you.
So do you think that the combination of playing against type by "saving the cat" is why Blowfeld is such an iconic villain?
Surprised Benioff finished the book. Weirdly that's the thing that proves the point more than the character.
Avoiding stereotypes is what I’m trying to do in my novel, it’s surprisingly difficult
Don't avoid them if they advance the plot in a unique (non-stereotypical) way.
@ I like the thought of using stereotypes to trick my potential audience about the nature of a character. Present them one way and eventually drop the facade or pull the rug out from under the reader. Subverting stereotypes is better than desperately trying to avoid them. There’s a prominent gay character in my novel, he’s set up to be a chaotic comic relief character. Until he snaps and reveals he is actually one of the deadliest characters in the book. If I get the execution right, it could be something special.
@@evanwoodward6376 in the video he also said sometimes you don't have to avoid clichés, but it's poorly explained for whatever reason. Basically just let it be, don't look for it but no need to avoid it either
I feel like the bad cliche 'trust the flow of your story' feels like the right answer. Not everything and everyone can be special because your audience will lose a lot of it's cues and if you do it all the time, you become the anti-cliche cliche.
A Confederacy of Dunces is a great book. I don't think I've ever heard anybody reference it.
It really is fantastic! And hilarious.
I write regency romance so there’s only so much weirdness I can write about. Although if my heroine likes sleeping in the closet and has a tick….
Wait a minute…you might be onto something here.
I have some rewriting to do brb.
I'm a writer and have questions.
I have a weird, complex character motivation. It goes something like this.
Someone's orders are what sparked the (MC) to pursue his wants, which also holds the subconscious need. He does the orders out of brainwashing and authority. As the story progresses, he becomes less dehumanized.
(Is this a character motivation I can do?)
The dualtagonsit motivation happens to connect with the (MC) and she wants to end the corruption that has plagued their land.
I know this sounds weird, but I've created a spectrum in my story. Who my character hangs around can influence his behavior. Characters that are on the positive end give him a reason to live in a sense. Characters on the negative end take advantage of his brainwashing to commit terrible acts. Throughout the story, he would be tugged between the two sides and will have to make a choice. (I wanted to ask if this would work or not.)
The theme is mostly about morality and justice in a corrupt dystopian world.
that's sounds interestingh. i got a character a little similar but totally different, telepath possibly with a type b cluster personality diosorder, or features there of at any rate. these things keep saying i need a main theme, idk. i have many, but identity is definitely one, and the interplay of one's perception of themselves and that of the people around them is an aspect of that i really lean into
@intellectually_lazy that does sound interesting
@@RayBurn-d2v thanks
I believe that the 1:25 short clip from Czech movie Kolja has nothing to do with City if Thieves's character Kolya :D Your videos are great, though, thanks for them.
You are correct. They haven't made a movie for City of Thieves (YET!).
re giving the character a problem, do you recommend this for only the main character(s)? Or all the secondary characters, too. Because the latter feels like overkill. No?
Well, there comes a point when a character is so minor that it's not worth developing them. You have to figure out whether it makes sense.
@@Bookfox So, the more significant the secondary character, the more valuable it is to give them a problem?
I'd think that sometimes the purpose of the character is merely to bring the water from the story well. The character may be unnecessary, but the bucket he's carrying... Maybe that's where character definition can be placed.
I really don’t mind my terrible characters. I love them.
I love my bad developed character the most.
I hate that he exists but I enjoy that he’s given me something for 24 years to talk with.
He’s ridiculous. He’s mean. He’s a degenerate. He doesn’t want to be developed he wants to stay as he is since his creation when I was in elementary school.
Told me to F off, when I asked him if I could make him a better character and a better person.
I talk to my own characters very often. He’s like my imaginary fiend. Instead of an imaginary friend. I don’t control his actions or words. He’s got his own little sick twisted mind and ways of what he wants to do. He glared at me like everyday I’m trying to better myself, he laughs at me for even trying.
he’s so mean to me!
So my characters.
They respond on their own fruition and they always act out angrily towards me, if I want to change something about them. He’s such a jerk sometimes though.
Gives me intrusive thoughts and chuckles at me when I’m having anxiety or depression. He says I’m his form of entertainment. Watching me fail over and over in life and struggle with my self esteem. And he’s happy when I’m getting back up only to slip up again. I tell him all the time not to laugh at me!
He’s always using his hands as well! He’s a very handsy kind of character.
He’s always holding his cigarette or something smallish to play around with. His favorite kind of Cigarette is no longer made so he grumbles at me when I’m not giving him what he wants. He enjoys teasing me and making me shriek too. I love him and hate him. 😂
in a way, i kinda wanna put off some readers early on, not nec essarily by delay. quite the opposite, better they find out early on what kind of story i'm telling. then i can do a lot more with the ones who make it that far, but it's a hard line to walk. on top of that i consistently make things so much harder than they have to be. i s'pose, i possess the cardinal virtue of @ss-backwardness, but that too is one of my many central themes
omg! my protagonist and supporting lead character are both totes over the top in different ways. the third most prominant character is the one most people would find more relatable, kinda has a wild backstory, but, not near as crazy as the other two. that actually makes him pivotal in a way
People shouldn't use terms like Protagonist and Antagonist, because they are both HIGHLY Subjective and thus Hugely outdated.
@@GaryTongue-zn5di nope
@@GaryTongue-zn5di i was not aware, how would you describe it?
@@intellectually_lazy
Main and supporting characters, etc.
@@infidelcastro6687
Yes it is! Good and evil, likeable and unlikeable are points of views and this highly subjective. So terms like Protagonist and Antagonist are very boast and out dated terms and concepts. There is much more grey in real life than everything being so black and white. That is why most movies and shows have more "Anti-heroes" then straight heros and Villains.
Top writing secret I'm giving away for free. The best way to introduce a character at the beginning of a story is to show them failing at something.
On phone the audio for this video sounds really, really bad. Like lots of audio ducking as you move your head around, its really incredibly distracting.
I think the only point i got a passing grade on is the last one. And i mean like a C not a B or A
I'm the kinda guy that laughs at a funeral!
Don't know what I mean? You soon WILL!,
I am a character.
school? my guy ran away from his parent's circus to try to go to school
Cool character. All kinds of things about him will be off by a little or a lot. Amazing skills but cluelessness about some everyday things for normies. A homeschooled character, kid with hippie parents, kid who was a child actor, a kid of immigrant parents etc.
My own kids describe me as quirky... they may be right. Totally normal to eat the soft ends of chicken bones (isn't the cartilage a given?) "for the minerals" when they were growing up. ALL their friends think it's odd.
@@jamesdewane1642 not 100%, but you intuited a lot i didn't say from my brief description. you are very perceptive
of course, his dad's a no nosense type who hates the circus and everyone in it, but does it for his horses and his family, and while his parents are performing is the only time my protagonist could do divination in a home made tent behind the trailer, and being a telepath studies magick, hence alchemy, hence chemistry and so can do that too. the section in which i deal with is backstory is called the amazing arthur kinswood
got a whole 'notherr backstory from that totally made up last name
my son caught me ripping it off from a very special episode of married with children, minus the mr burns style supervilliany
W Video
in my story, the character's mentor becomes the dark father
So Darth Vader?
@@GaryTongue-zn5di yeah, that's where lucas got that term
@@intellectually_lazy
Oh, I am quite aware!
@@GaryTongue-zn5di extremely aware if exclamation points count for anything in this topsy turvy world of ours
As always, generally not bad advice, but nothing you should always do. All of these can make a story more generic,
immediately, in media res, my guy wants drugs. he has ditched and robbed by a former partner and wakes up a the bus pulls into a city he's never been to , but he is in hiding having escaped from an unethical psychic research project he was talked into participating in under the false promise he'd be able to attend school, his primary character motivation. along the way he faces challenges involving identity, relationships,, chemistry, erspionage, etc
Don’t credit Benioff for anything good in GoT. Benioff is a hack when it comes to TV.
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Yeah but there's something to the notion of a tasteful aristocracy. Well, and a good frankfurter.. or a dozen.
Living a writer's life of all sorts of jobs and close scrapes with death, insanity and horrible people can give one a bit different lense with which to view the book.
Joy is fleeting, agony is a constant companion.