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Character development is absolutely CRUCIAL to a story, but having spent more time thinking about this topic, I came to the realization that I misunderstood a lot of points other people have made when teaching how to write character development.

There are a lot of factors that play into character development, but in this post, I'll cover some overall, but the main thing concerns any change to your character! (Which is also a huge part in development, really.)

So with this post, I'll be teaching you MY personal tips regarding this subject!

*The Basics*

Before we really get into the developmental stage, there are some things you want to establish, in which I'll explain later!

A couple of flaws.

How your character views themselves at first.

Your character's morals/ideals and how they think.

These things may vary, but you want your readers to be able to at least roughly predict how your character will act during specific events!

*Change*

Character development is just about how your character changes throughout the story. I like to say that there are several different ways one may change, (we'll get into that later on) but your character should NOT stay the same as the same person during the exposition and during the resolution!

"During character development, your character should grow."

This is a common piece of advice; your character needs to grow. And while I've assumed for the longest time that I understood what it meant, it never truly clicked.

While they will use words such as grow, what they really mean is that your character should mature. By the end of your story, your character may not always end up as a better person. When I say mature, I mean that they have reflected back on their life and have understood the consequences that came with their actions (if any) or how they could've done things differently.

Your character will not always end up as a better, fixed person, but they should understand their world and themselves better.

*Negative/Passive Change*

Alright then, so how does a character develop if they don't necessarily change for the better? Well, I'll get into that!

No matter what, your character should have learned a lesson through their experience. Even if they haven't exactly improved as a person, there should be a moral they can learn from what they have gone through.

If not, then did they really grow?

Additionally, how did their qualities negatively impact themselves? If they are bad traits, then it needs to be clear. And the best way to achieve this is by demonstrating how it hurts your character! However, it is rather uncommon for a character to undergo little to no change after a story!

Prodigal slacker. An exceptional intellect, capable of solving complex problems with ease, but absolutely no drive or motivation to apply their abilities towards any practical endeavors. Others are often frustrated by the wasted talent, but they couldn't care less. If their ideas are so great, someone else can come up with them. They're just here to laze around and have fun.

Loveable annoyance. A mind that dances on the border of sanity, and a perpetual source of simultaneous amusement and irritation. They delight in making puns and bad jokes at the expense of others' patience. Undeniably loveable nonetheless.

Reluctant recluse. They present a facade of rugged independence, portraying themselves as one who thrives on solitude and despises the company of others. They project an air of indifference towards others, often dismissing any attempts at connection or sympathy with a sharp retort or a cold shoulder. But beneath this tough exterior lies a soft spot reserved for the select few who have managed to breach their defenses—though they're reluctant to show it, going to great lengths to conceal the affection they view as weakness. Their stubborn refusal to accept help or acknowledge their own struggles stems from a fiercely guarded sense of pride, manifested in their vehement denial of any signs of weakness or vulnerability, even when they're visibly on the brink of death.

Sister figure. Sharp-witted and quick-tongued; will shame, embarrass, and ruthlessly tease. Their sarcasm is as much a display of fondness as it is merciless. Fiercely affectionate, extremely caring, unwaveringly loyal. Will put themself in danger for those they love, and will not hesitate to hurt anyone who offends or hurts those they care for; but mess up, and their sternness could make a warrior sob.

Impressively patient. Reserved, caring, mature, typically polite and tolerant to an extreme extent. May lash out occasionally. Possessive of a quiet strength, tending to observe situations with a thoughtful demeanor. Their reserved nature can be mistaken for aloofness despite their deep well of empathy and care for those around them. They navigate social interactions with a polite grace; however, beneath this composed exterior lies a potential for volatility on the rare occasions when they are pushed to their limit. Often the peacekeeper in friend groups.

People hater. Seems perpetually done with everything and everyone. Specialises in dry remarks and diminishing enthusiasm. General mood killer. However, their outward projection of disdain and superiority is really a mask of their own feelings of inadequacy.

Have you got any that deserve to be on these lists? Don’t be shy! Send ‘em over.

Part 1

Part 2

Part 3

*This list contains mentions of assault, #4

1. Zero cursing is better than censored cursing

I made the mistake in the early days of writing a self-censoring character, and every “curse” she said just took the teeth out of the rest of the statement. I’m talking gosh, darn, dang, etc, not world-specific idioms a la “scruffy nerf herder” or “dunderhead” instead of “dumbass”.

Look to any American TV show that so, so badly wants to use f*ck or sh*t but has to appease the sensitive conservatives who still somehow believe strong language is worse than graphic violence and horrifying psychological damage. For shame! Your characters can be angry without expletives, so rework your sentences to include equally damning insults that don’t resort to potty mouths if you’re concerned about ratings.

Or go full-throttle into the idioms of the world or the time period like Pirates of the Caribbean. Or just… don’t. There’s zero modern cursing in the Lord of the Rings adaptation and not a single sentence that censors itself. The dialogue is above vulgarity and feels more *fantastical* that way anyway.

2. “Yeah, you aren’t the target audience.”

It’s kind of hilarious seeing the range of reader reactions to two characters I intend to have a romantic relationship. Some will go “I ship it!” after the first page of them together… and another will go “wait, I thought they were just friends” up until they kiss. Sometimes you might be too subtle, other times it might be better to just accept that you can’t rewrite your entire book to please one naysayer.

When I’m pitched a fantasy adventure book that turns out to be a by-the-numbers romance where no one is allowed to be a peasant and every important character is royalty in some way, with a way cooler fantasy backdrop, I get severely disappointed. That doesn’t mean the book is bad, it just means I’m not the target audience.

3. There is no greater character sin than making them boring

Unless you live in the wacky world we find ourselves in where any flaws whatsoever are apparently harmful depictions of so-and-so and not at all written with things like ~nuance~. I will gush over your heinous villain committing atrocities because he’s *interesting*. I will not remember Bland Love Interest who’s a generic everyman with zero compelling or intriguing traits or flaws.

There’s another tumblr post out there that I cannot find that says something like this, and I believe the post goes “his crimes are fiction, my annoyance is real”. Swap annoyance for boredom and you get what I mean. So, I don’t care what your character does so long as they’re memorable. I will either root for their victory or their doom, but I do need *something* to root for.

4. The line between “gratuitous” and “respectful” is actually very thick

Less what no one tells *you* about writing and more what no one tells screenwriters. Y’all do realize you can write a character who experiences assault without actually writing the assault, right? Fade to black, have them mention it in their backstory, or have the horrific aftermath as they come to terms with it. An abrupt cut to this devastated character when it’s all over and they’re alone with themselves can be incredibly poignant and powerful. This goes with anything sensitive, especially if it’s not coming from experience.

If you want to write it or film it respectfully, romanticizing assault, for instance, is when it’s framed as if either character has earned or “deserves” it. If the narrative in any way argues that it's justified. The victim might have "earned" it for any of the BS reasons we use in the real world, or the perpetrator might've "earned" it because of temptation, desire, pressure to assert dominance, etc. Representation is important, but are you “representing” to shed light on a misunderstood and maligned topic, or are you doing it to satisfy a fetish or bias in yourself?

5. Don’t let your eyes get bigger than your stomach

Fantasy has no limitations, which means you can dig way deeper into the well of your worldbuilding than you realize, until you look up and realize you’re stuck down there. I have never seen a more obvious inevitable disaster looming than the pilot of GoT season 5. Why? Nobody has any plans. They’re all just led around by whatever side quest the writers throw them on, twiddling their thumbs until the writers deign to pull the trigger on the White Walkers.

To the point that what should be a major character can skip an entire season because his arc is meaningless. Everything in the last half of that show was one big “eventually” while the story toiled around in an ever-expanding cast of characters and set pieces (seriously, it’s hilarious how jarring the extended version of the theme music became compared to the pilot episode to fit all these locations).

When you have too many directionless characters, too many plot elements, too many ideas you want to fully mature and get their due spotlight and then somehow combine them all together for a common foe in the end, writing can get tedious and frustrating very quickly. Why, I imagine, the book series remains unfinished. Fantasy is great for being able to create such complex worlds, but don’t be the snake that eats its own tail trying too hard.

6. No one cares about your agenda if you insult them to push it

This deserves its own post but here we go. Peddling an agenda is a paradox: those who agree with you won’t need to be preached to, and those who you want to persuade will instead reject you further because they feel belittle and disrespected. This is why so many recent “strong female characters” fail on both sides of the aisle. Feminists see an annoying caricature of the movement they’re passionate about. Antifeminists see an insufferable, shallow, liberal mouthpiece when they just want to be entertained. You have failed both sides, congrats.

The answer? Write a strong, nuanced, well-developed character. Then make them a woman. I know this has been said before but this BS keeps happening so clearly the screenwriters aren’t listening. Entertain me first. Entertain me so well I don’t even realize I’m learning.

7. Today’s audiences won’t react the same way as tomorrow’s

Sometimes genres or tropes get oversaturated and need a few years to cool off before audiences are receptive to them again—teen dystopia, anyone?—that doesn’t mean your story is inherently bad because it’s unpopular (nor does it mean it’s amazing because it is popular).

You should always write the book you want to read, not the book that chases trends. I can pick up a well-written teen dystopia I’ve never read before and enjoy it. I can continue to ignore Divergent because it has nothing to say. Write the book you want to read, but then accept that you might make no money because no one else wants to read it, not because they think it’s bad. And, who knows? You might get a boom of chatter months or years down the line when readers stumble upon an uncut gem.

8. Your characters don’t age with you

Depending on how long you’ve been working on your world and what age you were when you started, the characters, concepts, morals, and story you set out to tell might no longer reflect who you want to be as an author when all is said and done. Writing can take years, some of which can be incredibly turbulent and life changing. I wrote the first draft of my first original novel in my freshman year of college. Those characters and that draft are now unrecognizable and has left a world I’ve poured my heart and soul into in limbo.

I’ve slowly creeped up my characters’ ages. My writing has matured dramatically. The themes I wanted to explore in the height of the 2016 election are just demoralizing now. That book was my therapeutic outlet and, as consequence, my characters sometimes reflect some awful moods and mindsets that I was in when writing them. But nothing in that world grows without me tending to it. It’s not alive. Despite all the work I’ve done, there’s still more to be done, maybe even restarting the plot from the ground up. When I think of what no one told me about writing, staring at characters designed by someone I’m not anymore is the hardest reality to accept.

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If you think I missed something, check out parts 1-3 or toss your own hat into the ring. Give me romance tropes. Mystery, thriller, historical fiction, bildungsromans, memoires, children’s books, whatever you want! Give me stuff you wish you’d known before editing, publishing, marketing, and more. 

I plead with the mighty writing Gods that this reaches every smut writer (especially the male ones) in the writerverse. Ready? Okay.

Whether you're diving into erotica, romantic escapades, or thrilling adventures with a spicy twist, we've got you covered. Strap in for a journey through the tantalizing realms of smut crafting, where every word is a brushstroke on the canvas of desire.

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Let's begin with a golden rule: The Law of Erotic Fiction. Remember Isaac Asimov's Law of Science Fiction? Well, this one's its sultry cousin. Here's the gist: if you can pluck the smut out of your story and still have a compelling tale, you missed the mark. We're talking about integrating smut so seamlessly into your narrative that it becomes the beating heart of your plot.