Making Characters That Make Sense
Walk-through character template & "how to" guide for writing complex, original protagonists.
If you google "character templates for writing", you'll get a lot of very basic examples that read like a grocery list: eye colour, hair colour, skin colour, positive traits, negative traits, etc.
And sure, filling out this kind of template isn't completely useless - but it's also not particularly useful, either. Choosing whether your protagonist has blue eyes or green eyes isn't going to determine whether readers connect with them or not.
Instead, I prefer to use the below template:
There's some fairly left-of-centre categories here, so in this blog post I'll be creating a character from scratch to demonstrate what each section means and how to use the template effectively.
Primary Goal & Raison D'Être
Fantasy Romance is having a bit of a tournament-to-the-death moment right now, with Hunger Games-inspired stories like Fourth Wing, Throne of Glass, The Savior's Champion, and The Serpent and the Wings of Night in high demand - so that's what we're going to work with in today's blog post.
The story premise and primary goal of the protagonist are almost always interconnected. In this case, the story premise is a tournament to the death - and the character's main goal is to win that tournament, obviously.
But where there's room for some originality is in the raison d'être. This loosely translates to "reason for being" or "purpose". It's the why of it.
For example: what motivated this character to risk their life by entering such a tournament in the first place?
It is sometimes helpful to look at similar stories when thinking about this category. Not so you can copy their protagonist's motivations - but so you can do something different.
The whole selfless-self-sacrifice thing, for example - that's done. At least in relation to this particular sub-genre. We can do better for our hypothetical Maera Mystfang character.
Actually, let's really turn the trope on its head and make her raison d'être incredibly self-centred.
Already, this is character is shaping up to be something a little bit different within the niche of tournaments to the death. Which goes to show how putting a little bit of thought can go a long way, even with something as simple as identifying your character's initial purpose.
Every protagonist needs a goal - and every goal needs an obstacle. This is what gives the story some tension and keeps readers turning the page.
An obvious choice of obstacle for this hypothetical character, since we're dealing with a fantasy romance, would be that Maera starts to develop feelings for one of her fellow competitors.
This concept has definitely been done, but that's okay. Not every section of this list has to break the mould. Tropes exist for a reason and it is totally okay to lean into them sometimes.
However, just for funsies, I'm going to try and put a slightly different spin on this one too.
Instead of the obvious "I love one of the people I'm meant to kill", let's make Maera's (previously dormant) conscience be the problem. Her reasons for entering the tournament may have been self-motivated, but as she gets to know her fellow competitors - admires some of them, even - she starts to second guess those reasons.
A lot of character templates will divide personality traits into positives and negatives - but I don't think this is particularly helpful. It is far too one dimensional - not to mention unrealistic. The key components of someone's personality aren't usually so black and white.
In fact, most core traits are both good and bad at the same time - it just depends on the context.
Instead of being wholly positive or negative, try to think of three core character traits that can serve as two sides of the same coin, with both positive and negative implications to each.
For Maera, I've given her these core traits:
Her self-reliance means that she is incredibly capable - but it's also the cause of her selfishness. She's always had to look after herself, so she expects others to do the same.
Her rebellious attitude means she isn't willing to accept the status quo. But at times she is also a rebel without a cause, causing trouble just for the fun of it.
Her good sense of humour means she is fun to be around, but she also tends to not take things as seriously as she should.
Thinking of core traits in this multi-faceted way not only adds realistic complexity, but it also sets you up well for showcasing character development and growth throughout the story.
Fatal Flaw & Character Arc / Growth
You've probably read negative reviews that throw around terms like "Mary Sue" or "Gary Stu". People tend to be over-zealous with these terms, especially for Mary Sue, but the gist of it is that the character in question is "too perfect".
They're the chosen one, they're good at everything, all the boys like them, etc.
Some characters can get away with this just fine. Look at Aragorn. He's the ultimate Gary Stu but I still swoon every time he opens those damn doors. You know the scene I'm talking about.
But for the most part, you want to incorporate a fatal flaw into your protagonists - because this is what gives them room to grow.
And, no. "I was born to be King but I don't wanna" does not count as a fatal flaw.
Instead, think bigger. Think worse. Think about where your character starts versus where you want them to end up. Think about how you want the events of the narrative to change their world view - or even their initial goal.
For Maera, her fatal flaw is pretty obvious, given her initial motivations for entering the tournament. Similarly, her growth/arc is linked to her primary obstacle, which is developing a conscious.
Her journey throughout this hypothetical story might be learning to appreciate how her past shaped her, while also acknowledging that there are things she can do to ensure others don't have to go through what she did. By being shown acts of kindness, she learns to appreciate their value.
Now that we've covered all the "big picture" stuff, let's get into some of the smaller details that give your character some texture.
The first impression category is a hypothetical exercise where you image how your character might appear to a room full of strangers. In dual, multi, or omniscient POVs, you might even get the opportunity to include this impression somewhere in the story.
But even for first-person narratives, it is still worth thinking about, because it will help to inform how other characters interact and respond to your protagonist (at least at first).
For Maera, I've written this first impression as: a fun person to have a few drinks with - so long as you keep a close eye on your wallet.
From this description, we can guess that Maera probably likes to have a good time, but also comes across as untrustworthy. Whether that impression is deserved or not is up to you, as the author, to decide.
There's also a lot of deeper directions you can take this first impression category, too. Like if most people react to Maera this way, but one particular character doesn't, then your readers are going to sit up and pay extra attention during that interaction. Especially when that person reacting atypically is the future love interest.
Ah, this one is a fun one!
I always encourage my authors to assign a "spirit animal" to their characters - especially when they're doing multi-POV.
There are two main reasons for this:
It will allow you to assign some very distinct adjectives and verbs with that particular character; and
It is an opportunity to flesh out some additional character traits beyond the core traits.
For Maera, I've chosen "spider" because she is solitary by nature, opportunistic, and patient.
But, more than that, I also like the idea of Maera being the kind of person who knows how to watch and wait. While her first impression might be "here for the good times", her joking façade is actually a mask she wears while carefully observing others.
Her words were laced with venom.
She crawled her way across the rooftop.
At some point, weaving lies had become more of a past time that a necessity.
Her thoughts were a tangled mess.
She didn't bother to conceal her predatory gaze.
Inch by cautious inch, she crept forward.
Her sanity was already hanging by a thread.
If there was one thing she knew how to do, it was spin a good story - truth be damned.
I've never outright compared Maera to a spider in these examples, nor have I made it blatantly obvious that that's what I'm doing. But by peppering these kinds or words throughout the story, I'll be able to subtly create a very distinct kind of impression for her character.
For comparison's sake, let's assign "cat" to the love interest. Examples of possible words to consider in this instance might be:
He clawed his way through the bushes.
"What are you doing?" he hissed.
The comment had some bite to it, that was for sure.
He slunk away into the darkness.
His still, unwavering focus was unnerving.
He prowled towards her.
In a few quick, agile steps, he'd made it across the parapet.
He yawned and stretched out beside her.
Of course, not every single word you use in association with a character needs to be related to their spirit animal. But keeping a certain type of animal in mind - and finding opportunities to throw in some subtle messaging through language choice - can be beneficial on so many levels.
It helps to distinguish your characters from one another through the kind of language you use to describe them - but it's also just really, really fun way to add some bonus texture to your characters. Giving your readers some little easter eggs like this is never a bad thing.
If you're unfamiliar with the concept of the five basic love languages, then here's a quick visual overview:
Love languages aren't a consideration that's specific to romance. They're important for friendships and familial relationships too.
Because thinking about what your protagonist values most in love is going to tell you a lot about who they are. Especially when you take the question deeper and think about why this is something they value.
For Maera, I've chosen "Acts of Service" because this ties in quite well to her character arc.
In terms of Maera's why, I could easily go with "because this was how she was shown love as a child" - and this is a good enough option most of the time. However, since her love language is very much tied into growing out of her fatal flaw, then I actually want to do the opposite.
Maera winds up valuing acts of service because this is something she craved - and wasn't given - as a child. She had to do things the hard way instead. Hence why she ends up appreciating the kindness of others so much. Such generosity is new to her - and precious.
This is potentially one of the most overlooked character components. Conflict and tension is central to story telling, yet there is so little attention given to creating authentic, original responses to conflict.
The way I see it, there are three main considerations in regards to conflict response:
How your character reacts in the moment;
The unhealthy methods they use to deal with the aftermath; and
The healthy methods they use (or discover) to self-sooth.
When faced with conflict, Maera's immediate reaction is to antagonise. She doesn't like to back down and enjoys creating trouble.
However, in the aftermath, the conflict affects her more than she lets on. She stews on it - and her solution to that is to get drunk until she can forget about it completely.
But even though she sometimes forgets it, Maera has a more healthy coping mechanism at her disposal. When she is surrounded by nature - in the forest, by the sea, whatever - it calms her.
In addition to identifying your protagonist's various responses to conflict, it is also helpful to think about why. Again, this is a great opportunity to insert something unique into their character backstory.
With Maera, for example, let's think about why she finds nature so soothing. Perhaps, amidst a very bleak childhood, one of her fondest memories is of picking grapes in a vineyard.
Perhaps the elderly woman who owned the vineyard was very rude and abrupt - but also quite kind to Maera in her own way. Maybe she would sometimes stitch up Maera's clothes or feed Maera a hearty, meaty dinner - even though she didn't have to.
If you're struggling to think of a real, tangible, unique memory such as this - then it's always helpful to go back to the old classic of write what you know. Think of a real life moment or memory - something that's stuck with you, no matter how simple - then adapt it to your character.
To create this vineyard example, I simply drew on my experience of picking strawberries with my Nonna after school.
I could write an entire thesis on mentors. Or, more specifically, the "death of the mentor" trope - both in its literal and metaphorical interpretations.
But, for the sake of brevity, let's save that sh*t for another time and focus on what's important for a basic (yet complex) character template. And that is:
The Formative Mentor (past); and
Transformative Mentor (present).
The formative mentor (or idol) is someone who influenced your character prior to the events of the novel. Sometimes they're a character the reader will meet, or other times, they're long gone before the novel even begins.
The transformative mentor is a much looser term. It doesn't necessarily have to be a traditional mentor character, but rather it is a character who heavily influences or changes your protagonist throughout the events of the novel.
For Maera, I want her earliest idol to be a random female sell-sword who she crossed paths with. Prior to meeting this sell-sword, Maera was living without hope for a future, surviving on scraps and petty crime.
But after seeing an independent and moderately wealthy sell-sword in her local tavern, Maera got a glimpse into the kind of life that might be possible if she learned to fight. With the right kind of skills, she might be able to earn some decent money for a change - and travel the world.
This is an example of how "mentors" don't always have to be a wise wizard who oversees your protagonist's training and education. Young minds are impressionable - and even distant figures can have a lasting impact.
Just look at all the women who cite Legally Blonde as the reason why they were drawn to law. Elle Woods wasn't even real - but for plenty of young girls, she made an impact.
Similarly, your protagonist's "present" mentor or idol doesn't necessarily have to be a wise wizard either. It can simply be someone who motivates them to change their world view or strive to be better.
In romance, it is more than acceptable to have the present mentor coincide with the love interest - especially in standalone enemies-to-lovers. I know this seems counter-intuitive, since the word "mentor" implies a power imbalance, but it makes more sense if you readjust your definition of mentor to be "inspires change".
However, for Maera, I kind of like the idea of pairing her up with a love interest who shares some of her flaws. I vibe with the idea of making him a bit self-interested too, although for different reasons.
So in her example, I've listed the present mentor as a selfless secondary character. The way I would envision this going is Maera and the love interest team up early on - but somewhere along the way a secondary character saves them both. They're both heavily influenced by this character before this character sacrifices themselves. The aftermath of this incident rattles both Maera and her love interest, and serves as the spark for growth.
I hope you found this template - and very long explanation - useful!
