When writers hear the word ‘original’, they often feel like their character needs to be something that people haven’t seen before. However, creating a simple unique trait can instantly make them stand out. Two great examples are Jake Gyllenhaal’s blinking twitch in Prisoners, and Jaeden Lieberher’s stutter in IT. Both archetypes have been depicted in films countless times, but their unique traits ground them in reality, ultimately making them feel more real.
No matter how strong someone is, they will always have a weakness. Think of Superman vs Kryptonite. Introducing an opposing threat is a great way of making your characters feel grounded as well as bringing conflict into your narrative. Having them attempt to overcome this weakness is the starting point for a captivating story. A great example is Toy Story’s Woody. Despite being the strong, authoritative figure, he feels threatened by Buzz and suffers because of it. Similarly, despite how weak your character is, it’s always powerful to give them a particular strength, whether it’s psychological or physical. Always remember that flaws are what make us human.
One vital thing new writers often overlook is the concept of a character having both good and evil traits. If you analyse anyone, you’ll notice that their personality is a small mix of good and bad. If you were to put someone through an intense situation, you’d quickly notice that these could be perceived as good and evil. When creating your characters, imagine how they would act under certain situations. Don’t be scared to sympathise with your villain and give your hero flaws. A great example is Walter White. Simply put, he’s a bad person with an oddly justifiable and reasonable motive. Megamind also explores a villain who has a good heart.
Similar to having strengths and weaknesses, characters need to have conflicts to battle. Giving them both an internal conflict as well as an external one give your character a multi-dimensional edge. This can be done with both your heroes and villains. A great example is No Country for Old Men’s Anton Chigurh. He often struggles with an internal conflict against himself for his obsessive compulsion regarding fate, as well as an external conflict of Llewelyn and the money.
Renowned writer Kurt Vonnegut stated, “Every character should want something, even if it is only a glass of water”. Having a character goal is the driving force that will keep your narrative moving. Think of Frodo Baggins’ goal in destroying the ring, or Luke Skywalker’s goal of destroying the Empire. Of course, not every character need to have a narrative-driven goal of this scale, but by giving each character a goal (no matter how small), you’ll give the illusion that they are a real person that could function outside of the narrative.
Would you like to learn even more about developing relatable, captivating characters for your story? Check out the Masterclass: Building Captivating, Relatable Characters for Stage and Screen. Over the course of this 6-video series, you will learn how to develop multi-dimensional characters that will capture audiences, and drastically strengthen your story. Throughout the series, you will understand how factors such as story structure, bios, character arcs, wants, goals, and needs aid in developing your character, and ultimately drastically strengthening your overall story. Click here to check it out, or log in to access (this Masterclass is free for Pro Members).