The vagabond wore a grizzled beard. It twisted between the worn layers of his scarf and the collar of his coat like a cat tucked into a laundry basket. The big toe of his left foot protruded from his shoe, black from soot and grime. Nobody talked to him. They were too afraid. Besides, he always shouted the same curse "I used to be a damned king, I did!" If his mind hadn't abandoned him and been replaced by dread and mistrust, he would know that the centuries old ruby ring he clutched in his pocket proved his claim was true.

When you think of your favorite stories, you typically think of the characters in those stories before anything else. Some of those characters may have even shaped how you view the world, especially if you grew up reading the same stories over and over again. We're here to talk about writing characters. And—more importantly—how to make them memorable.

A character can be defined as a person, animal, or figure represented in a literary work. The purpose of characters in a story is to push the plot forward in a relatable and engaging way. And, like any other element, characters need to be developed. There are a number of methods that have been perfected over the years to help writers do that. So many, in fact, that we have split up the topic of characters into three parts. 

This part—Part 1—will cover character roles, types, and how to develop well-rounded characters.

What is character development?

In fiction writing, character development is the process of building a unique, three-dimensional character with depth, personality, and clear motivations. Character development can also refer to the changes a character undergoes over the course of a story as a result of their actions and experiences—we also call this the character arc. See our chapter titled Characters (Part 2) The Character Arc for more details about that.

When it comes to your story, it doesn't matter whether the stakes are big or small, as long as they matter to your protagonist. He could be searching for the antidote to a deadly pandemic. Or she might be trying to save her family from an eviction. Establish what is important to your character, what they are willing to do to reach it, and help the reader imagine what might happen if they lose it. Characters, like people, are imperfect. They don't need to be likeable, but they must be interesting.

What roles will your characters play?

Protagonist / Antagonist / Deuteragonist / Tertiary / Love Interest / Confidant / Foil

The protagonist is the main character, the big kahuna, the star attraction. This should be the first character you flesh out. Most of the action centers around them, and they are the one we're meant to care about the most. Every story has to have a protagonist. No protagonist—no plot.

The antagonist's job is to antagonize; it's built right into their title. They are meant to thwart, battle, and oppose the protagonist. Most of the time, the protagonist is good and the antagonist is evil, but this isn't always the case — especially if the protagonist is an anti-hero who lacks typical heroic attributes, or the antagonist is an anti-villain who has noble characteristics. Antagonists usually play an equally important role as their protagonistic counterparts, but they may not be seen as much. The question of "What will the antagonist do next?" can be a source of tension in a story.

The deuteragonist is a character (or group of characters) who's not exactly in the spotlight, but pretty close to it. In the comic book world, they would be the sidekick often seen in the company of the protagonist, giving advice and plotting against rivals. In a romance, it could be the lover. Their close relationship to the protagonist gives the story heart. But not all secondary figures are friends—like that high school coach pushing his team because he's determined to win the championship—and these less-friendly deuteragonists lend depth to a story.

Tertiary characters flit in and out of the protagonist's life, perhaps only appearing in one or two scenes throughout the book. A tertiary character might be the gossipy neighbor or the barista who never gets the order right. As in life, we need these characters in the story to progress the plot and help develop our protagonist's character.

The love interest appears in most novels, as they often contain romance in one form or another. It might be the main plot, a subplot, or just a blip on the narrative radar. This character is typically a deuteragonist, especially in a romance novel, but not exclusively. Some love interests make their MC swoon; others make them scoff. The protagonist may deny their feelings for this person, or vice-versa, which is a great plot device. We should find ourselves intrigued whenever the love interest pops up on the page.

The confidant can be one of the most profound relationships the protagonist has in a novel. Confidants are often best friends, but they may also be a potential love interest or a mentor. The protagonist shares their thoughts and emotions with this person, often when they're reluctant to share with anyone else. On the flip side, the confidant might be someone the protagonist turns to because they feel they have no other choice.

A foil character is someone whose personality and values fundamentally clash with the protagonist's. This clash highlights the protagonist's defining attributes, giving us a better picture of who they truly are. Though these two often have an antagonistic relationship, the foil is not usually the primary antagonist. Sometimes the MC and their foil clash at first, but eventually see past their differences to become friends, partners, or even lovers. 

The four character types: round, dynamic, flat, static

A round character is a multi-dimensional character with different (and sometimes contradictory) features. Round characters are interesting to audiences because they feel like real people, and readers can feel invested in these characters' successes and failures.

A dynamic character undergoes significant internal change throughout the course of a story. The development of a dynamic character is often subtle and understated. A dynamic character is one who learns a lesson or changes as a person (either for better or for worse). Most main characters in stories are dynamic.

The term "dynamic character" is often confused with "round character," and while they often overlap, they are not the same. A dynamic character is one who changes significantly throughout the story, whereas a round character is simply one who is interesting and layered.

A flat character is a one-dimensional character who isn't layered or deep. They may have one or two traits that make up their whole personality.

A static character remains largely the same throughout the course of the story, keeping the same personality and outlook despite what goes on around them. It's common for secondary characters in stories to be static.

The term "static character" is often confused with "flat character," and while they do overlap, they are not the same. Flat characters are almost exclusively static characters, but not all static characters are flat—many static characters can be interesting and round.

Tips on writing round characters

Round characters are fully realized characters that come into conflict with other characters in believable ways, spurring character development. Not every main character needs to be dynamic and experience change to their overall behavior. They might merely 'see the light'. For example, we might see Elizabeth Bennet from Pride and Prejudice as a round character, who remains true to her nature but gains insight about a narrow perception she'd held.

📌 Like dynamic characters, round characters need motivation. The harder the choices, the more possibilities you have to reveal the character's deepest fears or truest desires.

📌 Force them to make choices between good and evil. You must know your character's mind in order to understand their beliefs and how they will justify their actions—even the cruel ones.

📌 Conflict is essential for developing character. If nothing is at stake, then a person's choices don't matter very much, and the audience will begin to lose interest.

Tips on writing dynamic characters

Dynamic characters are considered a mark of a good story. They help audiences become invested in the character's journey. Readers are interested to see a dynamic character progress toward their goal. Examples of dynamic characters are: Ebenezer Scrooge, Anakin Skywalker, and Neville Longbottom. Each of these characters' personalities changed from the beginning of the narrative to when the story ended.

📌 As you outline your story, list your character's personality traits. Are they shy or cocky, rude or kind, enthusiastic or disheartened, innocent or experienced? Then identify which traits might change over the course of the story.

📌 Make your character responsible for the conflict. While it's easier to write a character who is the victim of cruel circumstances outside their control, characters who have in some way caused the conflict are much more likely to learn lessons and change because of it.

📌 Heighten the conflict. If you have a character who refuses to change, it might be time to add more obstacles and hardship. Stronger conflict can help bring characters to their breaking points, which helps them discover something new about themselves or realize how their behavior needs to change.

Tips on writing flat characters

Often considered "stock characters," flat characters can usually be summarized in one word (like "bully" or "popular kid") and never transcend their role. Still, flat characters serve the specific purpose of helping to propel the story forward in some way. Examples of flat characters are: Crabbe and Goyle from the Harry Potter series.

📌 Make a list of personality traits for your flat characters. They can still be interesting. For example, you could pick a gravedigger who is always happy because he loves his work, or a tightrope walker with a fear of heights. Flat characters aren't easy to take seriously because audiences can't relate to them—but when they're written to be funny or ridiculous, audiences can enjoy laughing at their one-dimensionality.

📌 Use flat characters in a plot-heavy story. Deep character backstories can get in the way of plot details. To help guide readers through the twists and turns of a complex story, writers can opt for simple, flat characters to help push the plot.

📌 Consider creating a foil character. Foil characters embody the opposite traits of another character (usually the protagonist). Give a flat character a trait that mirrors the protagonist's, or a trait that brings out the protagonist's lighter or darker side. This can be helpful in moving the plot forward.

Tips on writing static characters

Static characters do not change throughout the story. As such, they have a hard time holding the attention of an audience because there's no character arc for readers to be invested in, no lessons learned. Therefore, the character must be round in order to keep the audience's attention. While static characters are often antagonists of stories, any character—even a protagonist—can be static. Examples of static characters are: Captain Hook and Sherlock Holmes. Both are interesting in their own right and unfailingly predictable in their methods.

📌 Focus on motivation. If the character is not going to change throughout the story, they need a good reason for it—are they too stubborn, too shy, or maybe too damaged? Coming up with a strong motivation for the character will help audiences believe that they have a reason for being static.

📌 Think about backstory. A character's backstory provides a great opportunity to make them interesting. Were they raised by circus folk or near a junkyard? How does this influence the way they look at the world?

📌 Play with personality. A unique personality is a great way to keep audiences engaged in static characters. For instance, Sherlock Holmes is a famously quirky static character.

Seven ways to write engaging characters

1 - Plotting: Many novelists like to spend time with their characters before they start writing (similar to plotting a story). If we know something about a character ahead of time—how they walk and speak, their secrets and desires, what they value and who they associate with—we will naturally create someone who is more complex. Not only that, but we'll know how that character interacts with their world and reacts to events as the story unfolds around them.

2 - Pantsing: Conversely, some writers would rather allow their characters to develop on their own, usually as the story develops (similar to pantsing). They may start out one way and end up a different way, becoming changed by what happens to them. Being open to this sort of character development can keep the process from becoming too rigid.

3 - Develop characters who reflect your interests: You're going to be spending a lot of time with your characters, so the fiction rule "write what you want to know" applies to them as well. Don't be afraid to give your protagonist familiar qualities, or engage in hobbies and interests similar to your own.

4 - Reveal traits through the character's physical world: Know your character's physical world intimately and how they relate to it. This may be through descriptions of their home, income level, or physical appearance. If a character dislikes their nose, this could play out in their behavior. Some writers use clothing to reveal the quirks or personal taste of their characters. Dashiell Hammett never fed his characters, while Charles Dickens fed his extravagantly.

5 - Give them the right skills: Your characters should have skills that allow them to function in their world. If you've chosen to set your novel on the moon, then make sure your character knows how to use a space suit.

6 - Create memorable characters: Try giving each recurring character one quirk or quality that can be used later to help readers recall who they are. This could be a title like "head boy" or a physical attribute like "bow-legged."

7 - Give access to the character's inner conflict: One way to create intimacy with your reader is to use internal monologue (usually written in italics). Giving the reader a glimpse into a character's thoughts as they happen—Geez, that was a stupid move. This exposes inner turmoil, motivations, opinions, and personality. It can also be a way to convey information about your setting, events, and other characters.

Look for Part 2 in our Characters series: The Character Arc