According to the Hollywood screenwriting guru, there are three facets to character: physical makeup, personality and background.
In order to create character identification and sympathy, Hauge suggests variously placing your lead in jeopardy, making her likable, introducing her to your audience early, making her powerful, witty, or good at her job, positioning her in a familiar setting, and granting her familiar flaws and foibles.
Ensure originality by performing adequate research on specific individuals whose lives seem authentic, unique, and interesting; go against cliche by altering the physical makeup, background and personality to make your character less predictable. Pair her up with an opposite or contrasting character and cast her, in your imagination, assigning her role to an actor that is best suited to the part.
Remember that there are two levels of character motivation: outer motivation, which is the goal the protagonist strives to achieve by the end of the story, and, inner motivation which is the reason she strives for the goal in the first place—the why to the what and how.
The sources of conflict are outer conflict—conflict between other characters and nature, and, inner conflict—conflict between warring aspects within the character herself.
The four categories of primary characters are: hero or protagonist, whose motivation drives the plot, the nemesis or antagonist who tries to prevent the hero from achieving the goal, the reflection or guardian who most supports the protagonist, and the romance character, who, according to Hauge, alternatively supports and quarrels with the hero.
Secondary characters are created as needed, in order to provide additional plot support, add obstacles, bring relief, humour, depth and texture to your story.
This post summarises suggestions for developing successful characters for your stories.
Image: OTA Photos