Character Personality Tip Swap!

@godlyfantasy12
Oooooh, this sounds AWESOME!!!!!!!!!!!!!!

Genie – main female lead: Genie’s got this really fun personality. She’s unique and bold and always that girl who’s gonna be herself. She’s fierce at times and doesn’t back down when things get tough. Perseverance, might be what I’m looking for. She also is a girly-girl, pink, frills, etc. you name it. But don’t underestimate her. She’s someone who acts like she has it all together but really she’s mostly confused about what she should or shouldn’t do. Which side she’s supposed to be on. (Does that make sense?) Even though she’s supposed to be a leader, she doesn’t know much of what she’s doing. Sometimes she’d rather let someone else take over the story. (Okay, I feel like I’m making absolutely no sense.)

Also godlyfantasy12, I have the EXACT SAME PROBLEM with writing characters, so if anyone has any tips, I could use some of them too!!!!!!!!!!!!!

@godlyfantasy12

It IS hard to convey this sort of thing for me, too. Maybe for Ara you can show her dragging her feet about the quest, maybe even trying not to think about it? It depends on how she is wont to avoid difficulties.

Perhaps November showcases his doubts by being excessively reckless and keeps on getting into scrapes in his over-the-top attempts to show he’s not a coward and trying to prove to himself that he can protect Ara?

Now, for my own characters:

Fabian is a timid intellectual whose brain has been inserted into the body of a giant anthropomorphic lizard/alligator. He is very moral and wants to work to change immoral society (it’s very similar to the ancient romans) but feels incapable with his frightening new body and afraid of sharing the vital information that he was unearthing — information that nearly got him killed and that threatens the way his world views reality and his very government. However, in the story I am seriously considering killing him off and leaving other characters to figure out what he was on the brink of finding out.

Tammy is a young girl (somewhere between 12-15) that was forced to become a cyborg-gladiator when her parents couldn’t afford to get her the medical attention she needed after an accident in the factory she worked in as a mechanic (crawling into giant moving parts of machines is not a good idea). Obviously, it’s realistic if she’s somewhat traumatized and Jade, (my protagonist) takes pity on her and begins protecting her and caring for her as if she was his younger sister. Any suggestions for showing that the relationship is NOT romantic (Jade’s like, around 29, so it’d be weird if he liked a fifteen-year-old)?

@godlyfantasy12
Ooooh, YES!!!!!! Those were really awesome tips!!!!!!!!!!!!!!! THANK YOU SOOOOOO MUCH!!!!!!!!!!!!!!!!!!!!!!!!!

@godlyfantasy12 @issawriter17 @scoutfinch180

So, I have done extensive studies on character behaviorisms. In fact, I graduated from WPU (Writer’s Psychological University) in 2019 with a doctorates in First-Person POV and a masters in Conflicted Character Behavior. 😆

What I mean is, I can help.

Before you can even define a character’s personality, you must define their voice.

For example, I stereotyped my heroine Rina as a strong, fierce, coldblooded female pirate. However, her personality didn’t come forth until I got to know her, hear her. One’s voice says a lot about a person–book characters included. She could never make up her mind, she was always overreacting, and the conflict? Through the roof! All of this came about when I picked a font and started writing. I wrote one chapter from her POV that basically ran through the important parts of her backstory and introduced all of her friends (aka, her crew members) in the way she saw them. Here is the chapter if anyone would like to read it: Held Captive Chapter 1

That’s when I got past the stereotype of being tough and realized that so many little nuances–the way she describes things, her views on certain things, how she reacts to some thing more than others–is what defines her personality.

If you read the chapter, you’ll find that (1) she’s greedy. She so hyped up about capturing the ship and getting men for her crew that she’ll do whatever she can. Even though she’s a born-again Christian now, I can still see some of that greed in her eyes. (2) She likes to mess with people. Like “teasing” Billy with the threat of being killed, she still likes to toy with people and annoy them. Sometimes it’s comical. Others it’s more like “Come on, Rina. Be mature.” 😉 (3) She doesn’t take other people’s crap. Keaton and Elliot drive her nuts–and she’s always trying to fix them (however, she has yet to do so.) (4) Why she’s trying to fix people all the time? Because, deep down, beneath a crusty exterior, she really love them and she’s extremely loyal. All she really wants is a friend, even though she won’t admit it. She’ll keep those friends she does have at arm’s length to keep from losing them. (5) She’s afraid.

All I had to do was pants one scene (or chapter), and all of this was made clear to me. Whether or not you’d ever include it in the actual book, I recommend writing one chapter or scene, just going through all the events and people your main character has in their life. You’ll have a foundation on your backstory and secondary characters too.

Now, I have a voice for Rina. I find that choosing a font that reflects their personality to write in makes that so much easier. For Rina, I use Book Antiqua, because it’s got that beautiful, antique look to it without being difficult to read. Like Rina–unconventional and beautiful, but still practical.

That may not work for everyone, however. It’s all trial and error, guys. I’ve watched Rina’s voice and personality grow so much in the last two years (and three books).

As for Conflicted Characters? Well, it’s conflict. I’m currently working with two of the most conflicted characters ever, and I’ve still not gotten a handle on things. They have been so hypocritical and are basically two walking oxymorons. I think the biggest thing for me is that I’m conflicted with them. Not only is their conflict due to their personality–it’s also due to their views. And, of course, that’s what personality stems from. Their views are skewed, and I myself am not certain of the correct alignment. I’m bringing up a lot of controversy with this book (and these two characters) that is philosophical, theological, and cultural–and driving me crazy. So I’ve been getting just as much revelation as they have. I’m coming to realization with them.

That’s the best way to write conflicted characters. Be conflicted with them. If their personality is similar to yours, focus on those things you don’t know or understand either. Same goes for views. If their struggling with something you don’t have the answer to, ask questions with them. You’ll be surprised at what you learn.

Now, as for the loglines.

Rina Bennet (main character and one of five POVs): Rina is no doubt a very unconventional young lady. She’s a tough-as-nails pirate-turned-privateer captain. And she’s also a mother. In this book, she’s saddled with two toddlers and a ship full of idiots–not to mention her husband is on a mission of his own, leaving her to handle everyone’s junk. She’s an asymmetric balance of indecisiveness, anxious oblivion, and determination. Everything solid and constant about her is flipped around when her old self–the greedy, heartless pirate–comes to haunt the caring mother she’s become.

Keaton Clarke (hero and one of five POVs): Keaton is the epitome of conflict. “At times, he’s the most definable, vivid, and pragmatic sort of person, running as smoothly as the gears of a clock. Then others, he is a dark, distant, smoldering man with a depth far beyond his years. Sometimes, he has the attitude of a child—fantastical, whimsical, hopeful, creative. Dreaming. Then night falls along with his nightmares, and all else drifts away.” After losing his entire family at sixteen, he’s stuck in limbo between the depressed man he is now and the curious, loving boy he used to be.

Daisy Sharow (heroine and one of five POVs): Daisy is no simple equation. After losing her father and family farm, she and her sister were left to the streets–and, eventually, to the slave trade. Daisy sacrificed herself to spare her sister, and now she’s torn between the thread of faith she’s barely holding onto and the loud roar of the life she’s fallen into. She is in all ways too selfless, oblivious to her own needs, and focused only on one thing: her sister. Might sound like a good way to be, but when she’s separated from her sister, everything falls apart. She can’t control her emotions or her loneliness, which leaves her feeling more empty than ever before.

This was probably too long of a post, but I hope something I’ve said helps! 🙂

@godlyfantasy12

*cue nervous laugh

I probably didn’t make that clear enough, did I? Yeah, I’ve got some struggles…

First off, it’s hard for me to write my characters without it feeling like they’re all somewhat similar. Like, it’s hard to give them their own distinctions sometimes (perhaps it’s because each of my characters are so different from each other? It can be difficult to write about a character who is so vastly different than myself).

And secondly, as I already mentioned, Caira is usually quiet and shy, but on the other hand, sometimes I envision her with more of a strong personality. The same goes for Newton, too—I feel like I’m trying to give him too many personalities (gruff and cold, but also sweet and gentle).

I’m probably the only one who has this problem, but alas, this is one of my many writing struggles (it’s more of a problem with the two characters I highlighted; the others aren’t as bad). It can be hard, at times, to not fill your characters with too many traits. I love my characters, but maybe I need to focus on not “overloading” their personalities… I notice that bad habit frequently…

@writerlexi1216 Maybe I can help…

#1 For your first issue, the best distinction is voice. What is voice? you may ask. Well, it’s not the way your character talks–it’s how you write them. For example, when they’re watching the sunset, what do they see? Beautiful hues of color, a glorious painting across the sky? They’re visual and poetic, whimsical and full of life. Do they see the ending of one day? They’re melancholic and thoughtful. The beginning of a new day? Philosophical and hopeful. Do they just see a giant star? Well, then they’re no-nonsense and tough.

One way to help you get a good foundation in voice is to give the character one or two key phrases (could be an exclamation like “What in the great googly moogly?” or an adjective they apply to everyone/everything). Or give them something they focus on more than others. For example, some people immediately look to another person’s eyes. Others to their mouth. Me, I all but study people’s noses.

You’ve describe Caira as quiet and shy, so here’s how I would apply these three things to her. (1) She sees the beginning of the new day when the sun sets (so maybe she draws her strength from her hope for the future), (2) she doesn’t exclaim very often, but when she does, it’s usually the same soft-spoken word (maybe wow or my goodness), and (3) you said she doesn’t know what’s she’s doing half the time, so maybe she gets distracted (or nervous) when encountering new people and watches their mouths to keep from getting off track and having to make eye contact.

Make sense? Then you go and apply these three things to your other characters in different ways (so, to differentiate, Newton probably just sees the sun setting like always, always says darned, and is focused on people’s eyes to gauge their thoughts).

#2 I know exactly how you feel about this one! My character Keaton is both cold and emotionless and so cute and sweet! (He’d probably kill me if he knew I’d called him cute…). The trick is to find out what triggers that other part of their personality. If they appear one way on the outside, something’s got to make them feel the other way (i.e., strong or gentle) on the inside. So maybe thinking of or being around her twin brother makes Caira suddenly feel strong, giving her an almost reckless courage to face any villain or situation. In her POV, blur her thoughts until she’s only thinking about what must be done to protect her brother so that we see just how deep her love and loyalty is for him. Make sense? In Newton’s case (I already love him, btw!), whenever he’s around Caira (maybe when she’s being exceptionally shy or she’s crying or something) he can let his guard down and maybe talk to her, comfort her, wipe away her tears. Give him something in his backstory to make him soft in that manner. Maybe he had a sister or best friend he lost.

I’ll use my Keaton as an example. Keat lost his younger sister when he was fifteen (long story…), but losing his parents afterward really hardened him. When he’s in a dangerous situation or around his friends (the tough pirate guy ones, not Rina), he’s all stone cold, quiet, emotionless. All brooding and “I don’t care.” But when he’s around his little sister’s best friend? He melts. Suddenly he’s fifteen again and his sister and her friend Daisy are playing, falling down and skinning their little bony knees. He wants to protect and love Daisy, just like he failed to do with his sister. See what I mean?

#3 As for overloading their personalities, I feel ya. You’re not the only one who’s had these problems at all! My suggestion would be to not try and figure out everything about your characters. Get the basics straight, then let the rest slowly unfold throughout the story. You can go back and rewrite parts you need to, where the voice or personality isn’t as strong as it should be, but feel your way through first.

Anyway, I know you didn’t ask for all of my overwhelming ranting, but I hope this helps somehow!