One of the most difficult tasks in writing is to breath life into a character, making a 3-dimensional form out of 2-dimensional words. Defining characters is a critical step in writing fiction, one that lays a foundation for all that follows.

As human beings, the only intelligence we truly comprehend in other than an academic sense is human. Therefore even our most inhuman characters, be they monsters or aliens, will be at least somewhat anthropomorphized. This is actually a good thing. Since our readers also approach our work from a human perspective, this is that allows us to reach and connect with them.

The most important thing is to know your characters. This is one case where the adage — "write what you know" — holds true. Interview your characters. Know their strengths and weaknesses. Develop a profile, answering questions about them. I occasionally use the character generation routines in two writing programs that I use, Dramatica and Write it Now; I find that kind of software useful to chart the details and personalities of characters. At times, I have used random attributes or personality types to suggest new directions to take a character. However, no computer profile is a substitute for personally knowing and understanding the character, and reliance on a computer’s formula to randomly generate characters is no replacement for creativity.

Knowing a character is the key to giving that character motive. All human beings, even the insane, do things for a reason. Readers find a character believable when that character’s actions and attitudes are consistent with a reason or motive. Giving the character a nature to be consistent to makes them easier to identify with. Why did a character being pursued run up to the roof rather than down to the basement? Because they’re afraid of dark, enclosed places. Alternatively, placing the same character in the basement would have to involve a strong reason, but would then add more conflict and tension to the plot through their reactions.

Studying personality types can be useful in creating a consistent character, determining whether they might be a thinker or a doer, outgoing or an introvert. Beware, however, of relying too much on such stereotypes, because they can introduce a formulaic pattern. Archetypes can be useful both in getting readers’ natural expectations to help introduce characters quickly and in providing surprise elements when the character is revealed as something other than expected. The wise old man, for example, is easily recognized even if eccentric, but the reader may be surprised if he is shown to actually be foolish or insane, lacking in the expected wisdom and advice.

Never forget quirks and faults. The ancient Greeks even invested their gods with human foibles. Is your action hero afraid of snakes? Does your detective struggle with an obsessive-compulsive disorder? Does a large body-building nightclub bouncer have a stuffed animal collection? These are elements of your characters that shape the interesting situations you can put them in.

Finally, I’d like to reiterate: know your character. Here are some possible questions to help you decide whether you know your character well enough to introduce them properly to your readers.

• What puts your character in a good mood?
• Does he/she sleep well at night?
• What is their greatest fear?
• What would they wear to a costume party (especially if they were forced to go)?
• Did they have a happy childhood?
• Are they a dog-person, a cat-person, a fish owner or do they not like pets?
• Have they been married before?
• Do they like kids? Or would they be completely out of their depth babysitting?
• What kind of music do they listen to?
• In a singles bar, would they try to chat up potential partners, or would they sit at the bar hoping someone else would make the first move?

All these factors and many more will dictate how your character reacts to the situations you place them in, and suggest some other situations you may not have thought of. When you know your characters as well or better than your friends, a significant part of the work of writing is already done.

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