|WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE |

Table of ContentS:

Introductions…………………………………………………………..………………………………………………… pg. 4

PART I: YOUR CHARACTER’S UNIQUE IDENTITY

Chapter One: Create Friends, Not Characters…………….…………………………………….….. pg. 7

Chapter Two: Your Character’s Primary Objective and Personal Goal……….…….……. pg. 15

Chapter Three: The Unique Gift…………..……..……………………………………………….…….… pg. 23

Chapter Four: Give Your Character Fears and Flaws……………………………..…………….. pg. 27

Chapter Five: Your Character’s Deepest Secret…………….……..…………………………..…… pg. 39

Chapter Six: Your Character’s Personal Beliefs and Worldview…………………..….…….. pg. 43

Chapter Seven: Your Character’s Relationships……………………………………………….…… pg. 53

Chapter Eight: Your Character’s Passions………………………………………………….……..…. pg. 60

PART II: YOUR CHARACTER’S UNIQUE STORY

Chapter Nine: The Three-Act Structure …………………………………………………..…………… pg. 68

Chapter Ten: What is a Character Arc and Why Does it Matter? …………………………… pg. 86

Chapter Eleven: Creating your Character’s Origin Story…………….……………………….… pg. 91

Chapter Twelve: Killing Your Character………………………………………..……………………… pg.105

Acknowledgments ………………………………………………………………………………………….. pg 118

About the Author …………………………………………………………………………………………….. pg 119

 |WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE |

Copyrights and Permissions:

No part of this publication may be redistributed
or resold in any format electronic or otherwise
based on sect. 107-108 of the United States
Copyright Act.
All rights reserved. Copyright 2020
Character Design Forge
Taylor Eggleston
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INTRO

What is a complete character? What makes a character ready to

be brought out onto the stage for all to see?

I often like to replace the word “character” with “person” because a

character is precisely that. This idea that a character exists in another state
outside of our realm or blocked off in some blank page away from the
effects of your coffee-stained hands confuses the idea of what a character
truly is and what readers expect from their role in your story. Characters
need to be as complex, as purposeful as you and I. Their lives need to come
full circle in your story whether you’re creating a comic, short story, or a
50,000-word novel. As long as they make an appearance they must be
complete from the inside out.

So how do you create a complete character, one that readers will celebrate?
What does a complete character look like? How do you know if your
character is truly “complete”?
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Well, your curiosity on the subject has brought you this far, and to that I say
air-five, friend. You’re about to snatch answers to all those pesky questions.

This book is aimed at breaking down the role of your unique character. It’s
designed to help you understand the identity of your character, what they
need to do to satisfy your audience, and validate participation in your story.
It’s aimed to help you reach deep into the creative wells of your supple soul
and help you bring out the best in your character. This book will discuss the
overarching purpose that drives your character all the way down to the
subtle nuances readers truly salivate over.

Whether you have a concept of a character in mind or have no idea who

your character is yet, this book is for you. You don’t need any familiarity
with writing to benefit from the lessons in these pages either. All you need
to have is a yearnin’ for learnin’ and an eagerness to participate because the
resources in this book involve you and that beautiful mind of yours. So get
comfy or sit up straight— really get into whatever position helps you work
that thinkin’ cap, friend— because your character is about to emerge and set
the world on fire.
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PART i
YOUR CHARACTER’S UNIQUE IDENTITY

“You’re a painter. You’re a baker. You like to sleep with the

windows open. You never take sugar in your tea. And you
always double-knot your shoelaces.”
- Katniss Everdeen about Peeta Mellark

This section discusses your character’s persona

from the inside out. We take a look at every
angle of a character and why even the littlest
details matters in storytelling.
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Chapter One:

Create Friends, Not CharactErs

Rey the Scavenger. Bilbo Baggins. Miles Morales. Princess Leia.

Finn the Human. Katniss Everdeen. Edmond Dantes. Citra
Terranova. Ben Solo.

Why am I listing a bunch of character names? Because these are

characters that matter to me. These are characters from various
works of fiction that have stuck out in my mind through the years and
remained beloved friends. Yes, friends.

What characters have become friends to you over the years? Think
about your favorite books, shows, comics, or movies: who sticks out
to you the most? Why does that specific character resonate with you?
Why are they your friends? What about them stands out head and
shoulders above the rest?
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Now take those answers and steer them toward your characters: how
do you create characters that matter to your readers as much as these
guys? You create, not just a character, but a friend. Because friends
matter to your readers, not characters.

So now let’s take this a step further and think about your real life
friends for a moment. Think about your best friend, in fact. Think
about what it is that makes your best friend special to you and why.
In fact, on the following page, I’ve provided your first interactive
worksheet and hey-o, it’s about your best friend! So take a moment
now to fill out the worksheet as best you can, and take your time with
it.
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Does each My Best Friend: Will each scene

character matter
motivate the
to the plot? BASICS:
plot?
Name:_________ Siblings (if any):________
Age:___ Level of Education:_______
P.O.B:________ Background:______
(Place of Birth)

FAVORITES:
Band:__________ Ice Cream Flavor:_______
Activity:________ Song:________
Movie:_________ Superhero:________
Outfit:_________ Book:________
Place to Visit:______ Memory with you:________
_____________________
DEEPER INFO:
Their hardest struggle:_______________________
Their worst childhood memory:_________________
Their proudest achievement:___________________
Their secret crush: _________________________
Their biggest secret:_________________________
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My Best Friend (continued):

DEEPER INFO:
Their dream job:_________
Their most admirable skill:___________________
Their defining quality:_______________________
The bravest (or stupidest) thing they ever did:_______
_______________________________________

TICKS AND IDIOSYNCROSIES:

What habit of theirs drives you crazy?:____________
What is your favorite personality trait about this
friend?:__________________________________
What does their laugh sound like?:_______________
Do they ever do anything that makes you crazy? If so,
what is it?:________________________________
Do they slurp their drinks or chew with their mouth
open?:______
Are they an early riser or a night owl?:____________
Any other ticks or odd habits that you notice:
________________________________________
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Is your BFF trustworthy? Funny? Does he have similar interests as

you? Hopefully he does and hopefully those interests involve Star
Wars and tacos. Think about details. What funny little quirks does he
have? Maybe he has this awfully nervous tick where he laughs during
funerals. Maybe he falls asleep in class and hopefully you take full
advantage of that by flinging spit balls at him.

Yep, you’ve got just a super interesting best friend. After all, he’s got
personality, flaws, idiosyncrasies, a favorite pair of shoes, a favorite
band, a record for highest consumption of tacos in one sitting, plus
multiple other talents, imperfections, and secrets.

What’s the point? Your characters should have these things too. Your
character needs to not only have a unique personality but all the
subtle nuances that come along with an individual as complex as your
BFF.

On the following page, I’ve provided a second worksheet. Only this

one is about your character. When you fill out these questions, I want
you to think about your character in a new light. Think about him like
you’re actually going to meet him for ice cream later. Make him real.
Make him as real as you or I.
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My Character:
BASICS:
Name:_________ Siblings (if any):________
Age:___ Level of Education:_______
P.O.B:________ Background:______

FAVORITES:
Color:__________ Sweet Treat:_______
Activity:________ Song:________
Food:_________ Idol:________
Outfit:_________ Book:________
Place to Visit:______ Memory of home:________
____________________
DEEPER INFO:
Their hardest struggle: ______________________
Their worst childhood memory:_________________
Their proudest achievement:___________________
Their secret crush:____________
Their biggest secret:_________________________
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My Main Character (continued):

DEEPER INFO:
Their dream job:_________
Their most admirable skill:___________________
Their defining quality:_______________________
The bravest (or stupidest) thing they ever did:_______
_______________________________________

TICKS AND IDIOSYNCROSIES:

What habit of theirs drives others crazy?:___________
What is your favorite personality trait about this
character?:________________________________
What does their laugh sound like?:_______________
Do they snore when they sleep? And are they a light or
heavy sleeper?:_____________________________
Do they slurp their drinks or chew with their mouth
open?:______
Are they an early riser or a night owl?:____________
Any other ticks or odd habits:
________________________________________
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See how your character starts to take on a unique identity almost as

special as your best friend’s? That’s a great start to an interesting
character!

But what about the fun stuff? You know, the looks? Well, it’s all too
easy to fall into the trap of viewing our characters as a pair of ocean
blue eyes with tousled raven locks and... nothing more. So for the
duration of this book I’m going to ask you to put their appearance
aside and look deeper. Think past those ocean blue eyes and gaze into
the soul behind them.

Giving your character life and a unique personality with individual

interests is just the beginning. And we don’t want to scrape the
surface when it comes to characters. So in the timeless words of
Nacho Libre, “Let’s get down to the nitty gritty”. And let’s start with
the main reason why your character exists. Let’s talk goals, people.
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Chapter TWO:

YOUR CHARACTer’s PRIMARY

OBJECTIVE AND PERSONAL GOAL

Now, you might be saying, “Don’t worry Tay, my character has a

purpose in my story. He’s the guy who defeats the main bad guy in
the end. He’s the hero! So, next topic, right?”

Well, I hate to break it to ya, but purpose plays a much deeper role in
storytelling than just assigning your character titles such as ‘hero’ or
‘villain’. Real purpose goes deep. It gives validation to your
character’s existence in your story and tells the reader why they’re
involved in the plot.
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In any solid story, a hero is involved in two separate goals that make
up his purpose:

1. A primary objective, or an overarching goal, that helps the

greater good.

2. A personal goal which motivates him to join the primary

objective yet has the potential to derail the same primary objective.

So the primary objective is overarching, yet goals are personal.

Personal goals motivate the character to participate in the
predominant problem facing their world. But joining the primary
objective may risk their life, so their motivation for participating
must be believable. It must threaten something personal to them.

That’s where the personal goal comes into play. What counts as a
valid personal goal for your character? Your character’s personal goal
can be something as simple as wanting a drink of water in a parched
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land, to something as complex as wanting to save the life of a loved

one.

Think of Katniss Everdeen. She didn’t enter the Hunger Games

necessarily wanting to be a hero or a winner— she just wanted to save
her sister Prim from the reaping. Thus her personal goal answered
the question as to her purpose for participating in the Hunger Games.
And we believed her when she took steps to end the Hunger Games.
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Now take Peter Parker for instance. Sure, Peter was excited by his
newfound powers at the outset, but Peter didn’t necessarily start
taking on the role as friendly-neighborhood-hero until it affected his
life personally. When his Uncle Ben is murdered, Peter discovers a
deeply personal motivation that pushes him into full-fledged, spidey-
sense action. We believe Peter when he wants to start fighting crime
as Spiderman. He never wanted senseless death to befall another
loved one again. Plain and simple.

Do you notice that these characters’ goals aren’t necessarily to be

heroes? (Even though one is literally a comic book hero!) And that’s
the point. Your character doesn’t know he’s the “hero”. His
motivation isn’t necessarily to be the hero. All he knows is the conflict
he faces, how it affects him personally, and what he wants to do about
it. And what you, the writer, needs to know is what his choice will be
and how his choice will drag him into the story. That is what validates
his participation in the primary objective.
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Now think about your character again. What is his purpose in your
story? What is his goal? What is the primary objective that urges his
participation?

Below you’ll see I’ve provided a worksheet for you. I’d like you to
break down the main character’s primary objective and his personal
goal. Take your time figuring this out and don’t get upset with
yourself if you have a hard time putting the two together. Have fun
with it!

Your Character’s Primary Objective:

_______________________________________________________

_______________________________________________________

Your Character’s Personal Goal:

_______________________________________________________
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Now, you’ll remember it was said that the personal goal has the
potential to derail the primary objective. What does that involve,
exactly? Having your character’s personal goal clash with the primary
objective at a pivotal moment in the story lays the foundation for
conflict. This is where a true test of their morals and beliefs goes
down. Will they sacrifice their personal goal for the greater good?
Will they really be a hero in every sense of that word?

Let’s take Rey from Star Wars for instance. Rey joins in the rebellion
and fights for the rebel cause. That’s a solid primary objective
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because it helps more than just herself. However Rey’s personal goal
of discovering who she is actually causes her to be temporarily
sidetracked from the primary objective— even tempted away from it!
Luke doesn’t want to mentor her and it causes Rey to struggle to find
her place in the world. That leads to her asking once again who her
parents are, and inevitably who she really is. She not only goes to a
sketchy place in an attempt to figure that out, but she even dares to
confide in a dude who was once considered her enemy, Kylo Ren.
Two lost souls look to one another for support, and momentarily, Rey
is tempted to sidestep her focus.

See how that personal goal conflicts Rey on a moral level? Her
personal goal momentarily distracts her from the primary objective.
This conflict keeps readers engaged. Such a test shows Rey to be a
complex character to boot!

The choice your character makes will ultimately decide who they are
to us, to the world, and to themselves. Will they bite the bait, or will
they sacrifice the personal goal?
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Now, it’s worth noting that it’s not uncommon for characters to have
personal goals and primary objectives intertwine. Still, conflict must
come in to play where your character has to make a pivotal sacrifice.

Personal goals and primary objectives are a necessary layer of your

character’s identity. Yet this layer alone doesn’t 100% validate your
character’s role in your story. What makes him different from, say,
the guy sippin’ a slurpee next to him? What makes your character so
special? Why is he the key to achieving the primary objective?

It’s time we talk about the ‘X’ Factor. The “it” quality. Let’s talk about
the one extra something that separates your character from the crowd
and thus solidifies his purpose in the story. Let’s talk about the
Unique Gift.
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Chapter THREE:

THE UNIQUE GIFT

Your character is an average Joe but that’s a good thing. His unique
personality, interests, and hobbies make him likable and interesting
to your audience. They make him a friend to anyone. But what sets
your character apart from anyone else?

Why is your character the only one who can participate in the
primary objective? What special quality, gift, ability makes him the
key— “the hero we need”?
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Diana Prince or Wonder Woman, sculpted from clay and born to a

tribe of powerful Amazons, is gifted superpowers by the Greek gods,
thus helping her fight evil with the Justice League.

Sweet, gentle little Frodo Baggins is given a disastrous family

heirloom, and because the One Ring is his burden to bear, must
venture to destroy it in Mount Doom.

Tony Stark is born into wealth and is especially brilliant with

technology, thus this combo helps him build Iron Man and fight evil
with the Avengers.

A unique gift grants your character further entrance into the primary
objective. It also further validates his purpose in your story. It sets
your character apart from the rest in one special way, thus telling
your audience why this character is the one necessary to complete the
primary objective. It’s not a storytelling “fail safe”, nor a cheat code
by any means, but it is another defining factor that solidifies why he
is of major importance to the story.
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Did you notice in that list of characters how each unique gift was
vastly different? Some involved special inborn powers, some involved
unwanted heirlooms, some involved massive family funds. Unique
gifts can take any form. And don’t get me wrong, the unique gift
doesn’t have to be wildly special either. In fact the unique gift can be
something especially terrible!

For instance, take Bruce Banner. Gamma radiation turned docile

scientist Bruce Banner into angry green giant, the Hulk. Not such a
great thing, right? Smashing everything, mega powerful, just super
temperamental— it’s a doozy. However his affliction, his unique gift,
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makes him the perfect candidate for fighting evil. Even fighting with
the world's mightiest heroes, the Avengers.

The point is, it doesn’t matter what your character’s unique gift is, so
long as it answers the question, “Why him?”

So now, take a moment and in the box below write down what your
character’s unique gift is:

My Character’s Unique Gift:

________________________________
________________________________

So now your character is complete, right? He’s got everything going

for him! He’s absolutely… perfect. Oof. Perfection. That’s a fatal flaw
in it of itself. Let’s talk why perfection is a big no-no in storytelling
and character crafting. Let’s discuss your character’s flaws and fears,
how they bring your character around full circle, and why such
gaping discrepancies actually endear him to your reader.
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Chapter four:

give your characTer fears

and flaws

Audiences don’t often relate to a character’s primary objective,

they’re intrigued by it. I mean, who of us has destroyed an all-
powerful ring in a volcanic mountain? Who of us has overthrown a
dictatorship by manipulating grotesque gladiatorial games? Yet the
concept intrigues us. We want to know how that character goes about
doing something so magnificently foreign to us.

So what makes audiences say, “I love that character, she was so

relatable!” Or “I loved this character, I saw some of myself in him” ?
The two big ‘F’ words, friends. And no, not the ones you’re thinking.
I’m talkin’ fears and flaws.
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No one can relate to perfection. On the other hand, fears and flaws
unite us all. They are relatable, understandable and make your
character more realistic. And I’m not just talking about a fear of
spiders, friends. Again, I’m talking about the deep stuff. I’m talking a
fear of:

• Death (of oneself or a loved one)

• Failure

• Betrayal

• Loneliness

• Abuse

• Being judged or misunderstood

• Trusting in another person

• The unknown

These deep thorns penetrate and cripple the heart. They plague us,
they haunt us, keep us up at night. Fears like these even have the
potential to stop a person from reaching their goals in life. It should
threaten the same for your character.
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Your character will face a series of problems that keep the primary
objective out of reach. What will keep him moving forward despite?
Having his personal goal in mind. But achieving his personal goal
must be challenged by obstacles which force him to face his deepest
fears.

One example of this is Finn the Human from Adventure Time. He’s
100% hero, 100% of the time.

At one point, Finn must face his ultimate fear in order to help his
personal hero, Billy. Unable to finish his bucket list, Billy leaves it up
to Finn to complete. And the last thing on Billy’s bucket list is to just
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lay on his back in the ocean. Just float. Only, Finn has a crippling fear
of the ocean. That donks.

Now, if Finn wants to be 100% hero to his hero, he must face his fear.
His fear of the ocean stems from a fear of the unknown. This fear is
an obstacle keeping him from achieving his personal goal, that of
helping his hero complete his bucket list.

The dilemma creates conflict that we are invested in. Will Finn, the
most heroic boy in Ooo overcome his fear for his hero? Will he make
the needed sacrifice in order to accomplish his personal goal? So
what does Finn decide to do? Do me a favor and go watch the
Adventure Time episode “Billy’s Bucket List” and see what our boy
Finn chooses to do. It’s just a really great episode (but which one isn’t
amirite).

Now, the next thing to address is the reason behind your character’s
fear. The reader must know why this fear cripples your character.
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Now you’re probably saying, “Look Tay, my character fears death.

Everyone fears death, so ya know, why do I need an explanation for
that?”

To face one’s mortality is not as simple as that, friend. Sure, no one

wants to die but what makes this guy’s fear greater than the guy
sippin’ that slurpee next to him? What happened to your character
that makes his fear especially crippling to him? There must always be
an explanation. For two reasons:

1. To cement believability in this precise fear.

2. To help the audience understand the stakes facing your character

and thus emotionally invest in him.

When conflict faces your character your audience needs to know what
the stakes are and why they are so great. This will draw them into the
story and thus move them to invest in your character emotionally.

So sharing why this fear matters is important, but how exactly do you
go about sharing an explanation behind this fear? “With an origin
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story!” You’re probably screaming. And that’s definitely true, but

don’t scream, you’ll freak the neighbors. Origin stories grant
audiences a glimpse into your character’s past. It shows your
audience why your character is the way he is, what makes him tick,
and yes, why he especially fears certain things. Now, while origin
stories are important for character development, they must be
handled with great care. We’ll expand on the topic of origin stories
and how to properly introduce them later—promise!

For now, I want you to have a looks-y at the box below and start
brainstorming. Write your character’s main fear and an idea as to
why it’s his biggest fear:

My Character’s Biggest Fear:

______________________________________________

Why it is Their Biggest Fear:

______________________________________________
______________________________________________
______________________________________________
______________________________________________
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Fantastic. Now, let’s talk about flaws.

What is considered a valid flaw? Unfortunately some writers believe

being clumsy, a goofball, or being bad at math, etc. are acceptable
character flaws. Hate to break it to said writers but those are quirks at
best. Quirks range from minor annoyance to exasperating habit. We
need to reach deep, people. So put on that scuba gear once more
‘cause we’re divin’ in. Here is a general list of what is considered
acceptable character flaws:

• Kleptomaniac

• Pathological liar

• Selfish

• Addict (a drug addict, alcoholic, gambler, etc.)

• Overly critical, negative or overly judgmental

• Explosive temper

• Arrogant/Prideful/Stubborn

• Controlling
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• Prejudiced

• Cowardly

• Naive

• Ignorant

• Disrespectful/rude/abrasive

• Afraid of commitment

• Jealous/envious

• Lazy

Yes, these are just a few real problems that need addressing. These
problems vary in their destructiveness but all are problems that could
potentially get in the way of a character successfully completing the
primary objective.

Now you might be thinking, “Tay, don’t some of these flaws make my
character look more like a villain than a hero?” Great question. And
no it doesn’t. It makes him deeply flawed. And deeply real.
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Sherlock Holmes struggled with a drug problem, Bilbo Baggins was a

self-centered hermit with a habit for stealing precious jewelry,
Princess Leia was unapologetically abrasive, Han Solo gambled,
smuggled, and lied his way through the galaxy. See, at the start of
your story your character doesn’t start out as a hero. The choices and
decisions he faces along his journey turn him into a hero.

The conflict he faces will force him to grow as a character. To take a

look at himself and make needed changes. If he makes sacrifices in
the face of conflict, especially for
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the sake of someone else or for a greater cause, then he becomes a

hero we believe in.

Lastly, and I cannot emphasize this enough: be responsible with the

flaw you choose for your character. If your character is an alcoholic,
then don’t wield that issue around willy nilly. Do your research.

Proper representation is deeply important. Do not offend your

audience by offering a shallow, untrue depiction of the struggle or a
presumptuous idea of how the flaw affects the addict’s relationships.
There is no quicker way to alienate and anger your audience than
dubious representation.
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Remember that your character has the potential to give hope to your
audience, some who may battle with the same issue. So read
biographies, self-help books, or memoirs. Watch interviews from
honest folks who have bravely opened up about their personal
struggle. Even interview a friend or family member if they suffered
the same struggle and they’re willing to open up. Use this real
material to focus your story’s message and help you portray your
character in a real yet hopeful light.

And if you give a flaw to your character that you relate to, then don’t
be afraid to draw from personal experience. Express yourself through
the character. Such honest, brave expression will be deeply
appreciated by your audience.

So now, in the box on the following page select one flaw for your
character along with a few smaller personality flaws (something
closer to annoying habits). You don’t have to fill out every line
provided.
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My Character’s Main Flaw:

______________________________________________

Why or How Did this Problem Begin?:

No one suddenly wakes up one day with a gambling problem. Ask
yourself how this specific issue took root in your character’s life. What
lead to them having anger issues, a drug problem, or being arrogant?

_______________________________________________

_______________________________________________

_______________________________________________

_______________________________________________

My Character’s Minor Flaws/Bad Habits:

_____________________ ______________________

______________________ ______________________
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Chapter five:

your characTer’s
deepesT secret

What’s your deepest, darkest secret? What would happen if your

secret slipped out? Who would it affect? What relationships would it
alter? What opinions would form about you? How would your life be
changed?

Secrets are powerful. They shape us in ways we may not want to be

shaped, but nevertheless there they are, living inside us.

Because secrets have so much potential for plot twists, your

characters should have secrets too. Do they have to be devastating,
ground-breaking secrets? No. Do they have to be bad secrets? No.
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Do they have to have the potential to shake up the storyline, their

relationships, even the primary objective? Yes, yes, and heck yes.

Your character’s secret can actually relate to their flaw. For instance,
if they do have a drug problem, are they blatant about it or do they
hide it? And in keeping their secret are they being discrete or
dishonest? Because, see, there’s a big ol’ difference between
discretion and dishonesty. One can bring respect and the other can
rip it away. So which are they implementing?

Secrets can even be beneficial. For example, let’s say your character
can speak another language. Now, maybe he keeps this a secret out of
a fear of being judged. But let’s say this character is able to
understand the enemy’s plans and thus warn his friends about
imminent destruction. So, revealing the fact that he can speak this
language would save his friends and it would send an important
message to your audience about overcoming fear!
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So when do you reveal your character’s secret? Revealing the secret is

all about timing. Consider how it will challenge the primary objective
and at what point revealing the secret would effect the primary
objective the most.

Let’s say your character’s primary objective is to save an alien race

from genocide. Is his secret that he was once a soldier in a war
against this very alien race? Did he kill individuals in this war?

Such a heavy secret would certainly challenge his right to participate

in the primary objective. Could revealing such information help or
harm his chances? Would it derail his role in the primary objective or
secure it for him? Could this situation offer up a prime opportunity
for character development?

There are so many paths a revealed secret can take. The choice is up
to you as to how it will affect the character and the story. Just
remember that how you reveal his secret will impact the message you
send to your audience. Because, yes, your story is sharing a message
with the world. So consider how this secret will effect that message.
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Now, you might be asking, “Do I have to reveal my character’s secret

at all?” And the answer is no. The secret can be his forever, even out
of reach of your audience. But if you want a fully formed character,
giving him a secret will create one more fascinating aspect of your
character for you to love. And even if you never reveal his secret, it
could still sway choices he makes and that will be, well, your fun little
secret.

So now I want you to consider one powerful secret to give your

character. Again, it can be a positive secret, it can be negative one. It
should just have the potential to fluctuate the plot. So, go for it!

My Character’s Secret:
_____________________________________________

Why They are Keeping it a Secret:

______________________________________________
______________________________________________
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Chapter six:

Your characTer’s personAl beliefS

and worldvIew

Religion, politics, science, history, philosophy, tradition, culture,

upbringing, education. These are just a few profound things that
shape humans— our minds and hearts— and influence our
worldview. A worldview is a basically a belief we have about the
world, humans, and to what capacity we think our presence can
influence it.

Some of these influencers shape our beliefs about the world, about
the past, the future, even the present. Our core beliefs not only
encompass large topics such as why we exist or what happens to us
when we die, but even extend to decisions we make in everyday
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life. They influence choices like if we will marry and if so, who we will
marry, what job we want, where we want to live, and how we treat
other living things.

Core beliefs are typically fostered in childhood and cultivated through

the years. Although some beliefs may fluctuate as we enter adulthood,
some core beliefs stay with us. For instance, if you grew up with
parents who believed in exerting yourself academically through
higher education, you no doubt as an adult still believe in a similar
way of life. And if you had kids, you might bring them up with the
same ambition.

The point is, if we want to create complete characters we must give

our characters a worldview— a set of core beliefs— as well. Ask
yourself: what is your character’s worldview? Where does this
worldview stem from? Look to his childhood: what influenced him
the most as a kid? What sort of upbringing did he have and how did it
affect his view of life? Does he see the world in a positive light? Does
he believe in its potential? Or does he see the world in a bleak light,
finding few hopeful or positive options in his future?
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If he had a loveless upbringing, it’s more likely that his worldview is

bleak. Perhaps he is more self-focused with an, “I look out for
number one” sort of mentality. He may adopt some poor habits or
negative traits. If he grew up in a safe, loving home, his worldview
might be a little more naive, yet hopeful and positive. He may have
healthy habits yet rigid traits. But those aren’t hard and fast rules
across the board.

For instance, a certain upbringing may do just the opposite to a

person’s worldview! It could influence a person to do the opposite of
what was expected of them. It may be the exact fuel your character
needs to challenge the worldview set upon them.

Take Judy Hopps from Zootopia for example. Judy didn’t have a
terrible upbringing— in fact, she had very loving parents. But
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unfortunately, her parents’ worldview about a rabbit’s place in the

world was influenced by old fears and prejudices they grew up with.
Rabbits were supposed to be carrot farmers, not cops! Bunny cops
simply were not a thing. They tried hard to get Judy to understand
that by “settling for other dreams”. While little Judy experienced
prejudice herself when childhood bully, and fox, Gideon Grey
threatened her for having big dreams, it didn’t deter little Judy.

Judy’s worldview was optimistic. She believed in the Zootopia

ideology, “Anyone can be anything.” And while she did go on to be
the first bunny cop in Zootopia, she still had her worldview tested.
She learned lessons about prejudice, not judging a fox by its fur, and
that the world may not be a happy, little slogan on a bumper sticker.
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Still, Judy’s worldview taught us a lesson about prejudice and

pushing beyond expectations.

So, what influences your character? Does your character have

religious beliefs or faith in a higher power? How greatly does this
influence his life? Does he have parents? What about a mentor or
guardian? Did they influence his view of life? Does he engage in
politics? Does he believe in a particular leader? How much does his
home culture or heritage influence his life? What traditions,
practices, or customs from his culture does he take partake in and
why? What sort of leadership does he put trust in? Was he negatively
affected by someone in his life?

Asking these questions matters in storytelling because they will effect

your character’s decision making process. And more importantly,
they will help you narrow in on what specific areas he needs to grow
as a character. Once these facets are clear, the storyline becomes
clearer. The primary objective becomes clearer, the personal goal
becomes clearer.
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Ok so take a minute and think about your character’s core beliefs—

what fundamentally defines him, his thoughts, his worldview. Write
these down in the box below. Feel free to add any extra notes that
shape his view of the world:

My Character’s Worldview:

__________________________________________________

Some Influencers or Beliefs Which Shape His Worldview:

________________________ ________________________

________________________ ________________________

________________________ ________________________

________________________ ________________________

Now that he has beliefs, it’s time to put them to the test! This is where
story comes into play. Since your character is defined by his
worldview, let your story test his loyalties to such a worldview.
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The obstacles your character faces should do one of two things

regarding his worldview:

1. Broaden his worldview, helping him to see the world is not what he
thought it was, thus helping him to grow as a person.

2. Cement his worldview, firming his belief that the world is just as he
thought it was, thus building his integrity and loyalty to his beliefs.

So how do you challenge your character’s worldview? Most of the

conflict your character faces should attack either his flaw or fear. But
the major test that comes should also challenge his worldview. What’s
defined as a major test? Here are some powerful obstacles can shake
up your character’s worldview:

• Death of a loved one

• A debilitating accident or seriousness illness

• Being forced to work with a character with an opposing worldview

• Loss of power, title, or position

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• Loss of a special power or unique gift

• Loss of food or shelter

• Betrayal of a loved one

• Forced relocation

• Loss of independence or freedom

• Persecution for beliefs

Any one of these trials force the character to face their beliefs head
on. How solidly will they stand by their specific worldview if they lose
a loved one in death or have their unique gift ripped away from them?

Let’s take Thor as an example. The world’s most humble Asgardian

believed that he deserved the right to rule Asgard after his father.
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With Mjölnir in hand, Thor went-a-warring, sending self-righteous

clap backs to the infamous Asgardian enemies, the Frost Giants. But
this act of war-mongering not only began a series of terrible chain
reactions, it also lost him his right to remain in the Asgardian realm.
Banishing him to Earth and losing his ability to wield Mjölnir, Thor
was forced to face his flaws head on. He realized some of his core
beliefs needing adjusting, including what it truly meant to be worthy
of wielding Mjölnir.

So going back to your character, if they believe money and a career

makes a person successful, how will they feel once they’ve lost their
cushy job and big dollar bills? What will they be forced to learn under
this stark, new circumstance? Do you see the potential for a powerful
message this situation has to offer? Do you see how this unique
problem is ripe for a great story?

Well sure, it’s plenty powerful. But you know what’s even more
powerful? If a test like this comes about as a direct result of a
decision your character made. (Ahem, Like Thor!)
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Now this character sees firsthand how his worldview may not be as
bright and sparkling as it once was. His worldview influenced his
choice and now he has to bear the consequences head on. What can
he learn from it? What can your audience learn from it? (Gah! Isn’t
storytelling freaking awesome?!)

Now, does your character’s worldview always have to be challenged?

Yes. But does it always need to change? No. This is the second option
we discussed earlier— a cementing of one’s worldview. Sometimes
integrity and loyalty to one’s worldview actually brings a message of
hope and unity to your audience. They are given the courage
necessary to stand up for their own core beliefs, despite whatever
trials they face.

Your character’s core beliefs and worldview take up a lot of room in

his heart. But let’s talk a little more about who in his life has the
power to shape his unique identity. Oh yeah, I’m talkin’ ‘bout friends,
family, and enemies.
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Chapter seven:

Your characTer’s relatiOnships

Can’t live with ‘em, can’t live without ‘em. Let that phrase relate to
whomever you want, but one thing is certain: we need other humans
to survive. And as much as that fact for an introvert such as myself is
as hard to swallow as a horse pill, it is a fact nonetheless.

Our friends, loved ones, crushes, spouses, work mates, even our
enemies shape our life. Some help us grow, some sink us like anchors.
Some give us love, some take it away. But another solid truth is this:
the people in our life affect our life. And the same is true for your
character.
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Now you might be saying, “Look Tay, my character— he’s a loner. He

doesn’t like people, he doesn’t need people. Heck, he’s basically a
hermit! So, can I skip this chapter?” The loner thing— I get it. Tons of
characters are loners, shy, introverts, wall-flowers— you name it. And
you know what? There’s absolutely nothing wrong with that. But even
loners have someone they love, someone they hate. They have
classmates or workmates, customers to deal with, an odd cousin, a
past love— even a barista they prefer. That means people have
impacted his life, his choices in some way, at some point in time.

I mean let’s just think about this awesome self-proclaimed loner for a
second. The Mandalorian works alone— plain and simple. In fact, I
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think this dude probably says three words in a day— if he really has
to. But even Mando has clients, competition, and enemies he has to
deal with. Yet, he had no ‘attachments’ per se. Mando was all too
happy to keep living a life unfettered, hustlin’ for Beskar bars, taking
each day one bounty puck at a time. But who would’ve ever thought a
face-meltingly cute baby would end his career as a solo bounty
hunter?

In a moment of utter compassion, Mando adopts the Child as his

own. Soon enough he is fighting for this child who also has the ability
to fight for him. They look out for each other. In the Child he sees
himself as a foundling, when all hope was lost. Soon Mando gains
friends, even a small troop he can count on to help protect it. Quickly
he can say of his unexpected life course… “this is the way.”
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The point is, even the most spectacular of soloists have someone
important in their life that matter to them— whether that person is
apart of their past, or apart of their current story.

Secondary characters and villains or antagonists offer dynamic

opportunities to showcase your character in a new light. Characters
that mirror, defy, defend, encourage, relate to or rely on your
character, even characters that are no more than passing ships in the
night all offer powerful story-shaping opportunities. Even pets are
considered valuable relationships!

So, who matters to your character? Whom does he love? Why does he
that love that special someone? Who is his best friend? Why are they
best friends? Whose opinions matter most to him and why? In a tight
bind, who would he call for help? If he was on his death bed who
would he want beside him?

Remember that there’s endless potential for relationships in

storytelling. Secondary characters don’t have to necessarily be a force
for good even if they are portrayed as such. They can create even
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more conflict for your character. They can even betray your
character.

On the next page you’ll see a box ready for you to fill with all sorts of
exciting secondary characters. These characters can be past friends,
present company, or even future family.

First, write the character’s name down. Then describe their relation
to the character— are they a cousin? A parent? A neighbor? A
classmate? After, describe the nature of the relationship— is it
complicated? Or easy and fun? Are they on good terms or bad? Then
rank their importance to the character (if important a 10, if no more
than a passing ship, a 1). Write a brief statement about where and
how these characters met. Maybe they were best friends since
childhood or maybe they met at work. Then think about how this
character’s influence can potentially affect the storyline for better or
worse. Finally, feel free to fill out any extra relevant info. Remember
that you don’t have to fill out every box— even just one secondary
character is ok. Really, it’s whatever is pertinent to your story. All
right you, now go have some fun!
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My Character’s Relationships:

#1 #2
Name:________________________ Name:________________________
Relation:______________________ Relation:______________________
Relationship:__________________ Relationship:__________________
Importance scale (1-10):_______ Importance scale (1-10):_______
How they met:_________________ How they met:_________________
_______________________________ _______________________________
Potential way they’ll influence the Potential way they’ll influence the
story:__________________________ story:__________________________
_______________________________ _______________________________
Extra info:_____________________ Extra info:_____________________
_______________________________ _______________________________

#3
Name:________________________ Importance scale: (1-10):________
Relation:______________________ How they met:__________________
Relationship:__________________ ________________________________

Potential way they’ll influence the story:__________________________

________________________________________________________________
Extra info:______________________________________________________
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My Character’s Relationships (Continued):

#4 #5
Name:________________________ Name:________________________
Relation:______________________ Relation:______________________
Relationship:__________________ Relationship:__________________
Importance scale (1-10):_______ Importance scale (1-10):_______
How they met:_________________ How they met:_________________
_______________________________ _______________________________
Potential way they’ll influence the Potential way they’ll influence the
story:__________________________ story:__________________________
_______________________________ _______________________________
Extra info:_____________________ Extra info:_____________________
_______________________________ _______________________________

#6
Name:________________________ Importance scale: (1-10):________
Relation:______________________ How they met:__________________
Relationship:__________________ ________________________________

Potential way they’ll influence the story:____________________________

__________________________________________________________________
Extra info:________________________________________________________
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Chapter eight:

Your characTer’s PassionS

You love to draw, write, create new worlds from that glorious brain of
yours. Maybe, though, you also love gaming, playing piano, playing
soccer, going to the gym, or heck maybe you even love doing puzzles.
Yeah you thought no one knew but I can see it from here. I know a
fellow puzzler when I see one.

Do your passions identify you? Are they a huge part of your life? Do
you even feel that they are your calling? Say, what you’re supposed to
do with your life? Many feel that way about the thing they love to do
the most. They can’t not do that thing everyday and no matter what
they’ll never stop doing that thing.
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I know for me, it’s writing (wow what a surprise, right). I absolutely
love it and it does define a big part of who I am. It’s like a fire inside
me that cannot be put out. I’m driven to tell stories and dissect the
science of storytelling and I’ll always want to.

Your character needs a purpose, a passion unrelated to his primary

objective. Now, why unrelated? Because the primary objective is a
duty, a journey he accepts with a goal that may not have much to do
with his unique needs. It’s something he’s willing to do, he
understands is important to do, but may not be too hyped to do. In
fact he may even hate it.

Consider how your character’s passion influences their routine. How

many hours in a day do they dedicate to this passion? To what degree
has it already shaped their life? Does it even have the potential to
conflict with the primary objective?
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Think for a moment about Merida from Brave. Merida, Princess of

Dunbroch, was destined to one day become Queen. Thanks to her
mother’s rigorous training, she was forcibly groomed for the role. But
Merida wasn’t going down without a fight—literally. She broke away
often to satisfy her passion, that of riding free on her horse Angus and
practicing archery. Her passion conflicted with the primary objective,
that of marrying a neighboring clan prince. It created excellent story
conflict and became a beaming example of character development
through self-sacrifice and understanding.
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Or what about Peeta Mellark from The Hunger Games? Peeta was
not thrilled to be a part of the Hunger Games. Although he was
willing to help be a part of the primary objective— that is, a secret
initiative to overturn the games— it wasn’t necessarily going to help
him. It risked his life, in fact. But what was his passion? Painting. He
was extremely good at it too. In fact, in came in handy during the
Hunger Games! He was able to camouflage himself during the games
thanks to his skilled hand.

What’s the difference between an occupation and a passion? The guy

who busses tables at a restaurant doesn’t necessarily love his job. In
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fact he’s counting down the minutes for when he gets to go home and
go back to doing the thing he does love. Just because that guy buses
tables, it doesn’t mean he identifies with it. It’s not his passion.

Now, there is the instance where passion and primary objective do

intertwine, leading our character to live quite a fulfilling life. Think of
characters like Tony Stark. Tony was a tech guru and that passion
lead him to create Iron Man, which led him into his role as Avenger
and hero. So it’s not unheard of and it is possible to combine the two
for your character. But remember the importance of creating conflict
where passion and duty combine. Tony didn’t lead a carefree life. His
personal life was greatly affected by his role as an Avenger.
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So give your characters a unique passion, a calling. This dynamic also

gives your audience an opportunity to relate to your character in one
more unique way.

And don’t stress about giving your character some wildly cool
passion. He could love collecting rubber bands. Seriously. There are
some people who are crazy about rubber bands. And hey, who are we
to judge?

Your character could have been doing this passion since he was a kid
or he could have just started gaining an interest in it. So no matter
what you decide, remember that your character’s passion should be
unique to who he is.
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______________________________________________

Yes, details great and small formulate your character’s unique

identity. The effect your character has on your audience depends on

how real, how relatable they are. The more dynamic aspects of your

character you create, the more tangible he becomes. So how do you

use details like this in your story? During scenes of dialogue. During

scenes where he isn’t fighting crime or trying to save the world. It’s

the small scenes where not necessarily anything happens that

details of your character’s identity can be showcased. And it’s

typically those scenes where your character makes an impact on

your audience. So don’t forgo these details. Don’t brush them aside.

View each aspect of your character’s unique identity as one more

thread that completes a powerful picture. You’ll see just how beloved

he will be to you and to your audience.

______________________________________________
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P A R T II
YOUR CHARACTER’S UNIQUE storY

“Anyone can wear the mask. YOU could wear the mask. If
you didn’t know that before, I hope you do now.”
- Miles Morales

This section discusses your character’s unique

journey in the storytelling process. We dissect
the principles of character development and
what steps your character must take in order to
fulfill his role in the story.
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Chapter nine:

The three-act structUre

When I first took up writing as an eight-year-old, I didn’t much care

for story structure. I cared more about my characters, drama, and
description. Oh geez, so much description. I made the same mistake
many naive writers make: I believed I could write a great story that
didn’t follow the rules. A story that bucked tradition and got tons of
readers anyway. Boy did I learn the hard way how wrong I was. Yep,
my worldview on writing needed a tune up!

What I learned is while it’s ok to be different in some respects when it

comes to storytelling, in others you definitely must follow the rules.
And when it comes to telling a good story, following storytelling
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structure is one of those musts. The three-act structure is just one

storytelling outline that applies whether you’re writing a comic, a
short story, a novel— basically ANY story. So what is the three-act-
structure? You’re more familiar with it than you think.

Have you ever gone to see a broadway show? Maybe you went to your
school’s rendition of Beauty and the Beast. Remember watching the
rise and fall of the curtain and how dramatic that was? Well, that
curtain drop actually plays an important role in the story.

The rise of the curtain signals the start of an act. The fall of the
curtain signals the end of an act. The act always ends at a point when
the stakes are the highest, so the audience comes back after
intermission. And the curtain is used three times total.

This is how the three-act structure in storytelling was born. The

Greeks used it, Shakespeare used it, and now all fantastic writers use
it too. The three-act structure is a simple formula that keeps your
story on the tracks. Let’s break it down further with help from the
outline on the following page.
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Act I

A Question is Proposed

E.G: what would happen if the world’s last hero became a villain?

Act II

The Question is Challenged

Through your characters, that question is played out in a series of cause-

and-effect.

Act III

The Answer is Presented

What has the main character learned from his journey? How has he
changed? How has the world changed?
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So let’s dissect this even more, shall we? Let’s compare this structure
to one of my favorite movies, The Iron Giant. Inspired by the book
The Iron Man by Ted Hughes, Brad Bird created an amazing story
about a weapon of mass destruction who becomes self-aware. The
armature (or proposed question) of the story was, “What if a gun had
a conscience and didn’t want to be a gun anymore?”

Act I:

Question is Proposed:

What if a gun had a conscience and didn’t want to be a gun

anymore?
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The Iron Giant, a machine built for warfare, becomes self aware. So
how does our Iron Giant react to his newfound conscience? What’s
interesting is while he is powerful, he learns about the world and
himself much the way an infant does. So he is quite impressionable,
which is intriguing to us, the audience.

Act I: The World: What is it Like?

In Act I it’s vital that you describe the world, the setting, the time
period your story takes place. We need to know what day-to-day life
is like in this world. Why? One, because it draws your reader into
your world and two, because we need to see how this world will
change.

In The Iron Giant, it is during the Cold War, October 1957, when an
object from space crashes into the ocean not far from the small town
of Rockwell, Maine. Surely the quiet inhabitants of Rockwell, Maine,
on edge during wartime, would be thrilled to see a giant machine-
gun-man land on their beaches… right?
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Act I: The Main Characters: Who Will the Story Center On?

In Act I we need to be introduced to the main cast of characters. Your

audience needs to know whom the primary objective will concern and
carry it out. These people will forever leave the world they know
behind.

We meet the Iron Giant immediately. We see that he is a creature

with self-awareness. Shortly after, we meet curious nine-year-old
Hogarth Hughes who stumbles across and befriends the giant. Of
course, this incident also grabs the attention of a xenophobic U.S.
government agent named Kent Mansley. Hogarth manages to hide
the Giant in a junkyard owned by beatnik artist Dean McCoppin, who
reluctantly agrees to keep him.

Act I: The Conflict: Who or What is the Big Problem?

It’s vital that you end Act I with the inciting incident. What is that?
It’s an inescapable problem facing your main characters and their
world. It is what forces your character to make a choice in which they
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leave the world they know behind. It launches the story and thus
funnels directly us into Act II.

Clearly, having a giant machine-gun-iron-man land in your town is

no small concern. It creates division between Hogarth who wants to
protect his new friend and the U.S. government who thinks it’s a
threat from the enemy and wants it destroyed. It also creates a
perfect scenario for a conscious weapon to make his ultimate moral
choice.

Now we understand what is needed both of your story and your

characters in Act I. To summarize: describe your world, introduce the
main characters, and set up the story with the big problem (or
inciting incident). Notice how Act I isn’t broken up into “chapters”,
per se. While Act I should only be 10% of your story, details like
chapters are up to you. So now let’s talk Act II.
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Act II:

The Question is Challenged :

The primary objective is made clear. We take the question and play
it out with our characters through a series of cause-and-effect.

Act II: The Primary Objective: What is it and how is it

made clear?

In Act II, the primary objective must be made clear to your audience.
What has your main character decided or been chosen to do? Who is
involved in this objective? Why are they involved? How does your
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character start his journey and how will this first step help him
achieve the primary objective? While your audience wants to see your
main character achieve the primary objective, someone else in your
story doesn’t want to see it achieved. Yes, your antagonist, villain, or
opposing force has an entirely different agenda in mind and they aim
to achieve it no matter the cost. This friction will lead to greater and
greater conflict.

One could say that the Iron Giant’s goal is to learn what his
conscience is and how to use it. Hogarth’s one goal is to protect his
new friend from government discovery. Yet Kent Mansley’s goal is to
discover the Giant and destroy it.

Act II: The Conflict: The Series of Cause-and-Effect

Every choice your protagonists make will call for a response from the
opposing force and visa-versa. This is what’s called a series of cause-
and-effect, in storytelling. The choices these characters make will not
only impact their enemy, but themselves, their friends, and their
world. Remember that your character’s choices should initially reflect
their flaw or fear and eventually build up to wiser choices.
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Mansley discovers evidence of the Giant after finding a photo of him

next to Hogarth and brings a U.S. Army contingent to Dean’s
scrapyard to prove the Giant's existence. Dean (having been warned
by Hogarth earlier) tricks them by pretending that the Giant is one of
his art pieces. Mansley and his team leave, whereafter Hogarth has
fun with the Giant by playing with a toy gun, but inadvertently
activates the Giant's defensive system. Dean orders it away for
Hogarth's safety with Hogarth chasing after the Giant.

Act II: The Fulcrum: The Mission is Lost, the Mission is

Regained

Act II is 80% of your story, but divided into two parts. The breaking
point in storytelling is known as the fulcrum. It’s where the primary
objective gets derailed. Something happens that makes it appear like
all hope of your character achieving the primary objective is lost. The
fulcrum introduces the second half of Act II. The second half of Act II
is where you show how hope is regained. It will even seem like the
primary objective has been achieved! However, here is where the
opposing force moves unexpectedly into harsher action. As a result,
the conflict intensifies, funneling us directly into Act III.
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(Part I of Act II): The Giant saves two boys falling from a roof when
he arrives in town, winning over the townspeople. Because of this,
Mansley races to Rockwell with an army in tow. The Army attacks the
Giant after he reunites with Hogarth, forcing the two to flee together.
They initially evade the military by using the Giant's flight system,
but the Giant is shot down and crashes to the ground. Because of this,
the Giant thinks that Hogarth is dead and that the military are
responsible, thus he transforms into a war machine in a fit of grief.
Because of this, Mansley persuades the army to prepare a nuclear
missile launch.

(Part 2 of Act II): Hogarth awakens and returns in time to calm the
Giant. Because of this, the Army is ready to stand down when
Mansley impulsively orders the missile launch, causing the missile to
head towards Rockwell, where it will kill everyone upon impact.
Because of this, Mansley attempts to escape but the Giant stops him,
and the army general has him arrested.

You’ll see there’s plenty of use of the phrase “and because of this” —
view this as your keyword phrase when writing your cause-and-effect
scenes. In review, Act II is where 80% of the story happens, with the
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fulcrum dividing the conflict. This section is all cause-and-effect,

where your characters respond to each other’s efforts. But as they say,
the story ain’t over ’til the fat lady sings. So let’s talk Act III.

Act III:

The Answer is Presented :

Conflict reaches its climax. The primary objective is at last achieved.

The question is answered, therefore the story’s message is made
clear.
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Act III: The Climax: The Story Meets the Height of Conflict

At the start of Act III, your characters are in a dilemma. An

unexpected attack from the opposing force has struck in one final
attempt to challenge your character’s devotion to the primary
objective. This is where our characters collide head on one final time,
thus achieving the primary objective for one side only. This is also
where your character’s flaw or fear is tested one last time, giving
them one final opportunity to respond and thus become the hero in
the end.

In order to save the town, the Giant bids farewell to Hogarth and flies
off to intercept the missile launched at Mansley’s hands. As he soars
directly into the path of the missile, the Giant remembers Hogarth's
words, "You are who you choose to be” and in an act of sheer
selflessness, collides with the weapon. The missile explodes in the
atmosphere, saving the town of Rockwell— including Hogarth.

Act III: The Primary Objective: Who Wins in the End?

The primary objective will be achieved at this point. But who’s

primary objective will be achieved? The hero’s or the villains? It
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depends on the message you’re sending to your audience. If you’re

offering a message of hope then the hero’s objective should win, if it’s
a message teaching a lesson about the world then most likely the
villain’s. But don’t be caught telling a lie. If you set up the story at the
outset for the hero’s objective to be won, then follow through.
Nothing makes an audience angrier than being lied to.

The Iron Giant may have been destroyed in his heroic act, but he
made a choice in favor of his conscience. He made a decision that one
and all would agree was fundamental to sealing his unique journey.
Kent Mansley’s primary objective was lost. And how about Hogarth?
Doesn’t the giant’s sacrifice mean his primary objective was lost too?
Not so. But more on that later, promise.

Act III: The Story’s Message: What Has Your Audience

Learned?

A good story teaches a powerful lesson. “Don’t judge a book by its

cover” “Love is blind” “Beauty is in the eye of the beholder” “You are
who you choose to be”. These are just a few timeless lessons told in
various ways throughout the ages. Your story’s message moves your
audience to personally connect with it or feel motivated to act upon it.
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In The Iron Giant, the story’s message is not only weaved throughout,
but even presented literally. “You are who you choose to be”.
Through the example of a weapon with a conscience we learn that we
don’t have to be defined or confined by our circumstances. We can
choose to do better, to be more, and affect the world for good. And
through this story we see how the characters’ worldviews were tested
too.

Act III: The Denouement: What is the World Like Now?

The denouement is a short statement telling your audience what the

world is like after the fact. What is your character up to now? His
enemies? His friends? How has his life been fundamentally changed?
What is life like now for your character? This doesn’t require
anything more than a brief paragraph.

Months later, a memorial of the Giant stands in Rockwell. Dean and

Annie, Hogarth’s mom, begin a relationship. Hogarth is given a
package from the Army general, containing a screw from the Giant
which is the only remnant found. That night, Hogarth finds the screw
trying to move on its own and, remembering the Giant's ability to
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self-repair, happily allows the screw to leave. The screw joins many
other parts as they converge on the Giant's head on a glacier in
Iceland and the Giant smiles as he begins reassembling himself. So,
Hogarth’s primary objective is achieved after all!

Act III takes up only 10% of your story, yet it is the most pivotal
section of all. To conclude, the conflict reaches its climax, the primary
objective is completed, the story’s message is sealed and your
audience is given a brief peek into life ever after.

Yes, the three-act-structure is a powerful outline, a fundamental

structure every great story follows. Clearly the three-act-structure is
vital to follow too if you want your character to have a satisfying role
in your story. So to help you further commit this outline to memory,
I’ve provided you with a clear outline on the following page.

And on the page after, I’ve allowed space for you to brainstorm your
story the three-act-structure way! Give this worksheet a looks-y and
fill it out when you feel the time is right.
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Act I

A Question is Proposed

__________________________________

Act II

The Question is Challenged

___________________________________

___________________________________

___________________________________

Act III

The Answer is Presented

______________________________________

______________________________________
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Chapter ten:

What is a characTer arc

and why does it matter?

Put simply, a character arc is your character’s transformative point.

Your character starts out one way, but due to conflicts faced in the
story, he’s changed, and by the end this character has come full circle.
He began as a caterpillar and by means of his unique journey, he
emerges from his stifling cocoon a beautiful new butterfly.

To better help you understand the character arc process, I’ve

prepared a chart on the following page for you to follow as I explain
this concept. Check it out!
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The Character Arc Process

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In the beginning, your character has one major flaw that needs
correcting, or one major secret that needs revealing, or one major
fear that needs addressing. As you can see, the trait I’ve chosen to
address is my heroine’s flaw. She’s selfish.

The inciting incident has forced her to make an irreversible choice

that will send her out of the world she knows and on a new journey.
Her personal goal motivates her to accept this new primary objective.
That means her personal goal may be selfish and the primary
objective may require an act of selflessness. But that’s a bridge she’ll
have to cross when it comes.

The first major challenge strikes early in the story. Some

unique conflict challenges her devotion to the primary objective. This
challenge also addresses her flaw. How will she react to the
challenge? Well, being that she’s just a newborn little character
without any XP, she must fail this challenge, thus the first red ‘X’.
Because she doesn’t yet see her flaw, she has no choice but to fall into
old habits. Her response, though, does not come without
consequences.
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My heroine continues her journey only to meet with the second

major challenge. Now, you can see that the character fails but
starts to see the error of her ways. Her conscience is struck, she feels
a need for change, but not motivated yet to make that change. She
thinks she can still get what she wants while not compromising the
primary objective. But the character will learn a sour lesson as a
result, noted by the second red ‘X’. She’ll see how her actions affect
more than just herself and she’ll be forced to face her flaw head on.

Now you’ll see that we’ve reached the height of conflict, what
you’ll remember as “the climax”. By this point the character has
learned her lesson, but the opposing force will test her the hardest,
thus proving whether she’s truly committed to change. Here is where
the character has to make a personal sacrifice in order to achieve the
primary objective. Because this is the arc— the true changing point.
This is the act that defines her as a true heroine. And as we can see,
the heroine succeeds, thus the shiny yellow star.

The story ends with our heroine’s new and improved worldview with
a dose of denouement for good measure. The primary objective is
accomplished and the character is a better person as a result.
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And that, my friends, is a character arc. The character begins as a

diamond in the rough, but in the end the character is a glittering,
Death-Star-dwarfing, 100-carat, baby.

So is a character arc important? Yes. Does your character need one?

If you want a character that matters and relays a powerful message to
your audience, then yes. Boy howdy, yes.

Now, I know you haven’t forgotten the words “origin story”

mentioned earlier in this book. I haven’t forgotten either, friend. Next
we’re going to break down how an origin story adds depth and
dimension to your character. And most importantly, we’re going to
discuss how to properly introduce and utilize an origin story.
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Chapter eleven:

creatiNg your characTer’s

origin story

Unfortunately the origin story is the most overused, abused, and

misused writing tool in the fiction world. Its utility has become futile.
So it’s up to us as storytellers to wield this awesome power with a
careful hand. How do we create a great origin story? And more
importantly, how do we use it effectively?

What we really need to ask first is what is the purpose of an origin

story? Why do so many people use it? Is it a cheat code to gathering
our audience’s sympathies? Is it your ticket to making your
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character beloved to millions? No. So what is the purpose of an origin

story? There are three purposes of an origin story:

1. To tell your audience why they should invest in your character.

2. To explain just how high the stakes are when your character
faces conflict.

3. To explain your character’s current fears, flaw, or worldview.

That means your origin story needs to fulfill all these requirements. It
also means you cannot simply throw your character’s origin story
wherever, whenever, for any length of page. No, the most important
thing to learn about proper use of origin story is placement and
pacing. But more on that later.

For now let’s roll up our sleeves, dissect a prime example of a popular
origin story, and see how it fits the criteria above.
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BATMAN

Why Invest in His Story:

Talk about a character with an iconic origin story! Batman protects
Gotham by fighting crime without using guns. Why do we invest in
this moral code? Why does the bat signal gleam over our hearts?
Because his parents were shot dead in front of him as a kid, and we
want to see justice for Bruce.

The Stakes:
When the Joker tests Batman’s commitment to his moral code again
and again in The Dark Knight each time we whisper, “Don’t give in,
Batman. Don’t prove him right!” Why? Because we understand the
stakes involved. If Batman gives in, he proves the Joker’s worldview
correct— that people only help others until it no longer benefits
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themselves. Batman would forfeit everything he stands for, and in

essence, he would feel like he fell short of his desire to bring justice to
his parents’ deaths.

The Fears, Flaw or Worldview:

Sure, it may seem like a dude in a black bat suit kickin’ crimes’ butt
would have nothing to fear. But in fact, when we get a glimpse into
Bruce’s past, we see he had a pretty scarring experience with bats as a
kid. While Bruce is afraid of bats, he uses his very fear as a symbol of
hope. Still, that’s not all that Bruce fears. He fears failing Gotham, of
failing his parents, of failing the symbol Batman stands for. These
fears are legitimate and we believe them.

So does his origin story check every box? It sure does. That’s why we
are invested in this character. When we get glimpses into Bruce’s
past, into what made him the Batman, we get another layer deeper
into this character. We are given one more reason to root for him.
This is how an origin story is properly utilized in storytelling.
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An origin story fuels character development, so treat it as you would a

plot point in your story and not just an identity marker for your
character.

So how does one begin the ultimate task of creating a sick origin
story? Creating a good origin story involves digging deep, dissecting
his past. That means we have to ask our character a series of
revealing questions; questions that draw a line from what influenced
or affected him as a kid to who he is today. So let’s do precisely that!

Take your character out of the context of your unique world and place
him in your own bedroom for a minute. Picture your character sitting
in front of you right now.

You’re going to interview him. Take time to formulate what his

responses might be. And again, view him— not as the character with
slick hair and ten mega swords— but simply as a person. Simply as
your friend.
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Who were his best friends growing up?

Human, animal, make-believe alien, etc!

_______________________________________________________________

Was he a popular kid? Was he a nerd (hopefully)? Or even a bully?

_______________________________________________________________

Did he have a mentor or hero he looked up to? Why did he look up to

that individual?
_______________________________________________________________

What was home life like?

_______________________________________________________________

Did he have parents? If so, what were they like?

_______________________________________________________________

Who or what may have scarred him emotionally? How?

______________________________________________________________

_____________________________________________________________
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Did he have a crush? If so, why did he crush on that person?

_______________________________________________________________

Where did he consider a “safe place”?

A Castle Byers, tree fort, cubby-away-from-the-world sort of place

_______________________________________________________________

What music did he listen to? What games did he play?

_______________________________________________________________

What did he want to be when he “grew up”?

_______________________________________________________________

What did he love to do on the weekends? Was there a regular spot he

loved to visit?
_______________________________________________________________

At what moment did he realize the world was not what he believed
it to be? Describe that moment.
______________________________________________________________

______________________________________________________________
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Did he grow up wealthy or poor?

_______________________________________________________________

What life goals were common amongst his peers? Did he share those
same ambitions?

_______________________________________________________________

What was his world, his environment like? Did he love it or hate it?

_______________________________________________________________

Did he have responsibilities? If so, what were they?

_______________________________________________________________

Were there traditions or holidays he participated in or enjoyed?

______________________________________________________________

What did he fear most as a kid? Was that fear valid?

______________________________________________________________

______________________________________________________________
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Now maybe you’re saying, “Look, Tay. My character is an alien with

five heads who eats rocket ships like corn dogs. He didn’t exactly go
to the same high school I did. So these questions— they don’t pertain
to my character.” And you know what? I get it.

Even if these specific questions wouldn’t necessarily apply, keep in

mind that experiences are universal. Experiences shape us.
Storytelling done right speaks to millions no matter who or what the
main character is. And that’s the point with these questions: your
character’s past, his “everyday home life” experiences have shaped
him just like yours have shaped you. And that’s how you need to start
viewing your character if you’re going to craft a powerful origin story.

So I advise you to take your time with these questions and look for
unique, unexpected answers. Maybe come back to them in a day and
completely change the answers! (Yes, that’s totally ok!) Remember
that your character doesn’t have to come from a terrible home in
order to be found edgy, unique, or relatable. You don’t need to have a
character that fits the mold everyone else seems to be using. Give
yourself permission to craft a refreshing character— not just another
run-of-the-mill-hard-as-nails character.
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Crafting a good origin story takes time. But how do you know if it
should be included in your story? How do you know if your reader
will really appreciate it?

An origin story is baggage to the reader if you don’t write with the
three P’s in mind:

• Placement
• Purpose
• Pacing

Placement:

Placement is everything when it comes to sharing a character’s

backstory. Throwing around flashback after flashback of backstory
without rhyme or reason leaves your reader burdened, disconnected,
and honestly exhausted.

Let’s say we have a character who is terrified of fire for reasons the
audience doesn’t yet know. You introduce a scene where the character
absolutely freaks when a spark from the fireplace lands on his cloak.
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Now, the reader is thinking, “Mmmk. That’s weird. Why did he act
that way? What happened to him that made him freak over a little
spark?”

And what’s worse is, you know that at the climax of this story, this
same dude has to fight a fire-breathing dragon.

But this is where placement is oh-so important. In order for your

audience to grasp how high the stakes are for your character, they
need to know that as a child he witnessed his father get charred to a
crisp by a dragon while defending his siblings. Still the question
remains: when do readers need to know this vital background info?:

A.) At the beginning of the story when they barely know this guy, and
that information would drown the current plot?

B.) When he’s begun his journey to save his kidnapped daughter, and
discovers the creature that’s taken her is a dragon?

C) After he enters into battle with the dragon?

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What do you think? No doubt choice B would be ideal because you

know that the audience has to appreciate the stakes involved (I knew
you got it right, well done you).

So now that we understand the importance of placement, what

details should you reveal when you share a piece of backstory? Well,
that’s where we get into our next ‘P’!

Purpose:

Ask yourself: does this glimpse into my character’s past relate in any
way to the current plot point? Look, even if you love that piece of
backstory, it doesn’t mean your audience will appreciate it. In fact,
they’ll see it as an obstruction to the plot if it doesn’t relate to it. So
how can you tell what’s important and what’s fluff? Here’s how:

• If it doesn’t support your plot, it’s fluff.

• If it doesn’t support your story’s message, it’s fluff.

• If it doesn’t encourage character development, it’s fluff.

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Be unattached, be decisive, and edit wisely. Leave your reader

wanting more— not looking for the exit.

Pacing:
You know what’s hard? Shoving a whole pizza pie in your mouth
without dying. You know what’s a little easier? Eating one slice of
pizza. But you know what’s even worse than eating an entire pizza pie
in one mouthful? Getting it shoved down your throat. What’s the
point? Pizza is amazing and deserves to be enjoyed in delicious
steaming slices, not entire pie-fulls. Oh, and no one— not you, or your
audience— deserves to have an entire origin story shoved down your
throat all at once.

Your character’s origin story will be better appreciated by your

audience if you share it in well-paced pieces.

Sure, technically you can devote a couple chapters to backstory just

like I’m sure with enough gumption and acid reflux tablets you can
eat an entire pizza pie in one mouthful. But our goal as writers is to
strike questions in the heart of our readers, not just provide endless
answers. Leave ’em coming back for more, ya’ know?
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Ultimately, here’s what you need to remember about pacing:

• Share fragments— paced out and relative to the plot point.

• Leave your reader intrigued with glimpses and not chunks.

Well that’s it for origin—oh now what’s this? A BONUS ‘P’?!

Perspective:

One bonus ‘P’ to consider is perspective. Origin stories should

consider points-of-view of other characters involved in the story.
How will knowledge of your character’s past affect your character’s
relationships? When will discovering this information challenge these
relationships the most? Consider using these unique perspectives and
their responses as a plot twist in your story!

Clearly, origin stories rock. So think about that friend in your chair
again. Give him the origin story he deserves. Create a backstory that
matters to your audience when you consider the placement, the
purpose, and the pacing of your origin story.
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Chapter twelve:

killinG your characTer

“Whoa, Tay— that escalated quickly! And what the heck? Why would
I want to kill my character? My baby? My friend?”

Yes, killing a character is a polarizing topic. Some people hate it when

their favorite character dies, others sob into their pillow but
eventually with enough comfort donuts come to understand the
necessity of the character dying (totally not taking from a real life
scenario or anything).

But the truth remains the same: there is power in killing a beloved
fictional character and there is valid reason to do it. So why consider
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doing the dark deed? How do you do it? And most important of all, if
you’re going to knock off your beloved character how do you do it in a
way that validates their death?

James Scott Bell, author of Plot and Structure said, “If there isn’t
threat of professional, physical, or psychological death to your
character, you’ll have a story of weak wills.” And nobody is interested
in lukewarm conflict! Scott also goes on to discuss a theory called “the
Three Deaths”. What is that?

The Three Deaths are the three types of death that can threaten and/
or take your character’s life. They’re also the deaths considered
palatable to your audience. Have a look at the outline on the
following page and consider which one might threaten your
character.
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The Three Deaths

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Did you notice the variety of these “deaths”? That’s right! Not all
character deaths are physical or literal. Some deaths involve a title or
one’s sanity— equally as powerful, equally as mourned. And here you
thought I meant just a literal death! Silly you, I dunno where you got
that idea from.

So what do each of these deaths mean exactly? I mean, how can

someone die professionally? Are they gifted at kicking the bucket or
something? What, do they charge $1,000 an hour to take bullets for
people? Even though that’s kind of a sick character concept, that
unfortunately isn’t what it means.

In fact, let’s break apart what each death means and how it can
threaten your hero.

Psychological Death

Psychological death is when your character loses their sanity or even

succumbs to a broken heart.
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Consider the example of Tom Hanks’ character Chuck Noland in Cast

Away.

Chuck Noland crash lands on a deserted island with nothing but

some Fedex packages and a volleyball to his name. Having no human
to spend his days with, Wilson (aka Volleyball) becomes his friend.
Wilson— in an ironic way— keeps him sane. Wilson helps him survive
psychologically.

But when Chuck attempts to leave the island and Wilson accidentally
gets separated from him, Chuck loses his mind. His only friend is now
bobbing away across an eternal ocean. The heartbreaking scene grips
us and we mourn with Chuck.
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Why are we crying over a volleyball? We don’t need a volleyball to

survive, it means nothing to us. But to Chuck, the volleyball means
everything. It’s his key to psychological survival, and it’s just been
taken from him.

The stakes are raised, the unbearable suspense of Chuck’s ordeal

grips us and we become deeply invested in Chuck’s outcome. How
will Chuck survive his ordeal now?

Chuck faced psychological (and even physical death) in his

circumstance. We wanted Chuck to survive his ordeal so we were
glued to the screen, waiting to see what Chuck would do next and
how he would survive. To this day the Chuck-Wilson relationship is
one of the best fictional relationships in history (change my mind I
dare you).

So will your character fall victim to psychological death? Will his

surroundings or attacks from the villain cause him to lose his sanity?
How will this “kill” your character? Consider how your audience
views him. Is he known for his brilliant mind? Does his sanity
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depend on being in control of his circumstances? Take that away, add

a double dose of paranoia and have your audience mourning the
mental loss of your beloved character.

Professional Death

Death of a professional career or title means the loss of one’s job,

one’s career, or even one’s identity. This death threatens someone
like Batman, Superman, or Spiderman— people who’s whole life
depends on saving humans.

Take for instance the lovely twist at the end of Spiderman: Far From
Home. Peter Parker is able to fight crime while safely protecting his
loved ones because he wears a mask. He fights anonymously. So
When Quentin Beck’s video goes live across NY revealing
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Spiderman’s identity and picture, well there goes the knife right
through the heart of Peter’s professional career!

What will Peter do now? How will he be able to protect his loved
ones, himself, and his identity as Spiderman from his enemies? Well,
I dunno about you but I am thrilled to find out how Peter plans to
clean up this mess!

Whether your character represents a company, a country, or a heroic

identity, the professional death threatens the end of it. How will such
a loss effect the lives of those around him? What will he identify with
now that his title is gone? Remember that depending on how you
paint this, your audience can still see him as a hero whether he has
his title or not.

Physical Death

Physical death is, well, pretty obvious. The character is killed or

physically succumbs to death.
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Physical death threatened more than half of all living things when
Mr. Sadistic California Raisin with a bedazzled oven mitt came onto
the scene.

When the Avengers came together they knew full well what threat
stood before them in Thanos. They fought to save mankind anyhow.
Despite their group effort, with the snap of his purple hotdog fingers
we watched as half of our beloved childhood heroes turned to dust. I
don’t about you but it was embarrassing how much I cried in the
movie theater that day. My popcorn was soggy, ok?
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And although we experienced all five stages of grief in the theater that
day, we knew deep down that this is what good storytelling is all
about. Loss.

And that is the point of the Three Deaths.

How will physical death be a threat to your hero? The way he dies
must be significant to his primary objective. In order for him to die a
hero, his death must come at the hands of personal sacrifice, not
cowardly escapism. Even if death threatens your character, he doesn’t
have to fear it.

And remember that even death itself may not always be the end! We
got many of our heroes back as the story continued. Still, a good
writer understands that a truly cherished story doesn’t come without
some permanent loss and we won’t forget those losses quickly. Those
character deaths sealed their identities as true heroes. And we love
them 3000.
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Yes, killing your character can be done in a variety of ways— or three

to be exact. The goal with every character death though is to
emphasize the power of the sacrifice. If your audience doesn’t learn
something from it, it is a pointless death.

So do you have to kill your character? No. But if you choose to,
remember to pick one of these three deaths and utilize each death to
emphasize your story’s unique message.

And if you should choose to give your character and ending, then give
him a glorious end.

“Forth Eorlingas!”
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______________________________________________

We want to create powerful characters that resonate with our

audiences. But crafting complete characters takes time and effort.

So far you’ve learned just how important it is to give your character

an identity and a story that satisfies. But don’t stop here. View this

craft, not as a one-time hike, but as a journey to understanding.

It’s because of writers like you— writers that care— that great

stories and unforgettable characters exist. And I can’t imagine the

alternative. So continue on your character-crafting journey with

your head held high, because this book has given you a solid step in

the right direction. Anyone can write compelling characters. You

could write compelling characters! If you didn’t know that before, I

hope you do now.

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AcknowlEdgmentS

Thanks to my husband Brookes for being the best creative collaborator a gal could
hope for. I love brainstorming characters and story concepts with you, dude.

Thanks to you, dear reader, writer, character crafter! Without you there is no new
story in the world. Without you there is no new character. Thanks for taking an
interest, not only in writing, but in showing a passion and respect for the craft.

Thanks to my parents. You guys are the best gosh dang cheerleaders in the world.
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Hey There!

I’m Taylor
EgglestOn…

Writing, reading, and dissecting stories has been my passion since I was
a kid. I’ve published three science fiction and fantasy books under a pen
name. I learned so much along the way that I turned my attention to
teaching. I’ve enjoyed educating passionate young writers about the art
of crafting stories for about ten years.

I live in Connecticut with my husband Brookes Eggleston, founder of

Character Design Forge. We love to share our two cents about character
design and storytelling together through this channel. Together we keep
people at a distance with our bubbling love for all things Star Wars,
Marvel, and Kirby. When we’re not nerding out over stories together
we’re gaming, reading, or maybe taking a siesta. Who knows.

For more character design and storytelling education, find us at:

www.characterdesignforge.com
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