Back in December I talked about how I make characters. The simple explanation is that, like with everything, I start with an idea I like, and build from there. I keep expanding until the thing that I have is fully fleshed out. The idea is the important thing.
But I’ve realized that with characters, it’s still only half the picture. It isn’t enough to have a good idea and arbitrarily add things that make sense, because we’re using this character in a story, not in real life. Now, when I say “using it in a story”, I mean any story. This character can be from a game, a novel, or even be your Dungeons & Dragons character. One thing that aspiring writers don’t realize is that even in stories that resemble real life, stories are not real life, but I’ll cover this some other time.
So, you have that ‘idea’ which is the basis for this character, but you don’t know what “expanding until it’s fleshed out” means. No, you don’t have to make a family tree or figure out what their childhood was like (although if you want to, by all means). There are two things that every character in every facet of storytelling needs in order to feel believable and “real”: flaws and goals. They need to have very clear personality traits that are undesirable, and hopes for the future.
That’s it. It’s important to note here, that just because a character has flaws and goals does not immediately make them believable, just that a character without one or both is incredibly difficult for anyone to relate to. (This is also a tool some writers use to make characters less ‘real’. A god or extremely powerful figure in a story may be presented without flaws, for instance.)
Whenever I make a character important enough to be given a name or focus in a story, I give them flaws and goals. In order to determine what they should be, it’s important to think about what medium this character is presented in, and how they will be presented to an audience (even if that audience is your D&D group).
For example, the goals of a ‘Villain’ should be very clear and defined. In fact, that may even be the first thing you want to start out with, because the ‘Hero’ will often have to take action and make decisions based on what the Villain is doing. The flaw(s) of the Villain may be the way the Hero manages to steal victory from the jaws of defeat. On the flip side, the goal of the Hero could be to simply “stop the Villain”, or it could be something more indirect, like “serve the greater good”, or “make things return to the way they were”. These are cliche responses, of course, so for a character as integral to the story as the protagonist, you may want to think of something more interesting, but it’s a start.
The flaws for the Hero are generally what makes victory so hard to attain. Frodo is not exactly the best man for the job of ‘Ringbearer’ (in some respects), which makes braving Mordor such an ordeal. If the same job was given to Gandalf (who has minimal flaws, if any), it would have been a different story. The story of how a wizard flew some eagles to a mountain and then dropped the ring in with no issues. Nobody wants to read that story.
Just as everyone has flaws and goals, so to should characters. Even unattainable goals are still goals, and even simple flaws like ‘selfish’ or ‘rude’ work. Just keep in mind that the more important the character (to a story or game), the more in-depth and descriptive these flaws and goals should be.