|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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 4

I N T R O

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”? | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 5

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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 6

P A R T 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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 7

C h a p t e r O n e :

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? | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 8

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 9

Does each My Best Friend: Will each scene character matter to the plot? BASICS: motivate the 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:______| WRITING COMPLETE CHARACTERS| |CHARACTER DESIGN FORGE | 10 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: ______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 11

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE| 12 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:______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 13

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: ______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 14

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 15

C h a p t e r T W O :

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 16

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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 17

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 18

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE| 19

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:

______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 20

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 21 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?

| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 22

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 23

C h a p t e r T H R E E :

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”? | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 24

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 25

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, | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 26 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 27

C h a p t e r f o u r :

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 28

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 29

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 30 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 31

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 32 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: ______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 33

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 34

• 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 35

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 36 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 37

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 38

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:

______

______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 39

C h a p t e r f i v e :

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 40

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! | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 41

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 42

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: ______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 43

C h a p t e r s i x :

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 44 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? | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 45

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 46 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 47

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 48

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 49

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 50

• 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 51

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!) | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 52

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 53

C h a p t e r s e v e n :

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 54

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 55 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.” | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 56

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 57 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! | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 58

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:______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 59

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:______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 60

C h a p t e r e i g h t :

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 61

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? | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 62

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 63

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 64 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 65

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 66

______

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.

______| WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 67

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 68

C h a p t e r n i n e :

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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 69 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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 70

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? | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 71

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? | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 72

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? | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 73

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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 74 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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 75

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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 76 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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 77

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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 78

(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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 79 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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 80

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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 81 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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 82

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 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 83 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. | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 84 | WRITING COMPLETE CHARACTERS| | CHARACTER DESIGN FORGE | 85

Act I

A Question is Proposed

______

Act II

The Question is Challenged

______

______

______

Act III

The Answer is Presented

______

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C h a p t e r t e n :

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! | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 87

The Character Arc Process | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 88

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 89

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 90

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.

| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 91

C h a p t e r e l e v e n :

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 92 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 93

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 94 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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 95

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 96

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?

______

______| WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 99

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 100

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 101

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 103

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? | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 104

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 105

C h a p t e r t w e l v e :

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 106 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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 108

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 110

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 111 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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 112

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 113

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? | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 114

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 115

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!” | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 116

______

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. | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 118

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 | WRITING COMPLETE CHARACTERS | | CHARACTER DESIGN FORGE | 119