How to draw? Your own character: instructions for creating a unique hero. How to create an interesting character - Andivion Scientific Alliance Ideas for your character

Today in this article we will answer the questions:

How to create a three-dimensional hero? What determines the “volume” of a hero? What makes it alive, unique and makes readers empathize?

What is depth and how to work it out?

First, let's decide what the depth isNOT is.

Depth is NOT:

• characteristic;
• peculiarities;
• quirky and eccentric features;
• not a dominant character trait.

So what is depth?

A bright character is distinguished not by one, but by many features and traits, many of which may contradict each other. It is from this contradiction of character traits that depth is born.

We put forward the thesis:

Depth– this is a contradiction.

This is the simplest, but most important thing to remember when we talk about volume.

The contradiction may be:

• inside strong character (internal conflict, which is born from two contradictory traits; for example, in Macbeth it is a conflict between ambition and guilt);
• between characterization and true character(brave fat man, kind ogre, charming thief);
• between character and behavior (For example, let's remember Tolkien's "The Lord of the Rings". Aragorn is a king by vocation - he comes from a family of rulers, and the throne belongs to him by right. But he rejects his destiny and puts on the mask of a ranger and a wanderer).

Contradictions must be consistent, logical and consistent. If you position the hero as positive character, any of his bad deeds must be justified, understandable and accepted\forgiven by the readers.

Most shining example multidimensional character -Hamlet.

Here is a partial list of his controversies:

• religious - blasphemer;
• loving and gentle – heartless and sadistic;
• brave - cowardly;
• calm and cautious – impulsive and imprudent;
• ruthless - compassionate;
• proud - feels sorry for himself;
• witty - sad;
• tired – energetic;
• reasonable - confused;
• sane - crazy;
• simple-minded - sophisticated.

The main character does not have to have such a huge number of contradictions. But there should be at least 3-4 of them. U minor characters– 2-3 contradictions. Passengers have no more than one.

The main character must have the most big amount contradictions from all the characters present in your work.

Even more than the antagonist (or equally). If the villain has more contradictions than the hero, he will automatically replace him.

Why are contradictions needed?

It is very interesting for readers to observe ambiguous, contradictory characters. They arouse interest and attract attention. How more interesting than contradictions, the more intriguing the hero you will get.

Examples of character contradictions:

1. “The Lord of the Rings” by Tolkien. Frodo.

The little hobbit is brave and selfless.

2. "Breaking Bad." Walt.

Compassionate - cruel.

3. “Jeeves, you are a genius!” Woodhouse. Jeeves.

The servant is smart and a gentleman.

4. “Frankenstein” by Shelley. Frankenstein.

A terrible monster - with a sensitive heart and a thirst for love and understanding.

5. “The Green Mile” King. John Coffey.

A huge Negro slave is kind and compassionate.

Conclusion:

The depth of characters depends on how strong and justifiable the contradictions in character are.

The skill of creating contradictions not only makes your character more interesting and multifaceted, but will also directly influence the plot component of the work.

We invite you to the next stream of the “Characters” course:

👉 Target– in 12 lessons, create characters that will intrigue, amaze and surprise. And the main thing is to influence the reader.

This applies to all characters - main, secondary, episodic, any types, etc. Of course, I would like to call this article “How to Guaranteed to Make a Character Interesting,” but there are no universal techniques in any creative work - you can only outline the edges of the road. These recommendations should help you avoid classic mistakes, but success, alas, comes completely randomly.

We must inform you in advance that frankly “wrong” characters often become popular - just remember any charismatic protagonist famous film, books or games. But most economic niches are already firmly occupied, and since human thinking is based on comparing the new with the old, it is better not to copy anyone too obviously - it is hardly possible to surpass the original.

1) Planning. The character does not live in a vacuum, he is part of the reality around him, therefore he is forced to interact with it at least somehow. In the process of creating it, you need to imagine it in different situations - purely everyday, unusual, completely absurd, and carefully watch what will happen to it. This applies to everything that is written in the following paragraphs - every little thing should be checked.

2) Credibility. In short, pianos in the bushes rust and deteriorate, and nothing good can be played on them. Every event must be based on something already existing and only on this. This applies to both the hero’s biography and his future. Probability generators, clairvoyance and other methods of circumventing this limitation should be used carefully or such methods of compensation should be sought in order to actually think about whether it would be better to leave the piano alone and make do with other means? In general, the owner of a black belt in two dozen martial arts can easily be a successful physicist in life - you don’t have to look far for examples; real celebrities are full of typical “Mary Sues”. The capabilities of the Alliance generally allow every employee to acquire any qualities and get rid of shortcomings, but all these achievements are the result of long and hard work, each stage of which is easy to track. It’s the same with individual heroes - every success must be based on something with at least minimal reliability. If there are no reasons, then it’s better to abandon the whole situation, it’s more reliable. Let's say a scientist free time who has practiced shooting and fencing, if a serious threat appears, he will be immediately evacuated and will not be able to show his fighting qualities - there are specially trained personnel for this, and a scientist who is ready to risk his own head unnecessarily is not smart enough to work in the Alliance. If he is obliged to hold out until help arrives, choosing for a long time whether to fight back or hide, then it is a completely different matter.

3) Practicality. This concerns mainly appearance and equipment, which, contrary to popular belief, can be anything. The only thing to consider is whether this or that detail makes sense. Batman's cape is not just a spectacular part of the costume, but also a simple hang glider and a fireproof "shield". But, as you know, such a thing can cause a lot of problems, because it can easily and naturally get caught on something - and this already imposes certain restrictions on the character’s actions. If the benefit is doubtful, the element should be abandoned altogether, and it makes no difference whether it is harmful or neutral. The Batman suit is emphatically intimidating - and its owner uses this as effectively as using his fists. Will a black helmet with ears be useful to someone else? It’s unlikely, it will turn out more funny than scary. A gun hanging on the wall should fire, and if it is made of pure gold and studded with rubies, shoot as often as possible and at different targets, and no worse than usual, otherwise the outcome will be sad. The Alliance places almost no restrictions on its employees in terms of how they look, but uniforms, amulets and other mandatory pieces of equipment are needed for specific, everyday tasks. With anomalous and other subjects the situation is exactly the same - each feature of appearance either has a certain practical function, or works for perception, or spoils the picture. If there is no need, but you want it, you don’t need to draw attention to it.

4) Reasonableness. Despite the abundance of thinking types, cultures and individual character traits, the character’s actions must correspond to his status. The village fool is free to do any stupid thing, but it is incredibly difficult for him to earn any serious reputation, even if he is at least three times talented. A classic successful businessman even has fun “solidly”, with taste, and bypasses taverns the tenth way, and if circumstances still force him, he will try to maintain his status with all his might, sometimes even to his own detriment. But a representative of any biological species, if he is mentally healthy and aware of his actions, he will never intentionally create serious problems yourself and those around you, if you can easily do without it. An ordinary adult will not act like a teenager and rush headlong into the thick of things, but will first think about whether it is possible to solve the problem with fewer losses and whether it is better to simply not interfere. In addition, the situation when “everything is not what it seems”, in real life is found only slightly less frequently than in the Alliance world, so you should always measure seven times before cutting. Otherwise it is appropriate only in three cases: strong emotions, too little time to think, or demonic possession. Mistakes are often costly, and anyone who has been seriously burned several times will become much more careful - and the Alliance tools allow you to immediately adjust behavior in the right way, because the status of an employee of this organization requires logical actions in any situation. Yes, abandoning logic to achieve a goal is also part of this.

5) Ambiguity. There is nothing completely bad and nothing completely good. The coolest thing is what you can look at from both bell towers - this applies to the characters, the events with their participation, and everything else. Even Rorschach from Watchmen, with his black-and-white, uncompromising thinking, can be considered both a hero and a villain in this regard. The Alliance is also not at all white and fluffy, although there are very few dark lines in it - precisely because it acts intelligently. In general, the more multifaceted a character’s character is, the better, and even a textbook paladin is not difficult to transform from a “robot with one thought” into a full-fledged personality.

Actually, that's all you need to know. No, it’s true - all other “rules” are violated all the time without the slightest damage.

Character- a fictional animate person with a certain character and unique external data. IN fine arts characters are divided into two main categories: animated and static. The fundamental difference between an animated character and a static one is the special construction of the character, thanks to which the work of animators with the hero will be significantly easier.

CHARACTER DEVELOPMENT

Finding a character image is the most responsible and interesting stage. When choosing an image, it is necessary to take into account not only the personal qualities of the hero, but also his harmonious combination with the outside world. Also, the character must be expressive and not hackneyed, and have a certain amount of charm.

First, you need to study the introductory materials (TOR, script, literary and director's description of the characters), communicate with the director, who will try to convey his thoughts to the artist as accurately as possible. Familiarize yourself with the stylistic features of the project, which the production designer will tell you about, or the director, if at the stage of creating the characters there is no production designer on the project yet. Based on the results of getting acquainted with the project, it is worth making a number of sketches, noting for yourself some of the most important points, which will be useful in further work with the character.

First of all, you need to present the most striking episodes from the script you read, and try to sketch out simple concepts for the most impressive scenes involving the main character. This is done in order to feel the main characteristics of the future character - his weight, posture, physique.

After you have managed to catch an image that suits your opinion, one that has blurry but more or less clear outlines, you can begin to clarify the style - searching for the shape of a hairstyle, clothes, personal items without going into details. At this stage, you should not cling to some successful image. The artist's task is to draw a lot various options unrelated, from which the most successful one will then be selected.

We should also not forget that the character should be easy to “read” for the viewer. To check the “readability” of a character, just paint it black, after which the character’s silhouette should be recognizable and look quite impressive.

The next stage is “running in” the character.
The chosen, but still crude, option is played out in action. To do this, you will need to draw the character in his characteristic poses. As work progresses, unnecessary parts are eliminated and replaced with new ones that are more suitable for the hero and more convenient to use.

The final stage in creating a character’s image, as a rule, begins after approval and adjustment of the most suitable option chosen by the director (customer). Now the artist’s task is to work with details and complete the image.

The final touch is character painting.
The final version of the character in color is accompanied by comments that indicate the color values ​​used for each individual element of the image in RGB or CMYK (depending on the software used in the project). The use of non-traditional style when applying light and shadow to a character implies additional development of the light-shadow scheme.

CHARACTERISTIC POSE OF THE CHARACTER

Characteristic poses of the character complement the description literary image hero. They help visually show the character of the hero, his habits and behavior. The key task of the artist is to convey the director’s idea as accurately as possible, endowing the hero with qualities characteristic of him (according to the script).

The characteristic poses of the character are “Natural” (relaxed), “Habitual” (reflexive) and “Staged” (emotional):

- "Natural poses" - these are the calm states of the character in a standing position with support on one leg. Less often, both legs are supporting, with an evenly distributed center of gravity.

- "Habitual poses" - body positions characteristic of the hero, taken reflexively in accordance with the character’s mood, for example: thoughtfulness, excitement, fatigue.

- "Poses" - deliberately exaggerated poses taken by the hero in the presence of a third person, for example: flirting, delight, surprise, shame.

Regardless of the type, the pose should be quite bright and expressive. The desired effect is achieved through posture*, placement of arms and legs, head position, facial expressions and gestures.

Fun fact:

When creating characters, many artists involuntarily endow their heroes with a crooked, medically speaking, posture. If we consider Various types posture according to F. Staffel, then curvature of the spine is inherent in almost all types:

- "Plano-concave"the back is characteristic of women. This arch of the back emphasizes well female forms in the waist and hips area;

- "Flat back"typical of the military when it is necessary to exaggerately show bearing;

- "Round back", as a rule, belongs to a lanky, insecure young man or a tall, thin old man;

- Monsters with a powerful torso have a “concave-round back”.

The position of the head, combined with facial expressions and gestures, more expressively conveys the character’s mood. The head has five main positions: straight, down, up, up, sideways, to the side.

The position of the character's head is directly related to the hero's mood. For example: a raised head will emphasize confidence, arrogance or daydreaming; omitted - rage and aggression, fatigue or sadness; slightly lowered and tilted to the side - embarrassment and flirting, and in a straight position - surprise, fear or irritation. Despite a certain pattern, there are techniques that violate these principles, but this can already be considered an exception to the rule.

Unlike experienced artists who rely on their experience and intuition, novice artists would do well to read special literature on the psychology of facial expressions and gestures, especially since this topic is quite interesting and helps the artist to identify certain patterns in human behavior on their own.

CHARACTER BUILDING

When creating an animated character, the artist must not only imagine how the character will move, but also clearly explain this to the animator, who will subsequently work with the character. To do this, the character is disassembled into so-called “blanks”, after which drawing a character diagram.

As we know, any complex object consists of simple shapes (circles, ovals, triangles, rectangles). The artist’s task is to analyze his character in detail simple shapes, show ways of connecting them on center lines and clarify proportions. The character building scheme should be simple, logical, convenient and understandable. The more well thought out the construction scheme is, the easier it will be to further work with the character. It is worth noting that the technique of creating a character is individual for each artist - some immediately build a character when creating it, others draw a character without building, focusing on their experience and intuition. Nevertheless, regardless of the technique for creating a character, you will still have to disassemble it into “blanks”, unless of course we are talking about a special animation style, where only the image is important, and the construction of the character does not play a big role.

This is what the character might look like

There are often times when there is a need to adapt (adapt) a static character from an illustration for an animation project. To do this, it is enough to re-build the character, breaking it into “blanks”, at the same time simplifying the small details.

An example of a static character adapted (adapted) to animation.

The work with animals follows the same pattern as with people.

CHARACTER EMOTIONS

Any character should be able to express their emotions to current events. The brighter and more varied the character’s facial expressions, the more interesting you can play out his reaction to a particular event. The style of the character sets the framework within which emotions are created in an exaggerated form, the degree of which depends on the “cartoonishness” of the character.

Depending on the complexity of the project, the emotion map can vary greatly. Specific emotions and their quantity required for a particular project are usually determined by the technical specifications.

CLARIFICATION OF DETAILS

Accessories, clothing items and a character's hairstyle play an important role in creating a unique, memorable image. In the process of developing details, it is important not only to visually embody the idea of ​​​​the arrangement of additional elements in the character’s image, but also to clarify how these details “work”. The artist must understand the functional purpose of the elements he has invented, their practical use, interaction with the character, how they will move in the animation, to convey this visually in a set of character development documents.

Additional sheets are created to clarify the details.

COMPARISON TABLE

Comparative table of characters (line) - a lined sheet on which all the characters are placed animated film in such a way that, using comparative lines or a scale grid, it is possible to clearly demonstrate the proportional relationship of the characters (primarily their height).

Episodic characters, as a rule, are not included in comparison table. A separate sheet is created for them, linked to the “ruler” using a scale grid. Or a comparison is made with the hero from the table (with whom the episodic character interacts).

When the desire to write a novel arises, the first question future writers ask is where to start? Some people start with an idea, others describe the plot in detail, and others immediately begin to describe the landscapes. But, in fact, you can start writing with characters. Moreover, this is how it should be done.

Reading books, you can notice how differently the authors pay attention to the personalities of their characters. And, if a book with a wonderful plot, but dry and not lively characters, leaves a small memory in the memory, then a work with perfectly described and realistic characters will never be forgotten.

Nowadays, the American writer Donna Tartt pays great attention to the characters in her books. Reading her works, you understand that some characters look more real and interesting than real people. Perhaps this is one of the reasons why Tartt deservedly received Pulitzer Prize for his latest novel.

James Frey talks very well about creating characters in his book “How to Write a Brilliant Novel”:

1. A fictional person must be different from a reasonable person.

One one of the main mistakes of writers is that they “write off” their characters from real people. It’s not bad if you take only some of the qualities and make up the rest, or exaggerate. The point is that the reader will be bored watching ordinary people. A fictional person must be superior to a real person in everything. It should be more emotional, or, conversely, more boring. His actions must surprise and shock, delight or disappoint. Just don’t leave him indifferent. The reader will not forgive this.

Very important. Whatever your character is, his actions should be clear to the reader. If his actions and feelings seem illogical to someone, people will simply close the book and find something better.

Also It is important to understand that a fictional person is easier to describe than a reasonable person. Why? Because he has limited story line, and you need to describe only those feelings and decisions of the character that the plot requires.

Characters are the material from which the entire novel is built.

2. Fictional person - subspecies.

“flat”, “cardboard”, “one-dimensional”. Here we are talking about supporting characters whom we may meet in a book once or twice, hear a few words from them, and no longer remember their existence. These are, for example, bartenders, waiters, etc. We don’t care what’s going on in their inner world, what losses they experienced, who they loved and who they hated. It does not matter. Such characters need not be described;

a "full", "multi-dimensional", or "tri-faceted" character. This is the type of main characters, including villains. The main quality of this type is that it is impossible to attach any label to its representatives. They should be interesting personalities, with complex and complex motivation of actions. These heroes must endure a lot of suffering and know a lot of joys, love, hate, search and run, suffer and enjoy... And, most importantly, they must have a full biography. But more on that later. You must interest the reader so that he wants to get to know your characters better.

3. Meet the characters

How to meet the heroes? In his work “The Art of Creating dramatic works"Lajos Egri calls the character “three-sided” and identifies the following facets:

physiological. This includes all the physical qualities of your hero, such as his weight, height, age, eye color, health, and the like. Although this facet may seem the easiest to create, you need to remember that it is precisely appearance judged first. Therefore, it is important that the appearance matches the character;

sociological. To form this facet, you need to answer the following questions: What social class does your character belong to? Which church does he go to? political party supports? Who raised him? Was he a spoiled child, or did he grow up in strictness and order? Does he have many friends? What are they? general qualities? And there can be very, very many such questions. The main thing is to find out what your character is like socially. It is very important to understand the dynamics of character development. He was not born the way he is now, he became that way. You need to understand the reasons for the formation of his character, this is the only way you will get a realistic hero;

psychological. It should be noted right away that there is no need to be professional psychologist to create good and quality characters. You just need to understand human nature and be observant. Has your employee quit? Find out why he did this. Has your friend quit eating unhealthy and signed up for sports? Chat and find out what caused these changes.

This facet is considered to be an interaction between the social and physiological facets. Here you need to describe your character's passions, fantasies, complexes, fears, guilt, and the like. It also includes emotions, habits, intelligence, self-confidence and various inclinations.

The greatness of the drama depends on how the author manages to create complex, multi-dimensional images of the characters. thus, the eternal task of self-knowledge turns for the playwright into the task of knowing the characters own work. The old call to “know yourself” for a playwright sounds like “get to know the characters as closely as possible.” George Baker "Technique of Drama"

4. Making characters act

Very important advice- do not create inert characters. Have you ever read books in which minor characters were more interesting than the main ones? It shouldn’t be this way, firstly, and secondly, this happens due to the fact that the main character turned out to be inert. In this case, he will avoid conflicts, fear difficulties and struggle. No one is interested in such characters. Try to ensure that your main characters are dynamic and able to cope with various difficult situations.

5. Creating a character biography

Before you start writing the first chapter of your book, you need to completely create each character. The biography of the main characters should consist of 10-50 A4 pages. You should know everything about your character - where he was born, how he grew up, who raised him, who he was friends with, who he loved... In general, everything that can explain to the reader why your hero became the way he is now.

Of course, when you already have almost the entire biography in front of you (it is recommended to write it in the first person), you will still have several questions about the hero, the answers to which you will not know. Then the best option will hold character interview. Since he is a figment of your imagination, all his answers will definitely be honest.

You must describe all the details of your hero's life. Even if you don’t use them in the book, and no one but you knows about them, you must write them. After all, you create a person.

Write the books that you yourself enjoy reading.

If you take all these tips into account when creating your character, you will find that you yourself begin to believe in his existence. This will be confirmation that you have created a truly high-quality hero.

Whether you write for fun or are about to publish your book, characters are an essential part of any story and any story. To write interesting story or a novel, you need to think through the characters' personalities, but more importantly, you need to really get to know the personalities of those characters.

Steps

Think about what genre you are going to write in. It is fantastic? Historical novel? The genre of the work largely determines the personality of the characters. Even if your character travels through time, traversing the universe of your fiction, he will most likely have certain habits and will be unfamiliar due to the difference in cultures and times.

Determine the main qualities of your character. What's his name? What does he look like? How old is he? What is his education? What is his family like? How much does he weigh? What are his distinctive features? You need to clearly imagine the image of this character.

• Of course, when coming up with the main characteristics of a character, you need to decide whether this character will be a person with disabilities or belong to a certain social group. However, when touching on these topics, you need to be very careful and careful, especially if you yourself have not had such experience. Before you create and write a character with a disability (or a character who belongs to a particular social group), you need to find enough information to avoid writing anything that might seem offensive or ignorant.
• Make sure your character's appearance fits into their world and interests. For example, a professional fighter is unlikely to have loose long hair, because then he can easily be grabbed by this hair, dooming him to failure. In real life, a character cannot have red or purple eyes without certain genetic mutations (such as albinism) or contact lenses. Genetically this is impossible. And if your story takes place in real world, don't explain purple eyes your character's genetics.

1. Identify the main personal qualities your character. Is he a positive and cheerful character or is he always gloomy and gloomy? Is he closed? Excited? Diligent? Or soulless? Think through your character's core personality traits so you have a clear idea of ​​how that character will develop in your story.

   • You can also come up with main interests and hobbies for your character. He is a programmer? Violinist? Dancer? Writer? Chemist or mathematician?

2. Try to better describe the character's personality. Ask yourself a few situational questions that will help you decide on the character of the hero. For example: “What would this character do if his mother died? What would he do if he chanced upon a long-lost relative? What would he do if he encountered a bank robber? What would he do if someone put a gun to his head? These are examples of questions you can ask yourself. Write down the answers to these questions. After this, you should have a certain idea about your character's personality.

   Add negative aspects to your character. If you make it too perfect, people will get bored reading your story. Therefore, you should not create a tall, thin, handsome, strong, honest and smart character if you want your story to be interesting and at least somewhat real. Add to him weak sides, for example, drug addiction or excessive pride. Complicate his character!

   • But be careful, you shouldn’t come up with negative aspects for your hero that will not affect the main conflict of your story. For example, if your character is shy and awkward, these flaws won't stand in his way if his goal is to fall into the arms of the person he loves. A true and interesting flaw would be something like this: “Clara is so shy that she can’t bring herself to say what she really thinks. This gets her into trouble because when her friends do something bad, she can't even say anything." Or this: “Fernando is so clumsy that he constantly gets himself into trouble. While he was on vacation, he accidentally set fire to a curtain with a candle in the hotel where he worked, causing a fire and causing serious harm to the health of those around him.”
   • Don't attribute too many flaws to your character! If you describe your character like this: “His parents died when he was just a child, and this caused irreparable trauma to his psyche. His adoptive parents locked him in the closet for the slightest offense, he is completely ugly and socially inept, he hates everyone and is terrible at everything he does,” readers will not be able to accept your character and will simply find him annoying, whiny and uninteresting.
   • Also be careful if you're going to give your character flaws such as drug or alcohol addiction, mental illness, or disabilities. Quite often there are problems with describing a character with such characteristics, for example, mentally ill people are often perceived as cruel and uncontrollable, people with disabilities - as completely not independent, relying on other people for everything, although in most cases this is not true (for example, if we we are talking about a person in wheelchair who has no communication problems and communicates easily with other people). These things require thorough study, otherwise you may offend readers.
     • Search online to find more information about how to describe someone with mental illness, autism, and so on.

3. Think about how you would talk to this character if you were next to him. Think about what he hopes for, what he dreams about, what he fears, about his memories. You can even try to imagine yourself in his place to understand what does it feel like- to be in his shoes. This The best way see the world through the eyes of your character!

4. Describe a scene with your character. If you're struggling with an idea of ​​what to write about, find an idea generator and pick the one that sounds best. Be sure to show how your character reacts to different situations rather than just describing them. This will help you better think through the character's personality, and, if necessary, slightly edit the description of this personality. If your characters react in a certain way to the situations that arise during the story, you are doing everything right.

   • The difference between “show” and “tell” is that when you tell the reader about a character, you do not reinforce his personal qualities in any way (for example, “Dasha cares about people”). “Showing” a character to the reader means putting this character in a certain situation in which he will show himself in one way or another (for example, “Dasha reached out to hug the shaking, crying child, took him in her arms and gently muttered: “Everything is okay. Everything will be fine.” "). To make a story truly interesting and impressive, you need to try to “show” more than “tell”.
   • Enjoy! It's no use developing a character if it's a tedious job for you, because if you don't like the character, will readers like him? It is unlikely that in this case you will get a good story.
   • Don't try to make your character perfect in everything. For example, you shouldn’t make him the best swordsman who can shoot a bow, as well as an excellent climber, singer, universal idol, makeup artist, and so on. Don't attribute thousands of talents to him at once. There are no heroes who are good at “everything.” Choose several talents for your hero, think about which of them he will develop most, and just remain silent about the rest. Of course, you want to make your character awesome and interesting, but that doesn't mean he has to be the best at everything, because in reality, no one is the best at everything.
   • On the Internet you can find characteristics that will help you create an interesting character. You can enter the following query in a search engine: “list of qualities of an interesting character” or “description of an interesting character” (without quotes). These lists will help you create a character you might not have thought of before.
   • If you just can’t find an image for your character, but have already thought well about his personal qualities (or vice versa), you can always think of the hero’s appearance based on his personality (and vice versa). For example, if your hero plays basketball, you can make him tall; if you have a twisted plot, you can make the hero short and not suitable for the basketball team.
   • When you write your story or story, b O Most of the story should be shown by your characters, not by you. If you're driving a plot point and you can imagine how the characters, each of whom have certain habits and personality traits that you've created for them, will react, you'll have a great story.