Deep and Well-Developed Characters (humor included)
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A deep and well-developed character is one that is memorable, will touch players personally, and compel them to scribble said characters on and inside their notebooks while in class. If you would like to learn how to create your very own deep and well-developed character of your own, read on.
The essence of deep and well-developed characters
Complexities
Deep and well-developed characters have complex personalities, along with complex motives, complex pasts, complex opinions, experience complex emotions, and sometimes even possess complex hairstyles, though that is not needed to make a deep and well-developed character. Anything with so many complexities often present complex development issues, which often require complex ways of dealing with.
Concerning humans
Most humans are social creatures that enjoy socializing with or learning about other social creatures, particularly with other social beings, beings that they have socialized with but are not necessarily social, or beings that they have never socialized with but only catch their attention. Deep and well-developed characters may fit into all categories. Note that actual humans who consider any deep and well-developed character as an actual individual may need a mental health evaluation and treatment. (This line is dedicated to Jack Thompson, who believes rap music, Howard Stern, and video games are the source of all crimes in society. Go figure.)
(Bloody scapegoater…)
Most humans enjoy a complex individual to a flat individual, analogous to the fact that most humans prefer interacting with actual humans than with drawings of stick figures. For a character to bear more resemblance to an actual human than a drawing of a stick figure, they have to be human-like, and humans are complex.
How to deepen and well develop characters (It’s a little more serious than before, really!)
First, one needs a character. Second, that character has to have a few personality traits to get the ball rolling. There are two paths one can take from here (though if there are more, we encourage you to add it to this article!). One is called “deepening,” or “time-traveling snowballing,” where the writer works on the character’s past and elaborates on it. The second method is simply referred to as “snowballing,” “simple snowballing,” or “how TV series are probably written,” where the writer develops the character’s past and the character his or herself as the development goes along. Deepening will involve less extensive editing as time goes on, though this technique can focus many hours of early development on just the fleshing out characters. Simple snowballing allows the writer to take time in getting to know multiple characters, though it’s not as in-depth as working one-on-one, and new developments may force the writer to redo major parts of many characters and the plot at any time in development. A combination of both methods is probably the best choice for most writers. An example of a combination of the two methods is deepening Gozer’s past and then snowballing Dana’s character. There are endless combinations of these two methods… Pick one that is the most fun and at the same time most utilitarian/efficient.
"Deepening," otherwise known as "Time-Traveling Snowballing"
To deepen a character, look at a character’s personality traits and role in the story for reference and inspiration. Ask questions! “Why is she a fallen angel?” “Is there a reason he has such low-self esteem?” “Could his short temper have affected his past?” The writer can choose to work on all of the intricacies of the history of one character, which when done, will move major writing aspects out of the way, present new opportunities on character and plot development, and serve as a reference book for that character and the expected ways of how he or she would react, etc. It’s also possible to switch between which characters are being deepened, as to break monotony and to craft connections between characters instead of molding a single character and then having to mold the other characters “to fit.”
"Snowballing," "Simple Snowballing," or "How TV Series are Probably Written"
Simple snowballing allows for a character (or several) to be developed simultaneously with the story. Working on several characters at a time makes the process more interesting, and connections can be made in the plotline. However, working on too big of a load may confound the writer, subsequently causing inconsistencies within the plotline. Working on only one character while working on the plot reduces the risk of having plot holes in the plot, as when the writer switches to work on another character, he or she has reference as to what will fit in the storyline and what won’t. Example: The writer has finished snowballing Egon, Peter, and Winston. The writer then works on developing Ray. The writer forgets whether any of the characters he has already finished has selected Gozer’s next form. Writer checks back on Egon’s, Peter’s, and Winston’s notes. None of them have a role in selecting Gozer’s next form. Writer is reassured, and goes on to write that Ray picked Gozer’s next form, the Stay Puft Marshmallow Man.
(If you don’t know where this scenario comes from, there is something very wrong with you.)
Conclusion
Remember: a worthwhile character is complex and always is a changed one by the end of a story.
...This article would've been easier to type up if it only had that one sentence...
