Character Traits - Tumblr Posts
Writing tips for the writers
Good Traits Gone Bad
Exploring good traits gone bad in a novel can add depth and complexity to your characters. Here are a few examples of good traits that can take a negative turn:
1. Empathy turning into manipulation: A character with a strong sense of empathy may use it to manipulate others' emotions and gain an advantage.
2. Confidence becoming arrogance: Excessive confidence can lead to arrogance, where a character belittles others and dismisses their opinions.
3. Ambition turning into obsession: A character's ambition can transform into an unhealthy obsession, causing them to prioritize success at any cost, including sacrificing relationships and moral values.
4. Loyalty becoming blind devotion: Initially loyal, a character may become blindly devoted to a cause or person, disregarding their own well-being and critical thinking.
5. Courage turning into recklessness: A character's courage can morph into reckless behavior, endangering themselves and others due to an overestimation of their abilities.
6. Determination becoming stubbornness: Excessive determination can lead to stubbornness, where a character refuses to consider alternative perspectives or change their course of action, even when it's detrimental.
7. Optimism becoming naivety: Unwavering optimism can transform into naivety, causing a character to overlook dangers or be easily deceived.
8. Protectiveness turning into possessiveness: A character's protective nature can evolve into possessiveness, where they become overly controlling and jealous in relationships.
9. Altruism becoming self-neglect: A character's selflessness may lead to neglecting their own needs and well-being, to the point of self-sacrifice and burnout.
10. Honesty becoming brutal bluntness: A character's commitment to honesty can turn into brutal bluntness, hurting others with harsh and tactless remarks.
These examples demonstrate how even admirable traits can have negative consequences when taken to extremes or used improperly. By exploring the complexities of these traits, you can create compelling and multi-dimensional characters in your novel.
Happy writing!
Good Traits Gone Bad
Exploring good traits gone bad in a novel can add depth and complexity to your characters. Here are a few examples of good traits that can take a negative turn:
1. Empathy turning into manipulation: A character with a strong sense of empathy may use it to manipulate others' emotions and gain an advantage.
2. Confidence becoming arrogance: Excessive confidence can lead to arrogance, where a character belittles others and dismisses their opinions.
3. Ambition turning into obsession: A character's ambition can transform into an unhealthy obsession, causing them to prioritize success at any cost, including sacrificing relationships and moral values.
4. Loyalty becoming blind devotion: Initially loyal, a character may become blindly devoted to a cause or person, disregarding their own well-being and critical thinking.
5. Courage turning into recklessness: A character's courage can morph into reckless behavior, endangering themselves and others due to an overestimation of their abilities.
6. Determination becoming stubbornness: Excessive determination can lead to stubbornness, where a character refuses to consider alternative perspectives or change their course of action, even when it's detrimental.
7. Optimism becoming naivety: Unwavering optimism can transform into naivety, causing a character to overlook dangers or be easily deceived.
8. Protectiveness turning into possessiveness: A character's protective nature can evolve into possessiveness, where they become overly controlling and jealous in relationships.
9. Altruism becoming self-neglect: A character's selflessness may lead to neglecting their own needs and well-being, to the point of self-sacrifice and burnout.
10. Honesty becoming brutal bluntness: A character's commitment to honesty can turn into brutal bluntness, hurting others with harsh and tactless remarks.
These examples demonstrate how even admirable traits can have negative consequences when taken to extremes or used improperly. By exploring the complexities of these traits, you can create compelling and multi-dimensional characters in your novel.
Happy writing!
123 Ideas for Character Flaws
Absent-minded - Preoccupied to the extent of being unaware of one’s immediate surroundings. Abstracted, daydreaming, inattentive, oblivious, forgetful.
Abusive - Characterized by improper infliction of physical or psychological maltreatment towards another.
Addict - One who is addicted to a compulsive activity. Examples: gambling, drugs, sex.
Aimless - Devoid of direction or purpose.
Alcoholic - A person who drinks alcoholic substances habitually and to excess.
Anxious - Full of mental distress or uneasiness because of fear of danger or misfortune; greatly worried; solicitous.
Arrogant - Having or displaying a sense of overbearing self-worth or self-importance. Inclined to social exclusiveness and who rebuff the advances of people considered inferior. Snobbish.
Audacious - Recklessly bold in defiance of convention, propriety, law, or the like; insolent; braze, disobedient.
Bad Habit - A revolting personal habit. Examples: picks nose, spits tobacco, drools, bad body odour.
Bigmouth - A loud-mouthed or gossipy person.
Bigot - One who is strongly partial to one’s own group, religion, race, or politics and is intolerant of those who differ.
Blunt - Characterized by directness in manner or speech; without subtlety or evasion. Frank, callous, insensitive, brusque.
Bold - In a bad sense, too forward; taking undue liberties; over assuming or confident; lacking proper modesty or restraint; rude; impudent. Abrupt, brazen, cheeky, brassy, audacious.
Callous - They are hardened to emotions, rarely showing any form of it in expression. Unfeeling. Cold.
Childish - Marked by or indicating a lack of maturity; puerile.
Complex - An exaggerated or obsessive concern or fear. (List specific complex.)
Cruel - Mean to anyone or anything, without care or regard to consequences and feelings.
Cursed - A person who has befallen a prayer for evil or misfortune, placed under a spell, or borne into an evil circumstance, and suffers for it. Damned.
Dependent - Unable to exist, sustain oneself, or act appropriately or normally without the assistance or direction of another.
Deranged - Mentally decayed. Insane. Crazy. Mad. Psychotic.
Dishonest – Given to or using fraud, cheating; deceitful, deceptive, crooked, underhanded.
Disloyal - Lacking loyalty. Unfaithful, perfidious, traitorous, treasonable
Disorder - An ailment that affects the function of mind or body. (List the disorders name if they have one.) See the Mental Disorder List.
Disturbed - Showing some or a few signs or symptoms of mental or emotional illness. Confused, disordered, neurotic, troubled.
Dubious - Fraught with uncertainty or doubt. Undecided, doubtful, unsure.
Dyslexic - Affected by dyslexia, a learning disorder marked by impairment of the ability to recognize and comprehend written words.
Egotistical - Characteristic of those having an inflated idea of their own importance. Boastful, pompous.
Envious - Showing extreme cupidity; painfully desirous of another’s advantages; covetous, jealous.
Erratic - Deviating from the customary course in conduct or opinion; eccentric: erratic behaviour. Eccentric, bizarre, outlandish, strange.
Fanatical - Fanatic outlook or behaviour especially as exhibited by excessive enthusiasm, unreasoning zeal, or wild and extravagant notions on some subject.
Fickle – Erratic, changeable, unstable - especially with regard to affections or attachments; capricious.
Fierce - Marked by extreme intensity of emotions or convictions; inclined to react violently; fervid.
Finicky - Excessively particular or fastidious; difficult to please; fussy. Too much concerned with detail. Meticulous, fastidious, choosy, critical, picky, prissy, pernickety.
Fixated - In psychoanalytic theory, a strong attachment to a person or thing, especially such an attachment formed in childhood or infancy and manifested in immature or neurotic behaviour that persists throughout life. Fetish, quirk, obsession, infatuation.
Flirt -To make playfully romantic or sexual overtures; behaviour intended to arouse sexual interest. Minx. Tease.
Gluttonous - Given to excess in consumption of especially food or drink. Voracious, ravenous, wolfish, piggish, insatiable.
Gruff - Brusque or stern in manner or appearance. Crusty, rough, surly.
Gullible - Will believe any information given, regardless of how valid or truthful it is, easily deceived or duped.
Hard - A person who is difficult to deal with, manage, control, overcome, or understand. Hard emotions, hard hearted.
Hedonistic - Pursuit of or devotion to pleasure, especially to the pleasures of the senses.
Hoity-toity- Given to flights of fancy; capricious; frivolous. Prone to giddy behaviour, flighty.
Humourless - The inability to find humour in things, and most certainly in themselves.
Hypocritical - One who is always contradicting their own beliefs, actions or sayings. A person who professes beliefs and opinions for others that he does not hold. Being a hypocrite.
Idealist - One whose conduct is influenced by ideals that often conflict with practical considerations. One who is unrealistic and impractical, guided more by ideals than by practical considerations.
Idiotic - Marked by a lack of intelligence or care; foolish or careless.
Ignorant - Lacking knowledge or information as to a particular subject or fact. Showing or arising from a lack of education or knowledge.
Illiterate - Unable to read and write.
Immature - Emotionally undeveloped; juvenile; childish.
Impatient - Unable to wait patiently or tolerate delay; restless. Unable to endure irritation or opposition; intolerant.
Impious - Lacking piety and reverence for a god/gods and their followers.
Impish - Naughtily or annoyingly playful.
Incompetent - Unable to execute tasks, no matter how the size or difficulty.
Indecisive - Characterized by lack of decision and firmness, especially under pressure.
Indifferent - The trait of lacking enthusiasm for or interest in things generally, remaining calm and seeming not to care; a casual lack of concern. Having or showing little or no interest in anything; languid; spiritless.
Infamy - Having an extremely bad reputation, public reproach, or strong condemnation as the result of a shameful, criminal, or outrageous act that affects how others view them.
Intolerant - Unwilling to tolerate difference of opinion and narrow-minded about cherished opinions.
Judgemental - Inclined to make and form judgements, especially moral or personal ones, based on one’s own opinions or impressions towards others/practices/groups/religions based on appearance, reputation, occupation, etc.
Klutz - Clumsy. Blunderer.
Lazy - Resistant to work or exertion; disposed to idleness.
Lewd - Inclined to, characterized by, or inciting to lust or lechery; lascivious. Obscene or indecent, as language or songs; salacious.
Liar - Compulsively and purposefully tells false truths more often than not. A person who has lied or who lies repeatedly.
Lustful - Driven by lust; preoccupied with or exhibiting lustful desires.
Masochist - The deriving of sexual gratification, or the tendency to derive sexual gratification, from being physically or emotionally abused. A willingness or tendency to subject oneself to unpleasant or trying experiences.
Meddlesome - Intrusive in a meddling or offensive manner, given to meddling; interfering.
Meek - Evidencing little spirit or courage; overly submissive or compliant; humble in spirit or manner; suggesting retiring mildness or even cowed submissiveness.
Megalomaniac - A psycho pathological condition characterized by delusional fantasies of wealth, power, or omnipotence.
Naïve - Lacking worldly experience and understanding, simple and guileless; showing or characterized by a lack of sophistication and critical judgement.
Nervous - Easily agitated or distressed; high-strung or jumpy.
Non-violent - Abstaining from the use of violence.
Nosey - Given to prying into the affairs of others; snoopy. Offensively curious or inquisitive.
Obsessive - An unhealthy and compulsive preoccupation with something or someone.
Oppressor - A person of authority who subjects others to undue pressures, to keep down by severe and unjust use of force or authority.
Overambitious - Having a strong excessive desire for success or achievement.
Overconfident - Excessively confident; presumptuous.
Overemotional - Excessively or abnormally emotional. Sensitive about themselves and others, more so than the average person.
Overprotective - To protect too much; coddle.
Overzealous - Marked by excessive enthusiasm for and intense devotion to a cause or idea.
Pacifist - Opposition to war or violence as a means of resolving disputes. (Can double as a merit in certain cases)
Paranoid - Exhibiting or characterized by extreme and irrational fear or distrust of others.
Peevish - Expressing fretfulness and discontent, or unjustifiable dissatisfaction. Cantankerous, cross, ill-tempered, testy, captious, discontented, crotchety, cranky, ornery.
Perfectionist - A propensity for being displeased with anything that is not perfect or does not meet extremely high standards.
Pessimist - A tendency to stress the negative or unfavourable or to take the gloomiest possible view.
Pest - One that pesters or annoys, with or without realizing it. Nuisance. Annoying. Nag.
Phobic – They have a severe form of fear when it comes to this one thing. Examples: Dark, Spiders, Cats
Practical - Level-headed, efficient, and unspeculative. No-nonsense.
Predictable - Easily seen through and assessable, where almost anyone can predict reactions and actions of said person by having met or known them even for a short time.
Proud - Filled with or showing excessive self-esteem and will often shirk help from others for the sake of pride.
Rebellious - Defying or resisting some established authority, government, or tradition; insubordinate; inclined to rebel.
Reckless - Heedless. Headstrong. Foolhardy. Unthinking boldness, wild carelessness and disregard for consequences.
Remorseless - Without remorse; merciless; pitiless; relentless.
Rigorous - Rigidly accurate; allowing no deviation from a standard; demanding strict attention to rules and procedures.
Sadist - The deriving of sexual gratification or the tendency to derive sexual gratification from inflicting pain or emotional abuse on others. Deriving of pleasure, or the tendency to derive pleasure, from cruelty.
Sadomasochist - Both sadist and masochist combined.
Sarcastic - A subtle form of mockery in which an intended meaning is conveyed obliquely.
Sceptic - One who instinctively or habitually doubts, questions, or disagrees with assertions or generally accepted conclusions.
Seducer - To lead others astray, as from duty, rectitude, or the like; corrupt. To attempt to lead or draw someone away, as from principles, faith, or allegiance.
Selfish - Concerned chiefly or only with oneself.
Self-Martyr - One who purposely makes a great show of suffering in order to arouse sympathy from others, as a form of manipulation, and always for a selfish cause or reason.
Self-righteous - Piously sure of one’s own righteousness; moralistic. Exhibiting pious self-assurance. Holier-than-thou, sanctimonious.
Senile - Showing a decline or deterioration of physical strength or mental functioning, esp. short-term memory and alertness, as a result of old age or disease.
Shallow - Lacking depth of intellect or knowledge; concerned only with what is obvious.
Smart Ass - Thinks they know it all, and in some ways they may, but they can be greatly annoying and difficult to deal with at times, especially in arguments.
Soft-hearted - Having softness or tenderness of heart that can lead them into trouble; susceptible of pity or other kindly affection. They cannot resist helping someone they see in trouble, suffering or in need, and often don’t think of the repercussions or situation before doing so.
Solemn - Deeply earnest, serious, and sober.
Spineless - Lacking courage. Cowardly, wimp, lily-livered, gutless.
Spiteful - Showing malicious ill will and a desire to hurt; motivated by spite; vindictive person who will look for occasions for resentment. Vengeful.
Spoiled - Treated with excessive indulgence and pampering from earliest childhood, and has no notion of hard work, self-care or money management; coddled, pampered. Having the character or disposition harmed by pampering or over-solicitous attention.
Squeamish - Excessively fastidious and easily disgusted.
Stubborn - Unreasonably, often perversely unyielding; bull-headed. Firmly resolved or determined; resolute.
Superstitious - An irrational belief arising from ignorance or fear from an irrational belief that an object, action, or circumstance not logically related to a course of events influences its outcome.
Tactless - Lacking or showing a lack of what is fitting and considerate in dealing with others.
Temperamental - Moody, irritable, or sensitive. Excitable, volatile, emotional.
Theatrical - Having a flair for over dramatizing situations, doing things in a ‘big way’ and love to be ‘centre stage’.
Timid -Tends to be shy and/or quiet, shrinking away from offering opinions or from strangers and newcomers, fearing confrontations and violence.
Tongue-tied - Speechless or confused in expression, as from shyness, embarrassment, or astonishment.
Troublemaker - Someone who deliberately stirs up trouble, intentionally or unintentionally.
Unlucky - Marked by or causing misfortune; ill-fated. Destined for misfortune; doomed.
Unpredictable - Difficult to foretell or foresee, their actions are so chaotic it’s impossible to know what they are going to do next.
Untrustworthy - Not worthy of trust or belief. Backstabber.
Vain - Holding or characterized by an unduly high opinion of their physical appearance. Lovers of themselves. Conceited, egotistic, narcissistic.
Weak-willed - Lacking willpower, strength of will to carry out one’s decisions, wishes, or plans. Easily swayed.
Withdrawn - Not friendly or Sociable. Aloof.
Zealous - A fanatic.
4 Traits
Warnings: graphic gore, bad cuts, violence (?), fighting, the traits listed below, cleaning wounds without proper knowledge, unsafe cleaning, let me know if I missed anything!
Read on Ao3 :D
4 times Monoma showed his traits..
Perfectionism
Honesty
Determination
Pride
Perfectionism
Today was the day of the sports festival, it had to be good, great. This was the day that he could show how great his class was, not just to the A class but to everybody! He woke up with an excitement, going through his day with a smile, he hadn't even seen Class A yet, he had a feeling that his class were spending their time doing something actually important, like decorating.
Currently they were setting the flags to go on the side of the building, the multiple colors going well with the cool gray; he picked them out obviously, and was currently telling Pony where to put them, making sure it was perfect. He stared at it for a few seconds before deciding that it was good, before turning around to look at the other side, where Ibara and Jurota were sitting the other string up.
“Wait” he hums, “a little up on the right side, Ibara.” She moves the string up a bit more with her vines before looking back to the self proclaimed class president, looking for clarification. Momoma then nods, “Yeah, that's fine.” The others walk back from the wall and turn off their quirks, intending to help with something else around, since they have quirks that help wonderfully from nature, or as Ibara puts it. “Thank you.” Monoma adds as he turns to walk away, the two smiling and saying ‘You're welcome’ as he walks away.
He walks to the opening of the building and finds Juzo and Tetsutetsu on ladders putting up the lanterns, that Monoma also picked out of course, and they were on the sides of the opening already having put up the one that goes in the middle. He keeps walking and when he gets out in the walk way before the opening, he turns around and puts his hands to his face, tilting his head and says, “Juzo, more to the left,” then after Juzo moves it, “Okay, more down” then that happens two more times before Netio says its fine.
Juzo gets off the ladder with a ‘Geez’ and Tetsutetsu hears that and says, “You know he doesn't mean anything, He thinks we're great!” with one of his toothy smiles. Yes, the boy knows this, but yes he still thinks he’s a little pushy at things. The metal boy puts his arm around his shoulders, which makes him lean a bit forward, and then directs him to someplace else, leaving the ladders there.
This keeps happening until the whole set-up is done, and yes his class does get a bit annoyed with it, but it's okay since they love him. Does he still stay up later than usual that night from not knowing it's absolutely perfect for the rest of the days? Yes, and he was still thinking about it the whole day, and kinda stressing about it. But, it's okay because he can fix it tomorrow. Or that's what he tries to tell himself.
Honesty
He was with Class-A, which by itself was just annoying. He was constantly telling them that they were wrong or that his class was better, in his opinion that was all true. They were testing out their new costumes together, since the teachers thought it would be easier. Did Momoma agree with them? Eh, kinda, he can wrap his head around it. Still didn't make it better that he had to be with Class-A. He could get over it with insults and manic laughter though, even better if it made the other class more attracted to his presence. He likes attention.
They were doing costume tests by fighting and using their quirks on them, and asking each other whether or not their costumes were fine. It was mostly the more quiet people asking if it looked good on them, Monoma not going to say anything about that, but he will be honest when someone asks. He's not going to lie, they asked, they wanted his opinion. It was his opinion, he knows others don't have to care about his opinion, trust me he knows, so he doesn't have a problem with stating it.
So when he was in a group of people who were trying to test out how their new costumes do against certain quirks, and someone brought Jiro into it, he didn't mind telling them how he thought when she asked. She had asked the group of Class-B students and some Class-A students how they thought her costume looked and everyone mostly responded with positive things, a few with some constructive criticism. He had said, “You look like a ripoff Y2K Roblox character.” with the whole looking the outfit up and down.
Everyone who had heard him turned to look at him, when he looked up from the outfit, mainly from the boots if you had asked, he just saw everyone's faces looking with pure astonishment of what he just said. He stood up straighter and turned a bit, looking at them. He didn’t think he said anything wrong, It's not like what he said mattered. He looks back to Jiro and sees a kind of hurt in his eyes, one that shouldn't be there, and Jiro knows because why should she care? But it still gets to them.
“Monoma?” less of a question, more of a demand of an explanation of why he said that, it came from Setsuna, he looked to face her, un-crossing his arms to extend a hand in the air questionably.
“What?” He really didn't see what he said that made her feel so emotional. “She asked, I told her.” he paused for a second; looking back to Jiro then to Setsuna “I told her my opinion” hes shrugged and then re-crossed his arms and then walked away, feeling the presence that he wasn't wanted there anymore. That's okay, he thought this would be like middle school anyway, maybe it just took longer.
Everyone started comforting Jiro, they weren't crying or anything, but still were telling her that he just had different thoughts. He walked away and went to another building, deciding to sit by himself since he really didn't want to have to confront another person about that. He didn't mean too. He was just telling the truth.
Determination
Okay, this time. He took a spin to kick at the punching bag again, this time almost falling. It seemed like he was getting worse at this. No, he was definitely getting worse. He was alone in the gym, since it was already dinner time and even if the UA gym is still open people like to eat. He did eat about an hour ago, so he could sneak off here to do some training on his kicks. He wasn't good at kicking and he knew that, though he didn't really know how to get better by himself he was going to try.
Okay, he can do it. He touched Tetsutetsu on his side before he put his arms up to block him with his own quirk, he could do this. The other that had naturally had the quirk, kicked at his legs. Momoma fumbled but didn't fall, gaining back what advantage he could when Tetsu pushed him back to try and make him fall. They were doing balance training or something like that, where they could see how long they could hold off while defended against each other. They were split into groups and he got put with Tetsutetsu as a sort of place for Kirishima. Tetsu kicked at his leg again, this time catching the back of his knee and pulling him down.. Next time.
Okay, this is easy. He was jumping around pipes and in between buildings, he knew how to do this. Or he thought he knew how to do this. The pipes were slippy and Monoma was not prepared for that. He kept falling, and falling, and falling. He was going to have so many bruises.. It's alright, he's a hero, heroes don't care about bruises. But it does hurt. He's pretty sure he sprained his ankle.. As he tries to jump another big gap, he feels his ankle crack. He falls forward, heading straight for the ground. As a split second decision he tucks and rolls, he does land more softly than he would if he would've just fell, and he's proud of himself for the quick thinking. It still hurts.
Okay, it's nothing. He’s fighting Pony, and he has to constantly dodge all of her horns, and if you didn’t know, it takes a lot of energy to jump around and dodge while trying to get close. Especially when it's the end of the day and he's tired. He only got a few hours of sleep last night since he was up doing english work, and he's so exhausted. You can only put him through so much before he's done, and even if he thinks he isn't done his body is. As the horns are still coming at him, he feels one slice his leg and when he moves toward the right he feels one go by there too. He is panting, and his vision is getting blurry, he's dizzy and his class can tell. He’s falling, oh he's falling.. He hits the ground falling backwards and a little to the right. He might've hit his head on the ground, all he for sure knows is that his vision is black and that Vlad King is calling the fight.
Pride
He didn't need help. He never needed help. He was a grown person that could help himself. Even if he had no real knowledge on it… He was fixing where he got cut up earlier. It was pretty bad, it was 5 inches long; but it didn't really have any depth to it. It wouldn't be too bad to fix if he had any idea of what he was doing, but no. he doesn't. It was the start of the year and they weren't taught this yet, and he couldn't be bothered looking it up because it hurt and he didn't even know if that stuff would be true or not. He has to settle with what basic knowledge he knows about cleaning, wrapping, and all that stuff with wounds because he's not going to ask for help, because he hates even the idea of that.
In reality, yes he knows he sucks at this, and yes, he knows he should get help, and yes he still won't. He doesn't even know if he could walk right now, since it's his shin that got cut. It burns though, and as soon as he pours the rubbing alcohol on it he grips at the counter in left hand as tight as he possibly could, it does hurt his hand a bit but not more than the alcohol on his cut. He has a rag in his mouth too so he could be quiet, and good thing because he almost screams, it muffles the sound a bit making it a lot less louder than it would've been. He would have woken up someone if it wasn't there.
After the burning calms down, he looks down to see it cleaning the wound, so that's good. Even though there's still blood pouring down his leg; he’s got this. He wont die from something like this. Well, actually you could die from something like this. He's not going to think about that though, because he won’t. He knows what he's doing. Once all the bubbling stopped, he began wiping it with a rag, making sure that most of the blood is off, even though there is still some trailing down his leg, he probably should’ve stopped the bleeding first.. Too late for that.
He grabs the bandages that he has to reach for, making the wound move and causing more pain and more blood. When did stuff like this become so annoying?? He winces as he gets them in his hand and pulls back, he can tell that he's getting fuzzier. That's really not good. Just has to make it until he wraps the bandages around it, that's what he tells himself. He knows it'll be bad if he passes out. He knew that he was already low on energy to deal with this because he got it near the end of training, he hasn't showered or anything obviously, and he really does not want anyone to see him like this.
He manages to wrap them around his leg and closes them off before he can tell his vision is going black, he doesn't try to stand, does not try to yell, does not try to call for help. He lets himself fade off into the black, and yes that was a bad idea. But better than anyone else seeing him like this.
Credits to @/strangergraphics for the dividers
hope it was good :P!
20 Compelling Positive-Negative Trait Pairs
Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:
1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.
2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.
3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.
4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.
5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.
6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.
7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.
8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.
9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.
10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.
11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.
12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.
13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.
14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.
15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.
16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.
17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.
18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.
19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.
20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.
These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.
good traits gone bad
perfectionism - never being satisfied
honesty - coming off as rude and insensitive
devotion - can turn into obsession
generosity - being taken advantage of
loyalty - can make them blind for character faults in others
being dependable - always depending on them
ambitiousness - coming off as ruthless
optimism - not being realistic
diligence - not able to bend strict rules
protectiveness - being overprotective
cautiousness - never risking anything
being determined - too focussed on one thing
persuasiveness - coming off as manipulative
tidiness - can become an obsession
being realistic - being seen as pessimistic
assertiveness - coming off as bossy
pride - not accepting help from others
innocence - being seen as naive
selflessness - not thinking about themself enough
being forgiving - not holding others accountable
curiosity - asking too much questions
persistence - being seen as annoying
being charming - can seem manipulative
modesty - not reaching for more
confidence - coming off as arrogant
wit/humor - not taking things serious
patience - being left hanging
strategic - coming off as calculated
being caring - being overbearing
tolerance - being expected to tolerate a lot
eagerness - coming off as impatient
being observant - being seen as nosy
independence - not accepting help
being considerate - forgetting about themself
fearlessness - ignoring real danger
politeness - not telling what they really think
reliability - being taken advantage of
empathy - getting overwhelmed with feeling too much for other people
Pro Tip: One Simple Trick To Making Your Characters Likeable and Relatable
Want a super easy, never-fail trick to making a character instantly 100% more interesting?
Make them a paradox.
There is a reason why certain character tropes are so common:
The scoundrel with a heart of gold
The assassin with a moral code
The badass “normal” in a super-powered world
The cute and childish psychopathic killer
The gruff warrior who’s a softie inside
But you’re not limited to well-trodden tropes, and in fact it’s even better to make your own surprising combinations (because these archetypes are now so expected that they need to be subverted to remain effective).
When you give a character a strong central trait or motif, and then give them a strong secondary characteristic that runs directly counter to that concept, you generate internal conflict, which is automatically interesting. More than that, you make the character more relatable.
The thing is that every single person on this earth feels like they’re special. All of us are privy every day to our own messy dynamic traits. We can put the people around us comfortably into various boxes, but we always feel like we are too complicated to really fit any single description.
So when you give someone a character who is clearly complex in the same way? A person whose identity works at cross-purposes? Someone who doesn’t fit neatly into the box their archetype is assigned? We will find them instantly more likeable and interesting. Give it a try!
Good Traits Gone Bad
Exploring good traits gone bad in a novel can add depth and complexity to your characters. Here are a few examples of good traits that can take a negative turn:
1. Empathy turning into manipulation: A character with a strong sense of empathy may use it to manipulate others' emotions and gain an advantage.
2. Confidence becoming arrogance: Excessive confidence can lead to arrogance, where a character belittles others and dismisses their opinions.
3. Ambition turning into obsession: A character's ambition can transform into an unhealthy obsession, causing them to prioritize success at any cost, including sacrificing relationships and moral values.
4. Loyalty becoming blind devotion: Initially loyal, a character may become blindly devoted to a cause or person, disregarding their own well-being and critical thinking.
5. Courage turning into recklessness: A character's courage can morph into reckless behavior, endangering themselves and others due to an overestimation of their abilities.
6. Determination becoming stubbornness: Excessive determination can lead to stubbornness, where a character refuses to consider alternative perspectives or change their course of action, even when it's detrimental.
7. Optimism becoming naivety: Unwavering optimism can transform into naivety, causing a character to overlook dangers or be easily deceived.
8. Protectiveness turning into possessiveness: A character's protective nature can evolve into possessiveness, where they become overly controlling and jealous in relationships.
9. Altruism becoming self-neglect: A character's selflessness may lead to neglecting their own needs and well-being, to the point of self-sacrifice and burnout.
10. Honesty becoming brutal bluntness: A character's commitment to honesty can turn into brutal bluntness, hurting others with harsh and tactless remarks.
These examples demonstrate how even admirable traits can have negative consequences when taken to extremes or used improperly. By exploring the complexities of these traits, you can create compelling and multi-dimensional characters in your novel.
Happy writing!
Creative misfortunes for characters
Identity Crisis: Have your character lose their memory, forcing them to rediscover their true self and past.
Betrayal by a Loved One: A close friend or family member betrays the character's trust, leading to emotional turmoil and inner conflict.
Physical Transformation: Give your character a physical ailment or transformation that they must come to terms with, such as sudden blindness, a debilitating illness, or turning into a different species.
Unrequited Love: Make your character fall deeply in love with someone who doesn't reciprocate their feelings, causing heartache and a quest for self-discovery.
Financial Ruin: Strip your character of their wealth and privilege, forcing them to adapt to a life of poverty and face the harsh realities of the world.
False Accusation: Have your character falsely accused of a crime they didn't commit, leading to a desperate quest to clear their name.
Natural Disaster: Place your character in the path of a devastating natural disaster, such as a hurricane, earthquake, or tsunami, and force them to survive and rebuild.
Loss of a Sense: Take away one of your character's senses (e.g., sight, hearing, taste) and explore how they adapt and cope with this profound change.
Forced Isolation: Trap your character in a remote location, like a deserted island, and make them confront their inner demons while struggling to survive.
Haunted Past: Reveal a dark secret from your character's past that comes back to haunt them, threatening their relationships and well-being.
Time Travel Consequences: Send your character back in time, but make them inadvertently change a crucial event in history, leading to unintended consequences in the present.
Psychological Breakdown: Push your character to the brink of a mental breakdown, exploring the complexities of their psyche and their journey towards recovery.
Unwanted Prophecy: Have your character be the subject of a prophecy they want no part of, as it places them in grave danger or disrupts their life.
Loss of a Loved One: Kill off a beloved character or make your protagonist witness the death of someone close to them, igniting a quest for revenge or justice.
Incurable Curse or Disease: Curse your character with an incurable ailment or supernatural curse, and follow their journey to find a cure or accept their fate.
Sudden Disappearance: Make a character disappear mysteriously, leaving the others to search for them and uncover the truth.
Betrayal of Morals: Force your character into a situation where they must compromise their ethical values for a greater cause, leading to moral dilemmas and internal conflict.
Loss of a Precious Object: Have your character lose a cherished possession or artifact that holds sentimental or magical significance, setting them on a quest to recover it.
Political Intrigue: Place your character in a position of power or influence, then subject them to political intrigue, manipulation, and power struggles.
Existential Crisis: Make your character question the meaning of life, their purpose, and their place in the universe, leading to a philosophical journey of self-discovery.
Remember that misfortunes should serve a purpose in your story, driving character growth, plot development, and thematic exploration.
Crafting Compelling Morally Gray Characters: A Guide for Fiction Writers
In literature, there is often a clear distinction between good and evil. Heroes are portrayed as virtuous and villains as wicked. However, in recent years, there has been a rise in the popularity of morally gray characters - those who do not fit neatly into the categories of good or evil. These characters are complex, flawed, and often make decisions that challenge the reader's moral compass. In this guide, I'll help you explore the art of crafting compelling morally gray characters and how to make them stand out in your fiction writing.
What Are Morally Gray Characters?
Morally gray characters, also known as morally ambiguous characters, are those who do not conform to traditional notions of good or evil. They may have both positive and negative traits, and their actions may be motivated by a mix of good and bad intentions. These characters often blur the lines between right and wrong, making them more relatable and intriguing to readers.
Examples of Morally Gray Characters
Some well-known examples of morally gray characters include:
Severus Snape from the Harry Potter series: Initially portrayed as a villain, Snape's true motivations and actions are revealed to be more complex and morally ambiguous.
Jaime Lannister from A Song of Ice and Fire series: Known for his arrogance and incestuous relationship with his sister, Jaime's character evolves throughout the series, showcasing his internal struggle between his duty and his personal desires.
Walter White from Breaking Bad: A high school chemistry teacher turned methamphetamine producer, Walter's character is constantly torn between his desire for power and his moral compass.
Why Are Morally Gray Characters Compelling?
Morally gray characters are compelling because they challenge the reader's perceptions of right and wrong. They are not easily categorized as heroes or villains, making them more relatable and human. These characters also add depth and complexity to a story, making it more interesting and thought-provoking.
The Power of Relatability
One of the main reasons morally gray characters are so compelling is because they are relatable. They are not perfect, and they make mistakes, just like real people. This makes them more human and allows readers to connect with them on a deeper level. When readers can see themselves in a character, it creates a stronger emotional connection to the story.
The Element of Surprise
Morally gray characters also add an element of surprise to a story. Their actions and decisions may not always align with what the reader expects, keeping them on the edge of their seat. This unpredictability makes the story more engaging and can lead to unexpected plot twists.
The Exploration of Morality
Morally gray characters also allow for a deeper exploration of morality in a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality. This can lead to thought-provoking discussions and a deeper understanding of complex moral issues.
How to Craft Morally Gray Characters
Crafting morally gray characters requires a delicate balance of positive and negative traits, as well as a deep understanding of their motivations and internal struggles. Here are some tips for creating compelling morally gray characters in your writing.
Give Them a Strong Motivation
Every character, regardless of their moral alignment, should have a strong motivation for their actions. For morally gray characters, this motivation should be complex and not easily defined as purely good or evil. It could be a desire for power, revenge, or even a sense of duty. This motivation will drive their decisions and actions throughout the story.
Show Their Flaws and Vulnerabilities
Morally gray characters are not perfect, and they should not be portrayed as such. They should have flaws and vulnerabilities that make them more relatable and human. These flaws could be physical, emotional, or moral, and they should play a role in the character's development and decisions.
Create Internal Conflict
One of the defining characteristics of morally gray characters is their internal conflict. They are torn between their good and bad tendencies, and this struggle should be evident in their thoughts and actions. This internal conflict adds depth to the character and makes them more relatable to readers.
Avoid Stereotypes
When crafting morally gray characters, it's important to avoid falling into stereotypes. These characters should not be one-dimensional or defined solely by their moral ambiguity. They should have unique personalities, backgrounds, and motivations that make them stand out as individuals.
Show Their Growth and Development
As with any well-written character, morally gray characters should experience growth and development throughout the story. They should learn from their mistakes and make decisions that challenge their moral compass. This growth and development will make them more dynamic and interesting to readers.
How to Make Morally Gray Characters Stand Out
With the rise in popularity of morally gray characters, it's important to make yours stand out in a sea of similar characters. Here are some tips for making your morally gray characters unique and memorable.
Give Them a Distinctive Voice
A character's voice is an essential part of their identity. It should be unique and reflective of their personality and motivations. For morally gray characters, their voice should reflect their internal conflict and the complexity of their moral alignment.
Create a Strong Backstory
A character's backstory can provide valuable insight into their motivations and actions. For morally gray characters, a strong backstory can help explain their moral ambiguity and add depth to their character. It can also create empathy and understanding for their decisions.
Use Foils to Highlight Their Morality
Foils are characters who contrast with the main character, highlighting their strengths and weaknesses. For morally gray characters, foils can be used to showcase their moral ambiguity and challenge their beliefs. This can add depth to the character and create interesting dynamics between them and other characters.
Morally gray characters add depth, complexity, and relatability to a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality.
WEIRDLY SPECIFIC BUT HELPFUL CHARACTER BUILDING QUESTIONS
What’s the lie your character says most often?
How loosely or strictly do they use the word ‘friend’?
How often do they show their genuine emotions to others versus just the audience knowing?
What’s a hobby they used to have that they miss?
Can they cry on command? If so, what do they think about to make it happen?
What’s their favorite [insert anything] that they’ve never recommended to anyone before?
What would you (mun) yell in the middle of a crowd to find them? What would their best friend and/or romantic partner yell?
How loose is their use of the phrase ‘I love you’?
Do they give tough love or gentle love most often? Which do they prefer to receive?
What fact do they excitedly tell everyone about at every opportunity?
If someone was impersonating them, what would friends / family ask or do to tell the difference?
What’s something that makes them laugh every single time? Be specific!
When do they fake a smile? How often?
How do they put out a candle?
What’s the most obvious difference between their behavior at home, at work, at school, with friends, and when they’re alone?
What kinds of people do they have arguments with in their head?
What do they notice first in the mirror versus what most people first notice looking at them?
Who do they love truly, 100% unconditionally (if anyone)?
What would they do if stuck in a room with the person they’ve been avoiding?
Who do they like as a person but hate their work? Vice versa, whose work do they like but don’t like the person?
What common etiquette do they disagree with? Do they still follow it?
What simple activity that most people do / can do scares your character?
What do they feel guilty for that the other person(s) doesn’t / don’t even remember?
Did they take a cookie from the cookie jar? What kind of cookie was it?
What subject / topic do they know a lot about that’s completely useless to the direct plot?
How would they respond to being fired by a good boss?
What’s the worst gift they ever received? How did they respond?
What do they tell people they want? What do they actually want?
How do they respond when someone doesn’t believe them?
When they make a mistake and feel bad, does the guilt differ when it’s personal versus when it’s professional?
When do they feel the most guilt? How do they respond to it?
If they committed one petty crime / misdemeanor, what would it be? Why?
How do they greet someone they dislike / hate?
How do they greet someone they like / love?
What is the smallest, morally questionable choice they’ve made?
Who do they keep in their life for professional gain? Is it for malicious intent?
What’s a secret they haven’t told serious romantic partners and don’t plan to tell?
What hobby are they good at in private, but bad at in front of others? Why?
Would they rather be invited to an event to feel included or be excluded from an event if they were not genuinely wanted there?
How do they respond to a loose handshake? What goes through their head?
What phrases, pronunciations, or mannerisms did they pick up from someone / somewhere else?
If invited to a TED Talk, what topic would they present on? What would the title of their presentation be?
What do they commonly misinterpret because of their own upbringing / environment / biases? How do they respond when realizing the misunderstanding?
What language would be easiest for them to learn? Why?
What’s something unimportant / frivolous that they hate passionately?
Are they a listener or a talker? If they’re a listener, what makes them talk? If they’re a talker, what makes them listen?
Who have they forgotten about that remembers them very well?
Who would they say ‘yes’ to if invited to do something they abhorred / strongly didn’t want to do?
Would they eat something they find gross to be polite?
What belief / moral / personality trait do they stand by that you (mun) personally don’t agree with?
What’s a phrase they say a lot?
Do they act on their immediate emotions, or do they wait for the facts before acting?
Who would / do they believe without question?
What’s their instinct in a fight / flight / freeze / fawn situation?
What’s something they’re expected to enjoy based on their hobbies / profession that they actually dislike / hate?
If they’re scared, who do they want comfort from? Does this answer change depending on the type of fear?
What’s a simple daily activity / motion that they mess up often?
How many hobbies have they attempted to have over their lifetime? Is there a common theme?
morality: a character creation guide
creating and understanding your oc’s personal moral code! no, i cannot tell you whether they’re gonna come out good or bad or grey; that part is up to you.
anyway, let’s rock.
i. politics
politics are a good way to indicate things your character values, especially when it comes to large-scale concepts such as government, community, and humanity as a whole.
say what you will about either image; i’d argue for the unintiated, the right image is a good introduction to some lesser discussed ideologies… some of which your oc may or may not fall under.
either way, taking a good look at your character’s values on the economic + social side of things is a good place to start, as politics are something that, well… we all have ‘em, you can’t avoid ‘em.
clearly, this will have to be adjusted for settings that utilize other schools of thought (such as fantasy + historical fiction and the divine right of kings), but again, economic/social scale plotting will be a good start for most.
ii. religion + philosophy
is your oc religious? do they believe in a form of higher power? do they follow some sort of philosophy?
are they devout? yes, this applies to non-religious theist and atheist characters as well; in the former’s case… is their belief in a higher power something that guides many of their actions or is their belief in a higher power something that only informs a few of their actions? for the atheists; do they militant anti-theists who believe atheism is the only way and that religion is harmful? or do they not care about religion, so long as it’s thrust upon them?
for the religious: what is your oc’s relationship with the higher power in question? are they very progressive by their religion’s standards or more orthodox? how well informed of their own religion are they?
does your oc follow a particular school of philosophical thought? how does that interact with their religious identification?
iii. values
by taking their political stance and their religious + philosophical stance, you have a fairly good grasp on the things your character values.
is there anything they value - due to backstory, or what they do, or what they love - that isn’t explained by political stance and religious and/or philosophical identification? some big players here will likely be your oc’s culture and past.
of everything you’ve determined they value, what do they value the most?
iv. “the line”
everyone draws it somewhere. we all have a line we won’t cross, no matter the lengths we go for what we believe is a noble cause. where does your character draw it? how far will they go for something they truly believe is a noble cause? as discussed in part iii of my tips for morally grey characters,
would they lie? cheat? steal? manipulate? maim? what about commit acts of vandalism? arson? would they kill?
but even when we have a line, sometimes we make exceptions for a variety of reasons. additionally, there are limits to some of the lengths we’d go to.
find your character’s line, their limits and their exceptions.
v. objectivism/relativism
objectivism, as defined by the merriam-webster dictionary, is “an ethical theory that moral good is objectively real or that moral precepts are objectively valid.”
relativism, as defined by the merriam-webster dictionary, is “a view that ethical truths depend on the individuals and groups holding them.”
what take on morality, as a concept, does your character have? is morality objective? is morality subjective?
we could really delve deep into this one, but this post is long enough that i don’t think we need to get into philosophical rambling… so this is a good starting point.
either way, exploring morality as a concept and how your character views it will allow for better application of their personal moral code.
vi. application
so, now you know what they believe and have a deep understanding of your character’s moral code, all that’s left is to apply it and understand how it informs their actions while taking their personality into account.
and interesting thing to note is that we are all hypocrites; you don’t have to do this, but it might be fun to play around with the concept of their moral code and add a little bit of hypocrisy to their actions as a treat.
either way, how do your character’s various beliefs interact? how does it make them interact with the world? with others? with their friends, family, and community? with their government? with their employment? with their studies? with the earth and environment itself?
in conclusion:
there’s a lot of things that inform one’s moral compass and i will never be able to touch on them all; however, this should hopefully serve as at least a basic guide.
Trope Discussion: Blind Characters Covering Their Eyes
The majority of the projects I am asked to beta include blind characters who cover their eyes. Modern characters wear sunglasses. Other characters wear blindfolds for older settings. The story usually justifies the decision in some way, but I always ask: why?
I also neglected to include this in my post on Things I Want to See More of / Less of in Blind Characters. I don’t think I considered it at the time. However, unlike my post on blind seers, I think this trope actually causes some harm in subtle ways and I usually encourage avoiding it. I’ll discuss why in this post.
What’s Wrong With Blind Characters Covering Their Eyes?
Keep in mind that blind characters are not so common. Because they aren’t very common and because not everyone in your audience knows a blind person in real life, the way the character is represented could lead audiences to believe that is how blind people are. This, coupled with a general lack of information given in everyday life, allows writers or artists to unintentionally influence how real life blind people are perceived.
Sure, blind people create blind characters as well. However, we don’t usually get as much exposure or opportunities. We could be held back by other barriers, such as poverty. This means it can be hard to counteract tropes we don’t like or that activity harm us.
Blind characters covering their eyes is potentially harmful for a few reasons.
One reason is that it is assumed that all blind people always cover their eyes. This means that in real life, blind people are not as easily recognized even when they have a cane. The white cane is supposed to be what alerts others that a person is blind. Instead, people get confused about why a blind person isn’t wearing sunglasses if they’re blind. This leads to unnecessary explanations, lost time, refusal to help, and sometimes hostility. Wearing sunglasses helps some blind people communicate blindness more easily. They may feel forced to adopt the stereotype.
Another reason is that it unknowingly touches on the pressure some blind people face to cover their eyes. This could be because they are self-conscious about them or because of pressure to make other people feel more comfortable. This pressure could originate from the way their eyes look or move, or even due to lack of eye contact. Sometimes, stories present these ideas as normal for blind people, which increases the idea that blind people should be ashamed of their eyes or that they should prioritize the comfort of others for something superficial.
Where Did the Stereotype Come From?
While I am not sure about the exact origins, the stereotype probably comes from a few sources: shorthand symbolism and abled actors playing blind characters.
-Shorthand symbolism could be used in art or plays to indicate a character’s blindness.
-Because films and shows are so popular and more easily consumed, audiences are more often exposed to blind people on the screen. Actors who aren’t blind often wear sunglasses to make them appear blind to audiences who would perceive eye movements as breaking character. The actors in live-action material often wear sunglasses to hide their eyes. Why blind actors aren’t hired initially is another story.
This page discusses the sunglasses trope in films.
-Some blind people who wear sunglasses for any reason may also simply be more recognizable as a blind person as opposed to blind people who don’t wear sunglasses. This means others may not be aware that blind who don’t wear dark sunglasses exist.
The Sunglasses Stereotype
I should mention here that blind people are simultaneously expected to wear sunglasses as a signifier of blindness while also accused of faking for wearing them. The rationale is the idea that blind people can’t see the sun and therefore would never need sunglasses. This, of course, depends on the stereotypes that all blind people are totally blind, which is not true. Most sources I have found over my time writing this blog state that less than 10 to 15% of blind people are totally blind, which means about 85 to 90% of blind people have light perception or some residual vision.
When Should Our Characters Wear Sunglasses or a Blindfold?
Many writers have characters cover their eyes because it feels right. Some assume the character would feel uncomfortable with the way their eyes look and that they prefer to hide them. In order to write this trope well, you must understand your reason behind it.
Let’s examine why blind people wear sunglasses in real life. This page is a good one to read and was very helpful in constructing this post.
Light sensitivity, or photophobia, occurs when people have sensitivity to light, usually sunlight. Blind people can also expirience this.
Sunglasses are used to shield their eyes from the sun when outdoors and from big windows when indoors. Some sources state synthetic lighting is not usually an issue and others state some people may want to wear their sunglasses indoors.
For characters who aren’t modern, the equivalent of sunglasses would probably be a blindfold or eye patch.
Blind people like fashion just as the next person. They might enjoy wearing sunglasses occasionally. However, they don’t wear them all the time.
Blind people might also want to protect their eyes from dust or injury, whether they can see or not. This can be accomplished with sunglasses or regular glasses.
How Do We Write Blind Characters Covering Their Eyes Respectfully?
This is one of those tropes I prefer people avoid. I say “avoid” because I want to come across it less which means way less people need to use it.
Think about why you want your blind character to cover their eyes.
Is it because it simply feels right to you? Is it because you believe it will help audiences understand or accept that your character is blind? Is it because you can’t imagine your character any other way? Is it because your feel deep down that your character’s eyes would make other characters uncomfortable?
Think about where this idea comes from and whether you really want to use it.
If you have decided it makes sense for your character to cover their eyes, here are some tips for you to do it well.
1. If they use sunglasses for fashion, have the blind character go without the accessory periodically throughout the story. Consider avoiding them covering their eyes when they are first introduced, as first impressions can be memorable. Your blind character should not be the only one who happens to wear sunglasses as part of their style.
2. If they are sensitive to light, do research on photophobia. Consider where the character is when covering their eyes. Do they mostly wear sunglasses outside and near big windows? Do screens bother them? Make it clear in the story.
3. I always suggest having more than one blind character in a story. This is important for moments such as this. Having a blind character who doesn’t cover their eyes shows that not all blind people cover their eyes. This, in addition to a writer understanding exactly why their character covers their eyes, will help immensely.
This trope is a problem when no reference to the alternative is made, usually because the writer doesn’t understand what they’re writing about. They haven’t considered the reasons blind people cover their eyes and therefore aren’t aware that not all blind people do so. Having more than one blind character in the story shows more than one experience, including covering or not covering eyes. Showing different experiences eliminates the idea that blind people “just do” certain things. It makes people think.
If you want audiences to think, you first need to ask: why?
When writing marginalized characters, remember that their marginalization decreases the amount of accurate information available about them. Audiences don’t have as many resources to check. They may even lack the inclination to do so at all. This could be because of a desire to maintain biases or simply because they don’t consider blind people much outside of entertainment or pity. Surprisingly, some people are even actively resistant or hostile to the idea of taking time to learn about the experiences of blind people.
This means your story could be more impactful than you realize.
When you’re writing, ask yourself the question: why? You might realize that it makes for a richer, more informed story.
how do you write a liar?
How to Write Liars Believably
Language
The motive of every goal is the make the lie seem plausible while taking blame off the speaker, so liars will often project what they say to a third party: "Katie said that..."
Referring to third parties as "they" rather than he or she
In the case of a deliberate lie prepped beforehand, there will be an overuse of specific names (rather than pronouns) as the speaker tries to get the details right.
Overuse of non-committal words like "something may have happened"
Masking or obscuring facts like "to the best of my knowledge" and “it is extremely unlikely," etc.
Avoiding answers to specific, pressing questions
Voice
There's isn't a set tone/speed/style of speaking, but your character's speech patten will differ from his normal one.
People tend to speak faster when they're nervous and are not used to lying.
Body Language
Covering their mouth
Constantly touching their nose
fidgeting, squirming or breaking eye contact
turning away, blinking faster, or clutching a comfort object like a cushion as they speak
nostril flaring, rapid shallow breathing or slow deep breaths, lip biting, contracting, sitting on your hands, or drumming your fingers.
Highly-trained liars have mastered the art of compensation by freezing their bodies and looking at you straight in the eye.
Trained liars can also be experts in the art of looking relaxed. They sit back, put their feet up on the table and hands behind their head.
For deliberate lies, the character may even carefully control his body language, as though his is actually putting on a show
The Four Types of Liars
Deceitful: those who lie to others about facts
2. Delusional: those who lie to themselves about facts
3. Duplicitious: those who lie to others about their values
Lying about values can be even more corrosive to relationships than lying about facts.
4. Demoralized: those who lie to themselves about their values
Additional Notes
Genuine smiles or laughs are hard to fake
Exaggerations of words (that would normally not be emphasized) or exaggerated body language
Many savvy detectives ask suspects to tell the story in reverse or non-linear fashion to expose a lie. They often ask unexpected, or seemingly irrelevant questions to throw suspects off track.
Writing Morally Gray Characters
Morally gray antagonists and heroes can bring up many interesting questions about your story's theme and plot. Yes, your hero does want to save the world, but resorts to cruel ways of bringing peace?
Being morally gray can also mean that the character is highly goal- oriented and values efficiency and success over anything.
Deceiving Appearances
As is true in real life, a person's intentions aren't always obvious. A character, their title, background or really just how they look might at first indicate they're the hero type but surprise - they're not.
By hiding ulterior motives behind more apparent ones, you can add depth to your morally gray characters. Appearances can be deceiving, and that makes for a juicy read.
Morally Gray vs. Villains
Morally gray characters and villains are not strictly one and the same. Yes, there is overlap-they can be villains-but the distinctions are there nonetheless.
I don't think having a dark past to provide motivations for morally gray characters is too effective. They do intend to harm others, and sometimes, that's just the way they are.
Recognition
Your morally gray character should recognize that their choices can cause harm, intentionally or otherwise.
Although he's willing to risk the chance in his pursuit of knowledge, he does actively recognize that his actions can result in negative consequences. He sometimes acknowledges this before he does something, and sometimes only in hindsight.
Remorse
They must understand and experience remorse. When the consequences of their actions wreck and story world and kills people around her, she would certainly have regrets and even struggle to undo what she did.
The point here is, she won't regret until she has already caused the wreckage.
Redemption
Finally, when even they feel things have gone too far, your morally gray character must seek redemption however that manifests itself in your story.
For all their logic and reasoning, they are not without feeling. They can grow to care for other characters and go out of their way to help them at times, even save their life.
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Want simple tips to heavily improve your skills with character voice??
(📝Note: character voice is the way you convey your character's personality though their pov or dialogue when you write. No two characters speak the same📝)
I speak from experience when I say character voice is hard to get right. Characters, like people, have lots of layers that affect the way they see the world around them and how they interact with other characters. That's why character voice is so important in stories, and why if you write it in a compelling and effective way it will hook people into your story. I hope you learn something new in this post!!
When writing character voice, there's a list of things that you should take into account:
Where are they from? Their past and what they've lived plays a huge part in character voice. Maybe your character grew by the ocean, and so they compare things from the present to the beach, the rocks or the sea itself. You will rarely read about a sailor that is an expert in pants and compares scents to flowers. They might, instead, talk about how a house smells like the wet wood of a ship.
Think about how their personality shapes their language. If they are insecure, they might end most of their sentences with "isn't it?" or "right?" and ask a lot of questions, whereas if you have a confident character, you might find them saying things like "we should do this" or "that will be fun" instead.
What their "lense" is. This is more of an ethic aspect of the character. What have they learn it's okay, and what do they find uncomfortable? Would they find it gross if their friend left laundry on the floor?
Give them special traits (both for dialogue and narration). Maybe character A quotes a lot when they narrate and uses long paragraphs, or maybe B speaks about their past a lot and uses popular sayings. Personally, one character of mine has the tendency to repeat himself when he speaks, as in "yeah, yeah, I'll do it" or "no, no, no. Never" because he is really enthusiastic, and it fits really well with his character.
Pay attention to how they would talk about themselves. Maybe your character doesn't like people to know they're sad because it makes them feel vulnerable, so they will just say they feel annoyed or don't want to talk in that moment. This also means that they will not tell the reader something they are not comfortable saying in the first place.
How is their education? Education is also very important in this context. Did they went to university and have a rich vocabulary and structured sentences, or where they rised in a little farm far from town? You can also play with both a bit: maybe your character did go to university, but maybe they also came from a low income family, and characteristic of both things merge when they talk. Example: long, structured, sentences but a simple and sight forward vocabulary.
That's all for now and happy writing!!
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Good Traits Gone Bad
Exploring good traits gone bad in a novel can add depth and complexity to your characters. Here are a few examples of good traits that can take a negative turn:
1. Empathy turning into manipulation: A character with a strong sense of empathy may use it to manipulate others' emotions and gain an advantage.
2. Confidence becoming arrogance: Excessive confidence can lead to arrogance, where a character belittles others and dismisses their opinions.
3. Ambition turning into obsession: A character's ambition can transform into an unhealthy obsession, causing them to prioritize success at any cost, including sacrificing relationships and moral values.
4. Loyalty becoming blind devotion: Initially loyal, a character may become blindly devoted to a cause or person, disregarding their own well-being and critical thinking.
5. Courage turning into recklessness: A character's courage can morph into reckless behavior, endangering themselves and others due to an overestimation of their abilities.
6. Determination becoming stubbornness: Excessive determination can lead to stubbornness, where a character refuses to consider alternative perspectives or change their course of action, even when it's detrimental.
7. Optimism becoming naivety: Unwavering optimism can transform into naivety, causing a character to overlook dangers or be easily deceived.
8. Protectiveness turning into possessiveness: A character's protective nature can evolve into possessiveness, where they become overly controlling and jealous in relationships.
9. Altruism becoming self-neglect: A character's selflessness may lead to neglecting their own needs and well-being, to the point of self-sacrifice and burnout.
10. Honesty becoming brutal bluntness: A character's commitment to honesty can turn into brutal bluntness, hurting others with harsh and tactless remarks.
These examples demonstrate how even admirable traits can have negative consequences when taken to extremes or used improperly. By exploring the complexities of these traits, you can create compelling and multi-dimensional characters in your novel.
Happy writing!
good traits gone bad
perfectionism - never being satisfied
honesty - coming off as rude and insensitive
devotion - can turn into obsession
generosity - being taken advantage of
loyalty - can make them blind for character faults in others
being dependable - always depending on them
ambitiousness - coming off as ruthless
optimism - not being realistic
diligence - not able to bend strict rules
protectiveness - being overprotective
cautiousness - never risking anything
being determined - too focussed on one thing
persuasiveness - coming off as manipulative
tidiness - can become an obsession
being realistic - being seen as pessimistic
assertiveness - coming off as bossy
pride - not accepting help from others
innocence - being seen as naive
selflessness - not thinking about themself enough
being forgiving - not holding others accountable
curiosity - asking too much questions
persistence - being seen as annoying
being charming - can seem manipulative
modesty - not reaching for more
confidence - coming off as arrogant
wit/humor - not taking things serious
patience - being left hanging
strategic - coming off as calculated
being caring - being overbearing
tolerance - being expected to tolerate a lot
eagerness - coming off as impatient
being observant - being seen as nosy
independence - not accepting help
being considerate - forgetting about themself
fearlessness - ignoring real danger
politeness - not telling what they really think
reliability - being taken advantage of
empathy - getting overwhelmed with feeling too much for other people
One of my favourite tropes is "character who you wouldn't think is good with kids is actually great with kids"
good traits gone bad
perfectionism - never being satisfied
honesty - coming off as rude and insensitive
devotion - can turn into obsession
generosity - being taken advantage of
loyalty - can make them blind for character faults in others
being dependable - always depending on them
ambitiousness - coming off as ruthless
optimism - not being realistic
diligence - not able to bend strict rules
protectiveness - being overprotective
cautiousness - never risking anything
being determined - too focussed on one thing
persuasiveness - coming off as manipulative
tidiness - can become an obsession
being realistic - being seen as pessimistic
assertiveness - coming off as bossy
pride - not accepting help from others
innocence - being seen as naive
selflessness - not thinking about themself enough
being forgiving - not holding others accountable
curiosity - asking too much questions
persistence - being seen as annoying
being charming - can seem manipulative
modesty - not reaching for more
confidence - coming off as arrogant
wit/humor - not taking things serious
patience - being left hanging
strategic - coming off as calculated
being caring - being overbearing
tolerance - being expected to tolerate a lot
eagerness - coming off as impatient
being observant - being seen as nosy
independence - not accepting help
being considerate - forgetting about themself
fearlessness - ignoring real danger
politeness - not telling what they really think
reliability - being taken advantage of
empathy - getting overwhelmed with feeling too much for other people