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Literature
.:Character Concept Design Diversity:.
PERSONALITY: The absolute most important part to adding diversity to your characters is creating a deep, multifaceted personality description for them that no one else could have come up with. If you want to try and challenge yourself, avoid using tons of one word descriptors and elaborate on how that word applies instead. Show your character’s habits, tendencies, mood shifts, subjective preferences, tastes, distastes, actions, reactions, and all around sense of self. The MINIMUM for describing a decently thought out personality would be 200 words. Anything shorter than that is in danger of sounding like a mish mosh of standard traits. I challenge you to get up to 400 or even 500 words long of personality description if you want quality.
NAME: Choosing a name with a different letter to start with can be your foothold to creating a name that has a different sound than the rest of your group. Avoid making a group of characters with the same first letter or sound if not intentional.
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Literature
.:Character Creation Guide:.
Creating Your Character
DEVELOPMENT: PERSONALITY
 Focus on personality and interests when making your character and those are the categories that should have the most information because they describe who this person is at a specific point in time, or how they develop over time.
 Try to avoid listing standard things about your character that are super predictable or could describe just about anyone. Add details that show character depth and set them apart from the other characters out there. Certain ones you may want to make more memorable than others.
 Don’t throw too many diverse things into your character. If your character is all over the place, they will easily lose their identity to the reader. Try to focus on a few main interests or skills for your character to highlight.
 Your character should seem as if they could be a real person, no matter the world. They should have a personality easily understood by the reader that allows the reader to
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Literature
.:How To Make A Good Villain:.
• WHY: Why put so much effort into making “the bad guy”? The clear and obvious answer is that any and every character in your story who is well done would have a great impact on your story and also intrigue your readers. If they know you love your hero and put a lot of work into him, and didn’t really care about your villain because he was just going to lose anyway…what’s the point of even having a villain at all? Make your villains worth the attention, almost as much as the main group. Readers can love great villains just as much as great heroes. Keep it interesting.
• WHAT MAKES AN ANTAGONIST: Before you make your villain, it’s important to know what makes a villain different from the rest of the cast. Different from an anti-hero, a true antagonist is a character with one or more things about them that is viewed as fundamentally morally controversial (and typically backwards) to the world they are in. Their choices, beliefs, and actions
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Literature
.:Biggest Taboos In Writing:.
• TABOOS: These taboos are the bad things that you want to avoid in your writing at all cost. Here are some for now that you can work on getting rid of to better your skill and overall appeal. If you're sensitive to blunt wording, you might not want to read further. I don't beat around the bush.
• CLICHÉ: If it’s something you think is undeniably predictable, DON’T DO IT!! Clichés are usually eye-rollingly stupid and boring in stories. Take twists and turns that people won’t expect. Keep them interested. Keep them alive. Don’t bore them to death with unoriginality. It’s okay to base your character in a stereotype or group, but make sure to show their individualistic character concept apart from the group to prove to the reader that they are more than just a stereotype.
• PESSIMISM: An overall negative attitude in books is kind of disgusting to some readers, and depressing to others. If your book has the same melancholy mood over
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Literature
Character Creation/Development Shell and Guide
**Note: I'm doing an updated version of this deviation here> http://fav.me/d9jxhgb
Once its 100% done this version will end up deleted
General/Base Information:
Birth Name: (The name they were legally given at birth by their parents)
Name Origin: (Why was the name chosen? Where did it come from? Does it have a country of origin? What does it mean? Or was it made up out of the blue and means absolutely nothing? Repeat for name changes, nicknames, and alias’ if they are applicable)
Current Name: (Have they always kept the same name? Did their name change? If so, what did it change to? Nicknames don’t count as a name change.)
Name Change Reasons: (Why did they change their actual, legal name?(if applicable))
Nickname: (An alternate name that they are sometimes, or prefer to be called. This can be a shortened version of their already existing name(“Sam” instead
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Literature
.:Character Design:.
~How They Look~
• CHARACTER: The first and most important tip of designing your character’s look is to know who they are! Know their personality, interests, and preferences so that you can idea of what to wear. Pick something that looks cool but wouldn’t contradict who they are. For your main drawings of them, design outfits that you feel they are likely to wear.
• BODY: Pick an outfit that looks good for their figure or maybe even a little awkward if that's how you want them to be seen. Some people have builds that make it difficult to find clothes and a lot of people don't look good in certain outfit types. Keep this in mind to either avoid said outfits for certain builds or draw them in it and have it look a bit weird. It’s realistic. People will either avoid certain styles that don't look good on them or wear it and be unaware or not care. BUT it’s not going to suddenly look good on them, and I feel that cartoonists often make this mistake due to
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Women's Hair - Set 4 by dark-sheikah Women's Hair - Set 4 :icondark-sheikah:dark-sheikah 1,536 17
Literature
.:Things Stories Are Missing:.
Expand your creativity!
Overall:
• REALISM: A lot of stories tend to seem shallow and as I elaborate in this guide more, I’m sure you’ll see why. People tend to like to throw something together without putting the actual depth into it to make it great. This has nothing to do with rushing or time spent on the story at all—it has to do with people’s writing styles at the most basic level. Be aware of the phrases you’re using and what they imply. Don’t just settle for a phrase that’s been used before a million times. Add your own unique spin on it. If you’re trying to show the different moods of your story, use words in such a way that they make the reader think a bit more and imply deeper messages.
• LITTLE THINGS: Small unique details regarding your setting or characters or their emotions will definitely strike the reader in some way, usually in a good way. For example if I say, in the hospital, “Wenn is wearing an orange
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Literature
.:Be Original:.
WE ALL HAVE A VOICE.
• It’s been done before: Lots of people will tell you that no matter what you write, it’s been done before. But while this is true to some extent, it isn’t what you think. So much creativity gets hindered and discouraged when people basically tell you that no matter how hard you try, you’ll never come up with anything original. And that couldn’t be further from the truth. Whether or not it’s a struggle for you, it’s always worth it to come up with your own unique and original idea not based off anything else. I’m going to show you an example of just why originality is not dead. The following paragraph can be interpreted in a variety of different ways.
• In-story example: The world was wide open but KD often felt trapped. KD was a tall brunette with long hair, and sun-tanned skin save a few silvery skin scars from events in the not too distant past. Echoes of voices could be heard about, but they never got
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Literature
.:Elements Of A Good Story:.
Overall Elements Of A Good Story:
• ADVENTURE: Keep things interesting, change it up, take your reader places, keep the story rolling, show the passage of time…all can be accomplished through a series of changes in scenery and objective—adventure. Using the same three settings for your story’s scenes over and over can be pretty boring. Keep taking us to new places and flood our senses with details that keep us wondering what will happen next.
• INTENSITY: Things may start slow or you might want to just get right to the point. Spice up the intensity. One moment, the characters are just sitting by the shore and the next, they are being attacked by zombie pirates and a battle ensues. Have the intensity go up and down over the course of the story; think of it like waves or a rollercoaster. Too much of either extreme can get boring. Chaos is a great element to throw in there, but also show order. Show a fluctuation of things, and how they came to be, as well as
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PSG - Gloves Reference Guide by the-illustr8or PSG - Gloves Reference Guide :iconthe-illustr8or:the-illustr8or 412 68 CHIP-expressions sheet by Kyunae CHIP-expressions sheet :iconkyunae:Kyunae 123 43
Literature
.:Character Introductions:.
This guide is for the intent of getting across a clear idea of the major characters in a story. Obviously minor characters aren’t usually important enough to warrant an intentionally descriptive introduction, but the important characters that the reader is supposed to give their attention to are definitely worthy of a valid description. If we’re going to keep seeing them over and over in the book, we want to know who they are, and what they look like.
I’ve created this because I wanted to address something I’ve seen in some writings all over the place, not limited to a certain genre or type of text. Whether it’s a summary, fanfiction, original story, or published work. Lots of books fail to introduce a clear concept of the character in the beginning, or at all. Obviously you shouldn’t stop the action of a big battle to talk about a characters’ looks, but even afterwards, late is better than never.
Now, I get that some people want to leave their
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Literature
.:Starting A Novel Guide:.
~Getting Started~
I’m writing this with novels on the mind since I am almost at 30 novels. I have written over 20 additional novella length stories as well with a ton more books on the way. So you could say I know a thing or two about this more than the average person. And it’s about time I made a guide for it! So I hope this thing helps you.
• WHERE TO START: If you are feeling flustered as to where to start writing in your story, DON’T BE! Honestly you can begin anywhere. You can write out of order! I’d say write out whatever scenes you find yourself inspired with and just keep typing till you run out of inspiration. Then add to fill in the gaps and edit where/if you feel the need to. I have never ever EVER written a book in complete consecutive order. So in fact, I encourage it. Writing the scene you are inspired on instead of forcing yourself to write something you're not inspired for just yet will work to your benefit. Readers can tell when writing is
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Literature
.:Choosing A Main Character:.
There are lots of guides out there about how to generate a main character but I’d rather you focus on developing your cast of characters as a whole, and then selecting a main character from it, if there’s ever any question about who will be the star. Most people including myself know who’s gonna be the star of the story before its even written, but some people just have a group of characters and don’t know who to focus on. And sometimes, who you want to be your main character might not always be the best choice and hopefully this guide can help with that.
• Developed: First of all, pick a character you’ll enjoy developing and growing throughout the story, adding and taking away some things to show who they are and who they’ve become.
• Personality: A well-toned personality is absolutely necessary. Without it, they’re just a shell. A story whose main character has no personality is embarrassingly common, but when this happens, the en
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Literature
.:Take Your Story Farther:.
If you want to write a novel/book, you’ve gotta be committed. You may run into writer’s block on a number of occasions or simply get bored with your story. To avoid monotony and to keep things fresh and exciting, I’m going to offer a number of suggestions for you to take your story further, to keep going, instead of just abandoning it in the dust.
When you’re beginning with your plot, at first you may find yourself overwhelmed with a lot of ideas, right? Almost too much? Because you’re so excited to get going? And then when you realize just how LONG a story has to go on for to become a book, your enthusiasm kind of fizzes out? Well, no worries! Don’t get to ahead of yourself.
Pace yourself with the plot ideas—keep track of them all in a list apart from the main story text, and work them into the story one at a time without throwing so much in. You don’t want to build up to this massive plot and just leave it hanging, but you don’t w
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Literature
.:Finishing A Novel Guide:.
~Getting Finished~
• This is the complimentary other half to my “Starting A Novel” guide. Lots of people tell you how to start books but don't give much info on how to finish them. Starting a project is really easy but sticking through it once you realize what all it takes to finish it, you might not stick around. Here’s hoping you do. Writing a novella is basically the same, just shorter in length.
• CHAPTERS: When writing its best to just go and not stop until you run out of inspiration. Once you’re done with some wave of inspiration you can look back on the chunk of text you just wrote and separate it up into chapters if it’s long enough.
o Length: I notice a lot of books these days make chapters way WAY too long. It’s tedious and a bore, plus it’s harder to push through and be prolific if you’re already weeks into your book and think you’ve only finished two chapters. So! Your chapter should never exceed 6,000 words.
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Literature
.:Writing Horror:.
If you want to scare your readers, in the spirit of Halloween, I’ve come up with a few ideas that people don’t usually think of which I’d like to share. Whether or not your story is full of blood and death or not doesn’t actually make it scary, at least to most people. Lots of people aren’t fazed by some grotesque things if they’ve seen it before, and can see it coming. If your goal is to surprise your readers and leave them with a lasting impression, you’ll have to think outside the box. If you want to make a story scary, there must be some psychology in it somewhere. Hidden or obvious, you’ll have to think deeper than usual with psychological aspects.
A breakdown of a classic horror scene—the stupid girl opens the door—you’re screaming at the TV, don’t open the door. But she’s going to do it anyway. At first, there’s silence, and maybe a few embellished surround sounds. Music suddenly crescendos from
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OPEN Commission Guide for Characters References by Cuine OPEN Commission Guide for Characters References :iconcuine:Cuine 58 11