Characterization is the assemblage of traits for each character.
- Remember: True character is revealed in the choices made under pressure and risk — the greater the risk, the deeper the revelation, the truer the choice to the character’s essential nature.
- The revelation of true character in contrast or contradiction to characterization is fundamental to fine storytelling — Remember: What seems is not what is.
There are four ways to characterize:
- Dialogue
- Descriptions, both of the character and how they see the world.
  - Use descriptive establishing shots—from the wide setting to the specific characters and scene.
  - Almost always authors rely on sight, but remember there are other senses that characters can feel from. Description should not just be limited on visual features but also those derived from other senses (sound, smell, temperature, etc..)
- Beats
- Introspection - where characters ruminate
  - Break it up to small chunks so the reader can easily digest it.
  - Make the introspection purposeful. That is, make it advance or reinforce the character’s motivations or arc.

True Character can only be expressed through choice in dilemma. How the person choses to act under pressure is who he is — the greater the pressure, the truer and deeper the choice of character.
What makes a character interesting is the contrast between what they seem to be, what they think they are, and what their true character is. This is what we mean by character depth.
- Consistent contradictions give rise to the dimensions of the character.

All other characters in a story exist in relation to the protagonist(s).
The cast of characters delineate and distinguish the protagonist’s (and each other’s) dimensions through their dialogue and actions.
This illustrates: Dimension can be created from simple counterpoint.
Note: The depth of a character is proportional to their role in the story.
Comic characters are marked with a blind obsession — a mania that the character does not see. In this mania we see the ridiculousness of the character.
Sympathetic villains are memorable - we can understand their motivations, and why they act the way they do.

Character Flaws

Consider the flaws of the character to make them more realistic.
- A descriptor for the flaw is a good start, but one would need to explain this flaw
  - What is it’s purpose?
  - Is it a challenge?
  - How did this flaw come about?
  - How does it affect the character and those around them?
  - How does it affect their personality?
- Flaws are not black and white.
Michael’s Framework of Personality offers another interesting perspective on character flaws

Miscellaneous

Taken from Schell
List all the character function the characters need to fulfill and map the characters you have to them.
List all the key traits possessed by each character that really define them as a person. Know your characters well.
Consider the Interpersonal circumplex to show the relationships between characters .
Analyze how each character feels about each other character and why using a Character web.
Consider character status. Whenever people interact, there is a hidden negotiation of status taking place.
- Low status behavior - fidgeting, avoiding eye contact, touching the face, being tense. They tend to go hidden.
- High status behavior - being relaxed and in control, strong eye contact, not moving your head while you speak. They are the most important in the room.
- Status is relative to the characters.
Powerful stories transform characters. Hence, consider their arcs.
Let the characters surprise us. Give us the same thing but different.