How to Make a Great Leading Character
Anyone who likes a good story will tell you that what drives them to read on is wanting to know what happens to that central character. They want to follow this person’s journey from the first page until its final conclusion. And in order to make the reader want to remain loyal to this person, they need someone who is compelling, who is charismatic and more importantly, they want someone who is filled with intrigue and personality. Not just a plain persona made out of the heroic mold. They want someone who they can relate to, someone perhaps they can see themselves as being.
We can see this in some of literature’s greatest protagonists; Odysseus, who longs to return to his family and kingdom; Frodo Baggins, who desires to spare his homelands from the ravages of war; Harry Potter, who must face a destiny that is beyond his control; or even Henry V from the William Shakespeare play, who must prove his maturity and ability to lead a nation in the fires of war and death. And that is just to name a few, and what’s more, this need for compelling characters are not just limited to just males, or even humans. They just need to have that intuitive spark that captivates their audience into wanting to be like them, and to be with them until the end.
So then, now that we covered the basic ‘why’ of the main character (MC), it’s time to examine how to make one from scratch. I’ll go into greater detail as to what is needed to be considered for your MC.
Personality

First and foremost, you need to develop a personality, whatever that may be. Will your MC be friendly, distant, rude, arrogant, kind, humble, boisterous, greedy? There are thousands of characteristics that need to be taken into consideration, but you only need a few. Keep in mind that you cannot have a perfect character. No one wants to read about a person who is perfect. They’re not interesting, at all. Look at Superman and DC Comics for example, he was virtually picture perfect in the first two years of his run. This was somewhat acceptable, because his audience was very young, but as these children grew with the comics, and their literary tastes matured, they began to look for characters with more poignancy and depth to them, which was what helped make the Marvel Comics, and their flagship stars popular with their older audiences.
Another example of forgettable MCs would have to be those seen often in the romance genre. Now to be fair there are other genres that are guilty of this flaw, but having read Janice Radway’s essay on this particular genre, I can use this area better than with the other points. But I digress. Mass produced romance novels are normally produced on a massive scale and for the most follow a very clear-cut system of clichés and formulas. You often find a supposedly independent intelligent woman, falling for and become virtual slave to the man they are trying to woo. And somehow, the couple comes to an understanding that benefits the two at the end of the book. MCs in these novels often seem very two-dimensional, so much so that it is sometimes hard to remember one very vividly and clearly from the other.
So in short, give your character flaws, real flaws, human flaws. My advise, pick at least one sin and stick with it. For my case, I used wrath, a lot. I mean A LOT. But this is just my case, and with what you are writing you need to tailor your MC to how you see fit.
Back-story
Onto the second aspect to work on. Where does your character come from? Were they a villain before? Were they a victim? Did they have a family? Did they kill their family? These are just a few questions that you will have to ask yourself when you are working on your character’s back-story. Thankfully, once you answer your first question, the rest tend to answer themselves, unless you want to make a new twist in the tale, which is never a bad thing.
Usually it helps with the story, and with the character’s drawing power, if the back-story is influential in what their personality is during the story. Learning what happens to a man’s family is important to why they are on a journey of vengeance, for example. A man searching for redemption to a past sin is another good one. To give your character reason for doing what they are doing. And again, it has to be a believable back-story, anything too far into the imagination will just make the readers think the story is just weird, period.
Own Worst Enemy
Finally, while a physical obstacle is usually required for the MC to have to face in the novel, I always like it when the worst enemy that MC has to face… is themselves. For a reader to read about someone who must face themselves as well as a ‘traditional’ antagonist can strike a very personal chord within the reader, which in turn will make them want to read on further and see if your MC is able to overcome their personal demons. Now this isn’t to say that this demon has to be completely eliminated in the end, look at George MacDonald Fraser’s “Flashman” series. But to see someone who has to face their flaws on a regular basis is rarely one that readers would come to dislike.
We ourselves have to face our demons at certain points in our lives, and to read and take some form of escape that helps to reinforce our resolve to face these demons helps to connect the MC to the readers on an intimate level. And because of this connection, there is a relationship with these characters that is more poignant then if the MC is a simple cookie-cut character.
What are your main characters like? How have you filled them with “character” to create a living, breathing, interesting person? Please share your thoughts in the comments below!
Images courtesy of Suki No Yumi and MTV.
A student at North Carolina State University, Seth Frederiksen spends time working for the Home Depot, working on his Bachelor’s Degree in History, and promoting his self-published novel, “The Norsemen’s Saga: The Lion Awakens”, exclusively available on Amazon Kindle He runs a blog, An Author’s Journey, on his website where he journals his adventure of becoming a published author and gives his personal thoughts on the world around him. Always looking for a good story, he is in constant search for the next tale to satisfy his literary tastes.


Excellent points! Almost as though you were inspired by Christopher Vogler and/or Joseph Campbell.
Great example with Superman. The problem with The Man of Steel, for me anyway, has always been that he’s too perfect, too SUPER. It makes him hard to relate to in just about every iteration – and likely why the most recent 3 films (3, 4, and Returns) were unrelatable to audiences. Clark Kent is relatable at almost every age (which is what humanizes Superman). The Dark-Superman in 3 is relatable, and was his own worst enemy. But the impervious Superman-as-hero is not (the one we saw a lot of in ‘Superman Returns,’ despite the teenage angst and depression).
What does this say? Exactly what was mentioned above. If you can relate to a character emotionally, you will invest your time and be drawn into the story.
I read a fair amount of Campbell’s “Hero with a Thousand Faces” to try and get a better feel of what I wanted for my character. Plus I read several essays on Hamlet, Henry V, and Beowulf to try and better capture the Shakespearean/Viking aspects as well.
And I’m glad you were able to enjoy the article.
Very much. Thank you.
Keep up the research and writing. Research can be key!
Ahem…Not to be picky, but the sentence about forgettable characters in “Romance” novels turned me off of this post for two reasons:
1. Romance is a traditionally disregarded genre because it is mostly written by and for women. Other genres have the same pitfalls (as anyone who’s suffered through a James Patterson book can tell you), but romance is called out on it when more masculine genres are not.
2. What you meant to write was “romance novels,” and what you wrote was “Romance novels.” Big difference, especially when you use Romances as examplars earlier (The Odyssey and LOTR, for example).
Otherwise a good article with a great premise and (probably) good advice, but I honestly couldn’t get past those two things.
That is a very fair point to make about the romance genres, and how to point out which one to critique on. And I’ve already made the changes to give a more balanced argument. Besides, it doesn’t help to establish one’s credibility if they can’t distinguish one genre from another.
Hope that makes you feel better about the whole thing.
This is a great insight to the creation of characters. I have often said that Superman is unrelatable because he is invincible and, by all objective criteria, omnipotent, but that isn’t the main thing that makes him so distant from human audiences. I think Superman’s inaccessibility stems from the fact that he is such a boyscout. Until fairly recently, he has had this sense of infallibility and moral correctness surrounding his every action, and no one wants to be constantly reminded of what awful people they are for not living up to Superman’s unrealistic standards.
While being morally correct overall is necessary for most protagonists, I would argue that weakness is at least as important. What good is a character making the right choice if there never really was a choice to begin with? What good is a character overcoming temptation if he or she is, by nature, above corruption? If a character cannot lose, they cannot really win because there never was an actual contest.
I have been working on a novel lately, and one of my main characters does some really morally reprehensible things, but I want to show, through the course of the narrative, that he either did them for the right reasons or because he didn’t feel as though he had a choice. My other main character, the one who I would argue is actually the hero of the story, does some really well-intentioned things for what some readers might argue were the wrong reasons, so I have been making an effort to find ways to balance them against each other in certain ways. Your article on main characters was inspiring to me, as it helped me to consider the importance of applying a rich texture to a character so that they are not one-dimensional and, consequently, boring.
Some other things I believe are worth considering are quirks, hobbies, interests, unique turns of phrase etc., because all of these work towards making a character into a working part of a functioning world and truly inimitable.
Also, if it helps you, one of my professors said that a way to make a character more interesting is to give them someone or something that they love dearly, and I have used this in the past to great effect. Someone who is otherwise unlikeable takes on a human dimension and sympathetic quality if he or she always has to make it home from destroying the fabric of the universe in time to feed his or her cat. This is also a way for a writer to give a character something to be taken away that they cannot afford to lose.
I also wanted to take this opportunity to briefly comment on your other article about the components to writing a novel. You expressed some discomfort with the “Twists and Turns” of a novel, and I think one of the ways that twists and turns function is that they are often events that are contradictory to expectation. If you know what you want to be surprising about your work, you can spend some time building expectations that are contrary to your actual intention.
As far as obstacles are concerned, another of my professors frequently mentioned the “ticking clock” as a device, and I just wanted to mention that imposing a time limit on your characters forces their hands and makes their hurdles and obstacles seem more urgent and their consequences seem more dire.
Thanks for the pointers and good luck!