essay on fictional character

Writing a Character Analysis Essay | Step-by-Step Guide

Chris Drew (PhD)

Dr. Chris Drew is the founder of the Helpful Professor. He holds a PhD in education and has published over 20 articles in scholarly journals. He is the former editor of the Journal of Learning Development in Higher Education. [Image Descriptor: Photo of Chris]

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I’m also going to give you a ton of examples.

This post is split into four parts for easy navigation:

• What is a Character Analysis Essay?
• What is the best Format to Use?
• 11 Character Analysis Example Ideas
• Template, Checklist and Outline for Your own Piece

In this post, I’m going to explain to you clearly and in a step-by-step way how to conduct a character analysis.

1. What is a Character Analysis Essay?

Let’s get you started with some really simple details about what a character analysis is:

• A Quick Definition: A character analysis essay zooms-in on a character in a book, movie or even real life. It provides what we sometimes call a ‘sketch’ of a character.
• The Purpose of a Character Analysis: The purpose of a character analysis is to reveal interesting details about the character that might contain a broader moral message about the human condition. For example, Atticus Finch is not just a lawyer in To Kill a Mockingbird. Rather, he provides us with a moral message about the importance of doing what you believe is right even though you know you will likely fail.

2. What is the best Character Analysis Essay Format?

Character analysis essays do not have just one format.

However, let me offer some advice that might act as a character analysis essay outline or ‘checklist’ of possible things you could discuss:

1. Start with the Simple Details.

You can start a character analysis by providing a simple, clear description of who your character is. Look at some basic identity traits such as:

• Race (if relevant)
• Social class (if relevant)
• Protagonist or Antagonist? A protagonist is the character who is our central character in the plot; the antagonist is often the protagonist’s opponent or challenger.
• Major or minor character?

2. What are the character’s distinctive personality features?

Your character might have some really clearly identifiable character traits. It’s best to highlight in your character analysis the exact traits that this character possesses. Some common character traits include:

I recommend you take a moment to write down what you think the top 3 to 5 words are that you’d use to explain your character’s personality traits. These will be important to discuss throughout your character analysis.

Sometimes a character may start out with some personality traits, but change over the course of the text. This is quite common; and one clear example of this is Lady Macbeth she deteriorates from a cutthroat power player to a guilt ridden shell of a person roaming the halls of the castle. This dramatic character change is something that makes her very interesting, and is worthy of discussion!

3. What are the character’s key relationships?

Does your character have a close relationship with a certain person in the storyline?

You might want to discuss the character’s relationships as a part of your character analysis. These relationships may reveal some key personality traits of your character.

For example, in Shakespeare’s play Hamlet, Horatio is the loyal offsider to Hamlet. Through his actions in staying by Hamlet through thick and thin, we learn that he is a deeply loyal character.

Examining the character’s relationships with their friends and foes therefore is very useful for digging deeper into who this character actually is, and what personality traits they have when they are put to the test within the narrative.

4. What are the character’s motivations?

Another thing you might want to examine are the character’s motivations . What do they desire most in the world? Some common motivations for characters in stories are:

• A simple life
• To serve others

This list really could be endless, but I hope the above examples give you a bit of an idea of the sorts of traits to look out for. By mentioning and examining the motivations of the character, we will come closer and closer to learning exactly what moral message this character might be able to tell us.

5. What are the character’s key conflicts?

Stories tend to have a beginning, a complication, and a resolution.

The complication involves conflicts and challenges that need to be overcome. For Edmund in Narnia, it’s cowardice. For Romeo and Juliet, it’s the conflict between love and family loyalty. Here’s some other common conflicts for characters:

• Whether to stay loyal to a friend;
• To overcome obstacles to love;
• To seek a way out of a challenging situation;
• To escape war or poverty;
• To persevere through imprisonment;
• To overcome personal fear

Again, this list is endless.

Knowing the character’s core conflict gets us even closer to knowing the moral that the character is trying to teach us.

For example, in Romeo and Juliet, the challenge of Romeo and Juliet being together despite their families’ objections teaches us something. Personally, I believe it teaches us the importance of letting go of old grudges in order to let love bloom.

This moral lesson was taught to us through conflict: namely, the conflict that Romeo and Juliet were right in the center of.

6. What are the character’s epiphanies?

Sometimes a character has an epiphany. This often happens towards the end of the story and helps the character overcome the challenge or conflict that we discussed in the point above.

Here’s an example of an epiphany:

• In the Lion King, Simba runs away from his tribe to live in exile. After a chance encounter with his childhood friend Nala, he has an epiphany that he has a duty to his tribe. This leads him back home to fight Scar and return freedom to Pride Rock.

Not all characters have an epiphany. But, if they do, I strongly encourage you to write about it in your character analysis.

7. Examine the moral message the character teaches us.

Finally, conclude by examining the moral message behind the character. Nearly every character has something to teach the reader. Authors put a lot of thought into creating complex characters with whom we can relate. We relate to the character and say “wow, they taught me a lesson about something!”

The lesson might be something like:

• Money doesn’t buy happiness;
• Loyalty to family comes above all else;
• Love gives life meaning;
• Honesty is always the best policy

This is the core of your character analysis essay. If you can pick out exactly what moral message the character teaches you, you’ll be well on your way to writing a strong character analysis.

Below I’m going to give you some examples to help you out. I know it can be hard to really get your head around a character, so sometimes the best thing is to look at some samples!

3. Here’s 13 Example Character Analysis Essay Ideas.

Most times when we create a character analysis, we’re exploring the deeper moral stories / aspects of humanity. Here’s some example ideas. I’ve tried to outline in less than a paragraph exactly what your key point will be about each character:

• Atticus Finch from To Kill a Mockingbird: A character who teaches us a lesson about standing up for what’s right, even if you know you’re likely to lose.
• Huckleberry Finn from Huckleberry Finn: A character who reveals our inner desire for freedom from the elements of society that constrain us.
• Dudley from Harry Potter: A character whose personality tells us a cautionary tale of the perils of middle-class narcissism, parents’ desire to wrap their children in cotton wool, and the lack of discipline we perceive in contemporary childhoods.
• Jack from Lord of the Flies: A character who represents the innate desire for power that seems to lurk not too far from the surface of the human condition. When social structures are stripped away, he quickly reverts to violence and superstition to assert control over his peers.
• Lady Macbeth from Macbeth: Lady Macbeth teaches us a valuable lesson about the perils of contravening our own morality. She starts out a cutthroat killer but is increasingly consumed by the guilt of her own actions. While we may be able to escape full punishment from outside forces, it is the inner guilt that might eat us away to our last.
• The Boy who Cried Wolf: The boy who cried wolf is a character whose fatal flaw is his desire for attention and adulation. His repeated attempts at gaining the attention of others leads the townspeople to no longer take him seriously, which causes him harm when he actually needs the villagers to take him seriously to save his life. He teaches us the virtue of honest and humility.
• Nick Carraway from the Great Gatsby: Nick shows us all the inner conflict between the trappings of wealth, glamor and spectacle; and the desire for simplicity, honesty and community. He is drawn by the dazzling world of East Egg, New York, but by the end of the novel sees live in East Egg as shallow and lacking the moral depth of his former life in small town Minnesota.
• Alice from Alice in Wonderland: In many ways, Alice represents the child within all of us. She is a character of goodwill to all and who looks upon the world (or, rather, Wonderland) with awe. Travelling with a cadre of flawed characters, she learns with them the importance of seeking strength from within.
• The Nurse in Romeo and Juliet: Like many Shakespearian characters, the nurse’s role is both as loyal confidante to a central character and comic relief. Shakespeare uses minor characters to regale his crowd and sustain viewer interest between scenes.
• Lucy in The Lion, the Witch and the Wardrobe: Lucy represents a surprising character whose youthfulness and small stature make her an underrated character by all around her. Nonetheless, she possesses within the bravery and loyalty necessary to carry out the quest for Aslan. Lucy represents the goodness in children and, by extension, all of mankind.
• Anne in Anne of Green Gables: Anne occupies the typical literary role of young girls in many classical novels: she represents innocence and wonder, and her contraventions of rules are seen through a prism of childhood innocence. This frames Anne not as a deviant but as a precious soul.
• Simba from The Lion King: Simba’s story follows his struggle with growing up, embracing his destiny and duty to his family, or fleeing towards freedom and a ‘no worries’ lifestyle. Simba flees Pride Rock and goes through an existential crisis with his existentialist friends Timon and Pumba. When he runs into an old childhood friend, he realizes how shallow his new carefree life has become and reflects upon his obligation to his community back home.
• Woody from Toy Story: Woody starts out Andy’s favorite toy, but when Andy gets a new flashier toy, Woody’s status amongst the toys falls apart. Woody’s key character challenge is to learn to be humble and inclusive living within the group. By the end of the movie, Woody realizes his duty to love and serve Andy is more important than his own status within the group.

4. Here’s an Example Template for your own Character Analysis Essay

Feel free to use this brainstorming template to get you started with your character analysis essay. I recommend filling out as many of these key points as you can, but remember sometimes you might have to skip some of these points if they’re not relevant to your character.

Once you’ve brainstormed the ideas in Table 1, follow the character analysis essay outline in Table 2 to stay on track for your character analysis essay. Do remember though that each assignment will be different and you should adjust it based on your teacher’s requirements.

Here’s Table 1, which is a brainstorming template for your character analysis essay:

And here’s Table 2, which is an example character analysis essay outline. This is for a 1500 word character analysis essay. Change the word count according to how long your essay should be:

Read Also: 39 Better Ways to Write ‘In Conclusion’ in an Essay

Character analyses can be really tough. You need to know your character really well. You might even need to re-read (or watch) your book or movie a few times over to get to know the character really well.

I recommend when you re-read or re-watch the text before you write your character analysis, have the checklist I provided above handy and take notes. Then, use the essay outline I provided above to put all of those notes together into a clear and thorough final character analysis essay.

• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd-2/ 10 Reasons you’re Perpetually Single
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• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd-2/ 21 Montessori Homeschool Setups
• Chris Drew (PhD) https://helpfulprofessor.com/author/chris-drew-phd-2/ 101 Hidden Talents Examples

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How to Write a Character Analysis Essay

A character analysis essay is a challenging type of essay students usually write for literature or English courses. In this article, we will explain the definition of character analysis and how to approach it. We will also touch on how to analyze characters and guide you through writing character analysis essays.

Typically, this kind of writing requires students to describe the character in the story's context. This can be fulfilled by analyzing the relationship between the character in question and other personas. Although, sometimes, giving your personal opinion and analysis of a specific character is also appropriate.

Let's explain the specifics of how to do a character analysis by getting straight to defining what is a character analysis. Our term paper writers will have you covered with a thorough guide!

What Is a Character Analysis Essay?

The character analysis definition explains the in-depth personality traits and analyzes characteristics of a certain hero. Mostly, the characters are from literature, but sometimes other art forms, such as cinematography. In a character analysis essay, your main job is to tell the reader who the character is and what role they play in the story. Therefore, despite your personal opinion and preferences, it is really important to use your critical thinking skills and be objective toward the character you are analyzing. A character analysis essay usually involves the character's relationship with others, their behavior, manner of speaking, how they look, and many other characteristics.

Although it's not a section about your job experience or education on a resume, sometimes it is appropriate to give your personal opinion and analysis of a particular character.

What Is the Purpose of a Character Analysis Essay

More than fulfilling a requirement, this type of essay mainly helps the reader understand the character and their world. One of the essential purposes of a character analysis essay is to look at the anatomy of a character in the story and dissect who they are. We must be able to study how the character was shaped and then learn from their life. 

A good example of a character for a character analysis essay is Daisy Buchanan from 'The Great Gatsby.' The essay starts off by explaining who Daisy is and how she relates to the main character, Jay Gatsby. Depending on your audience, you need to decide how much of the plot should be included. If the entire class writes an essay on Daisy Buchanan, it is logical to assume everyone has read the book. Although, if you know for certain that your audience has little to no knowledge of who she is, it is crucial to include as much background information as possible. 

After that, you must explain the character through certain situations involving her and what she said or did. Make sure to explain to the reader why you included certain episodes and how they have showcased the character. Finally, summarize everything by clearly stating the character's purpose and role in the story. 

We also highly recommend reading how to write a hook for an essay .

Still Need Help with Your Character Analysis Essay?

Different types of characters.

To make it clear how a reader learns about a character in the story, you should note that several characters are based on their behaviors, traits, and roles within a story. We have gathered some of them, along with vivid examples from famous literature and cinema pieces:

Types of Characters

• Major : These are the main characters; they run the story. Regularly, there are only one or two major characters. Major characters are usually of two types: the protagonist – the good guy, and the antagonist: the bad guy or the villain. 
• Protagonist (s) (heroes): The main character around whom most of the plot revolves. 

For example, Othello from Shakespeare's play, Frodo from The Lord of the Rings by J.R.R. Tolkien, Harry Potter from the Harry Potter series by J.K. Rowling, and Elizabeth Bennet from 'Pride and Prejudice' by Jane Austen.

• Antagonist (s): This is the person that is in opposition to the protagonist. This is usually the villain, but it could also be a natural power, set of circumstances, majestic being, etc. 

For example, Darth Vader from the Star Wars series by George Lucas, King Joffrey from Game of Thrones, or the Wicked Queen from 'Snow White and Seven Dwarfs.'

• Minor : These characters help tell the major character's tale by letting them interact and reveal their personalities, situations, and/or stories. They are commonly static (unchanging). The minor characters in The Lord of the Rings by J.R.R. Tolkien would be the whole Fellowship of the ring. In their own way, each member of the Fellowship helps Frodo get the ring to Mordor; without them, the protagonist would not be a protagonist and would not be able to succeed. In the Harry Potter series by J.K. Rowling, minor characters are Ronald Weasley and Hermione Granger. They consistently help Harry Potter on his quests against Voldemort, and, like Frodo, he wouldn't have succeeded without them.

On top of being categorized as a protagonist, antagonist, or minor character, a character can also be dynamic, static, or foil.

• Dynamic (changing): Very often, the main character is dynamic.

An example would also be Harry Potter from the book series by J.K. Rowling. Throughout the series, we see Harry Potter noticing his likeness to Voldemort. Nevertheless, Harry resists these traits because, unlike Voldemort, he is a good person and resists any desire to become a dark wizard.

• Static (unchanging): Someone who does not change throughout the story is static.

A good example of a static character is Atticus Finch from “How to Kill a Mockingbird” by Harper Lee. His character and views do not change throughout the book. He is firm and steady in his beliefs despite controversial circumstances. 

• Foils : These characters' job is to draw attention to the main character(s) to enhance the protagonist's role.

‍ A great example of a foil charact e r is Dr. Watson from the Sherlock Holmes series by Arthur Conan Doyle.

How to Analyze a Character 

While preparing to analyze your character, make sure to read the story carefully.

• Pay attention to the situations where the character is involved, their dialogues, and their role in the plot.
• Make sure you include information about what your character achieves on a big scale and how they influence other characters.
• Despite the categories above, try thinking outside the box and explore your character from around.
• Avoid general statements and being too basic. Instead, focus on exploring the complexities and details of your character(s).

How to Write a Character Analysis Essay?

To learn how to write a character analysis essay and gather a more profound sense of truly understanding these characters, one must completely immerse themself in the story or literary piece.

• Take note of the setting, climax, and other important academic parts.
• You must be able to feel and see through the characters. Observe how analysis essay writer shaped these characters into life.
• Notice how little or how vast the character identities were described.
• Look at the characters' morals and behaviors and how they have affected situations and other characters throughout the story.
• Finally, observe the characters whom you find interesting. 

Meanwhile, if you need help writing a paper, leave us a message ' write my paper .'

How Do You Start a Character Analysis Essay

When writing a character analysis essay, first, you have to choose a character you'd like to write about. Sometimes a character will be readily assigned to you. It's wise to consider characters who play a dynamic role in the story. This will captivate the reader as there will be much information about these personas.

Read the Story

You might think that if you already have read the book, there is no need to do so again; however, now that you know the character you would like to focus on, reading it again will have plenty of benefits. It will give you an opportunity to be more precise while reading the scenes that relate directly to your character and are important for his/her analysis. While reading the book, pay attention to every tiny detail to make sure you grasp the whole array of your character's traits. 

Consider the following things:

• What specific descriptions does the author provide for each character?

For example, when J.K. Rowling describes Harry Potter for the first time, she describes his clothes as old and oversized, his hair untidy, and his glasses as broken. It might seem just like a simple description, but she expresses compassion and pity for an orphan neglected by his only relatives. 

• What kinds of relationships does your character have with others?

Think about how Harry builds up his friendships with others. First, he and Ron do not like Hermione because she acts like a know-it-all, but when she gets stuck in the dungeons with a horrendous troll, he rushes to save her regardless. 

• How do the actions of the character move the plot forward?

In 'The Philosopher's Stone,' Harry is very observant of any events taking place at school. He analyzes people's actions, which builds up the plot around the stone and its importance for the magical world.

Get help with your character analysis from our experts.

Choose a Dynamic Character

Choosing a dynamic character is a great idea. This does not necessarily have to be the protagonist, but a character that undergoes many changes has grown throughout the story and is not boring and/or static. This gives you a perfect advantage to fully show the character and make your paper entertaining and engaging for the reader. If you choose a character that is not very dynamic, your essay might seem monotonous because your character will not end up doing much and will not be very involved in the story.

While you are reading, it is useful to take notes or highlight/underline any of the critical elements of the story. This will add depth to your character description(s). By providing vivid and specific examples, you connect your reader to the character, and the character comes alive in their eyes. Review your notes and formulate the main idea about your character when you're finished reading with your character in mind.

Make an initial draft while taking note of the character analysis essay outline provided by your instructor. You may follow the recommended character analysis essay format if you have not been provided with a sample.

Choose a Main Idea

While reading the story, make sure you keep track of your notes. It is a good idea to look at them, choose the ones that are the most representative of your character and find patterns. This will be your thesis. Then, you must support this idea with examples and situations involving your character. 

If your character were Jem Finch from 'To Kill a Mockingbird' by Harper Lee, the main idea would be how his personal character is shaped through racial conflicts, social inequalities, and internal struggles between public opinion, his own views, and what is actually right. Essaypro offers you history essay help. Leave us a notice if you need to proofread, edit, or write your essay.

Character Analysis Questions

Now that you have jotted down some main concepts about your character, here is a list of questions that can help you fill in the blanks you might still have:

• Where do the events involving your character take place?
• What are the relationships between your character and other significant characters?
• What is the primary change your character has gone through throughout the story?
• What is your character's background?
• What is your character's occupation?
• What kind of emotions does your character go through?
• What are your character's values?
• What is your character's value?
• Does your character have friends?
• Is there a lesson your character has learned by the end of the story?
• Does the character achieve the goals he/she has set for himself/herself?

Make a Character Analysis Essay Outline

When you're unsure how to write a character synopsis, remember that creating a literary analysis outline is one of the most critical steps. A well-constructed character analysis outline will keep your thoughts and ideas organized.

Character Analysis Essay Introduction:

Make the introduction to your paper brief and meaningful. It should hold together your entire essay and spark your audience's interest. Write a short description of the character in question. Don't forget to include a character analysis thesis statement which should make a case for the character's relevance within the narrative context.

Character Analysis Essay Body:

Subdivide your body paragraphs into different ideas or areas regarding the character. Look at your professor's rubric and ensure you'll be able to tackle all the requirements. You should also be provided with questions to be answered to formulate your analysis better. The body should answer the following questions:

• What is the character's physical appearance, personality, and background?
• What are the conflicts the character experiences, and how did he/she overcome them?
• What can we learn from this character?
• What is the meaning behind the character's actions? What motivates him/her?
• What does the character do? How does he/she treat others? Is he/she fair or unjust?
• What does the character say? What is his/her choice of words? Does he/she have a rich vocabulary?
• How does the character describe themself? How do others describe him/her?
• What words do you associate with the character? Perhaps a word like 'hope,' 'bravery,' or maybe even 'freedom'?

Character Analysis Essay Conclusion:

It's time to master the secrets of how to write character analysis essay conclusions. Your ending should also hold your ideas together and shape a final analysis statement. Mention things about the character's conflicts that we could experience in real life. Additionally, you can write about how a character should've reacted to a certain situation.

Character Analysis Essay Example

Read our blogs ‘Character Analysis of Jem Finch', 'The Great Gatsby Book Through Daisy Buchanan Character,' 'Analysis of Characters in Beowulf,' or simply use these character analysis essay examples to reference your paper. You might also be interested in a synthesis essay example .

Now that you know what is character analysis, it might be time to choose a character to write about. If you find yourself in a situation where you need to type ' do my homework for me ,' you should contact our writers. You also get a free plagiarism report, formatting, and citing when  buying an essay from us!

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How To Write A Character Analysis Essay?

How to start a character analysis essay, how to write an introduction for a character analysis essay.

is an expert in nursing and healthcare, with a strong background in history, law, and literature. Holding advanced degrees in nursing and public health, his analytical approach and comprehensive knowledge help students navigate complex topics. On EssayPro blog, Adam provides insightful articles on everything from historical analysis to the intricacies of healthcare policies. In his downtime, he enjoys historical documentaries and volunteering at local clinics.

How to Write an Essay on My Favorite Fictional Character: 3 Unique Examples

Writing an essay on your favorite fictional character is an exciting way to express your passion for storytelling and showcase your analytical skills. Whether your beloved character is from a novel, movie, or television series, you can create a compelling argument about why they stand out. In this guide, we'll explore three unique examples and offer tips to help you craft an engaging essay.

• What is a Fictional Character Essay?

A fictional character essay delves into the personality, background, and significance of a character from a work of fiction. This type of essay often includes analysis of the character's traits, actions, and impact on the storyline. It may also explore how the character relates to themes, other characters, or the real world.

• The Anatomy of a Good Fictional Character Essay

While each essay has its unique structure, a well-crafted fictional character essay generally includes the following:

Introduction

• Hook : Draw readers in with an interesting fact or quote related to your character.
• Thesis statement : State your main argument or what you'll focus on in your analysis.

Body Paragraphs

• Character analysis : Discuss the character's traits, motivations, and growth throughout the story.
• Role in the story : Explain how the character influences the plot and interacts with other characters.
• Personal reflection : Share why this character resonates with you personally.
• Restate your thesis : Summarize your main points succinctly.
• Closing thought : End with a reflection or a call to action for readers to consider.
• Crafting an Engaging Introduction

Your introduction should capture the reader's attention and provide a clear direction for your essay. Here's an example of how you can begin:

Hook : "In a world filled with extraordinary tales, one character has captured the hearts of millions—attesting to the power of an engaging personality."

Thesis Statement : "This essay explores why Hermione Granger from the Harry Potter series is an exemplary role model, illustrating how intelligence, bravery, and loyalty combine to create a compelling character."

Example 1: Harry Potter's Hermione Granger

Character analysis.

Hermione Granger is portrayed as exceptionally intelligent, hardworking, and resourceful. Her traits often set her apart as the brains behind the trio's adventures. Throughout the series, Hermione demonstrates a growth curve that transforms her from a know-it-all student into a brave, loyal friend and a fierce advocate for justice.

Role in the Story

Hermione's knowledge and quick thinking often save her friends from perilous situations. She is integral to the storyline, assisting Harry and Ron in uncovering crucial information and forming plans that ensure their survival. Her interactions with other characters reveal her depth, from her compassion towards house-elves to her fiery debates with Professor Umbridge.

Personal Reflection

Hermione Granger resonated deeply with me due to her relentless pursuit of knowledge and her unyielding moral compass. Her character showed me that being smart isn't about memorizing books but having the wisdom to use that knowledge for the greater good.

• Example 2: Atticus Finch from To Kill a Mockingbird

Atticus Finch is a paragon of virtue, standing for justice and equality in the racially-charged South. His calm demeanor, moral integrity, and unwavering belief in the goodness of people make him one of the best fictional heroes of all time.

As the father of Scout and Jem, Atticus instills values of empathy and courage in his children. His role as a lawyer defending a Black man falsely accused of rape exemplifies the fight against racial injustice. Through Atticus, the narrative spotlights the importance of standing up for the right thing, even when it’s unpopular.

Atticus Finch's character taught me about the strength required to adhere to one's principles, even amidst adversity. His quiet, powerful courage inspired me to believe in the fight for justice in my own life.

• Example 3: Elizabeth Bennet from Pride and Prejudice

Elizabeth Bennet stands out for her wit, intelligence, and independence. Her sharp observations and unwillingness to conform to societal expectations create a dynamic character who navigates the complexities of love, class, and personal growth.

Elizabeth's relationship with Mr. Darcy is central to the plot, highlighting themes of pride, prejudice, and eventual understanding. Through her interactions, we explore issues of social mobility and the constraints placed on women in the Regency era. Elizabeth's honesty and refusal to be swayed by wealth or status signify her unique strength and appeal.

Elizabeth Bennet's character appealed to me because of her independence and sharp intellect. She showed me that one's worth isn't determined by societal norms but by one's character and choices.

• Tips for Writing a Fictional Character Essay
• Choose a Character You Relate To : Picking a character that you find interesting will make your essay more genuine and passionate.
• Use Textual Evidence : Support your analysis with quotes and events from the source material to make your argument stronger.
• Explore Multiple Dimensions : Delve into different aspects of the character, including their flaws and development arcs.
• Make Connections : Link the character’s experiences and traits to broader themes or real-world issues to make your essay more impactful.
• Be Personal : Don't shy away from incorporating your personal reflections and connections to the character, as it adds depth to your analysis.
• Final Words

Writing an essay about your favorite fictional character offers a fantastic opportunity to explore storytelling and character creation. By breaking down elements like their traits, roles, and impacts, you can craft an insightful and engaging essay that highlights your analytical skills.

Remember, whether it's the intellectual prowess of Hermione Granger, the moral fortitude of Atticus Finch, or the spirited independence of Elizabeth Bennet, choosing a character that resonates with you will make your writing process more enjoyable and your essay more compelling.

How to Write an Essay on My Favorite Animal and Why: 3 Best Examples

Writing about your favorite animal can be both fun and enlightening. Dive into essential tips and inspiring examples that help you craft an essay expressing your admiration and personal connection.

How to Write an Essay on My Favorite School Subject: 3 Best Examples

Writing an essay about your favorite school subject is a great way to express your passion and share personal experiences. Discover how to craft a compelling narrative with stellar examples and tips to make your essay stand out.

30 ‘In Conclusion’ Synonyms and How To Use Them Write Better Essays

A strong closing section is essential for any essay. Whether you’re writing an argumentative essay, an exposition, or a narrative essay, the conclusion needs to be one of the most impactful parts of your writing. If you’re looking at ‘in conclusion’ synonyms, then you likely need some help with crafting an impactful summary section.

• Example 1: Harry Potter's Hermione Granger

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Listen to the essay, as read by Blakey Vermeule, the Albert Guérard Professor in Literature in the School of Humanities & Sciences.

For as long as I can remember, I’ve relied on fictional characters to help me steer through the social world. I never had an imaginary friend growing up, but I was always jealous of kids who did. I suspect a lot of those kids turned out to be fiction writers and poets.

Now after half a lifetime teaching literature, I walk around inside a vast pantheon of fictional people. I draw on their experiences – occasionally, a fictional character saves me from having to learn something the long, hard way. Big 19th-century novels are the best. To be a literary character – especially in a big 19th-century novel – is to be a sentient, suffering creature in a plight.

Novels are the ultimate experience machines. They help you learn a lot about your fellow creatures, what we go through, how highly sensitive we are, and what makes us tick. You really can’t put anything over on George Eliot, Flaubert, or Leo Tolstoy. They’ve seen it all and then some.

I am fascinated by why humans relate to fictional characters. We use fictional characters to extend our minds out into the world and to break the world down to a manageable size. The practice is ancient and universal. My guess is that fictional characters are a tool of cooperation, groupishness. When you and your friend share stories, fictional-character talk can save a lot of time.

For example, my buddy once described his colleague as “Gilderoy Lockhart” – and I knew exactly what he meant – vain, rhetorically gifted, empty, a show pony. Fictional characters can also be, dare I say it, a source of moral self-knowledge. When I was chair of my department, once in a while I started to feel as though I was turning into Dolores Umbridge. I like to think I was able to stop myself and correct the course. So thank you, Harry Potter.

“We use fictional characters to extend our minds out into the world and to break the world down to a manageable size. The practice is ancient and universal.”

Let me propose a definition. It is a bit quixotic but bear with me. A literary character is anybody beyond your circle of ken in whom you take a rooting interest. Living people count – I imagine we all have a rooting interest in Donald Trump. But so do fictional creations sprung wholly formed from the heads of their creators. We think about them in similar ways, using the same building blocks of storytelling.

Think about the extent to which you are rooting for or against Elon Musk, or Elizabeth Holmes, or Meghan Markle, or any of the many heroes and villains who populate Twitter. There’s of course a crucial difference between wholly fictional creations and real people – more on that below.

From heroes and villains, humans create archetypes, familiar characters who mediate our experience of the world around us. For most of our history, archetypes were collective and their authorship was anonymous. The internet has made it so again. The era of single, identifiable authorship may turn out to be a historical blip.

Archetypes sell. When George Lucas let the world in on his secret that Joseph Campbell’s ideas infused Star Wars , Hollywood discovered the hero’s journey. For decades, the hero’s journey has powered the money engine. Because it works.

You can’t go wrong with a good old-fashioned hero’s journey, complete with helpers, magic tools, a trip to the underworld, and finally some measure of social acceptance. But why does it work? Why do humans think in archetypes? What features of human cognition are involved?

I’ve been puzzling over these questions since I was in high school. I went to a religious high school, and I rebelled by taking the religious questions more seriously than I was supposed to. I loved science, especially Darwin, and I reasoned myself into atheism. I just couldn’t understand why very smart people seemed to believe in such strange, violent, often disconnected stories. I started paying very close attention to what people do believe. I was especially fascinated by stories that some people believe to be true which others find obviously not true. I found a lifelong intellectual obsession.

My intellectual obsession has long since given way to wonder. I’ve come to see how story-besotted we are as one of the beautiful, mysterious – indeed mystical – things about us. “Believe” is the wrong word to describe what people are doing with stories – a better word might be “become motivated by.” We are creatures who, uniquely, become motivated by stories and thus powerfully extend our cognition. Many aspects of our minds are involved. In fact, our minds seem to thirst after fictional characters. But why? I wrote an entire book on the subject over a decade ago, and I’m still puzzled and fascinated by this question.

Blakey Vermeule, the Albert Guérard Professor in Literature (Image credit: L.A. Cicero)

Especially fascinating are the cases of flesh and blood people who wander into archetypal space. Politicians morph into archetypes because they summon up vast historical, economic, and political forces.

Hillary Clinton is a good example. Hillary Clinton is the establishment face of second-wave feminism, both its beneficiary and its luminary. But she is also, after a decades-long campaign by Rupert Murdoch and other right-wing press barons, an evil queen who taxes the people to line her own coffers – a latter-day Eleanor of Provence, the original target of “Lock her up!” who collected revenue on London’s bridges from her seat in France.

Barack Obama took to making jokes about the archetypal energies swirling around his 2008 campaign: “Contrary to the rumors you have heard, I was not born in a manger. I was actually born on Krypton and sent here by my father, Jor-El, to save the planet Earth.”

Michael Corleone and Tony Soprano became beloved cultural icons despite being ruthless killers, and they prepared the way for Donald Trump, who put his own spin on the eccentric mob boss who makes it big in Hollywood. Elon Musk is a strange tech wizard with beneficent or malign intentions, depending on which Twitter team you are on. To some people, Anthony Fauci channeled the wise grandfather whose counsel could heal us; to others, he came to represent the heavy hand of the state in a foppish velvet glove. And so on.

The internet makes it easy for humans to wander into archetypal space. Unfortunately, it also makes it easy for archetypal space to catch ordinary mortals in its net. It is getting harder and harder to be an ordinary person in an ordinary muddle; now we have to stand for something or represent something. Humans aren’t used to being able to take their feelings about fictional characters out on real people, but now we can easily.

All day long, we create and digest tiny narratives about one another through tweets, posts, fleeting stories. So perhaps my question has evolved from why we care about literary characters to something more ethically pointed: How do we live with quasi-fictional characters whose lives we know very little about but who are hard to escape and whose micro-myths increasingly shape our politics, culture, and our lives?

Blakey Vermeule  is the Albert Guérard Professor in Literature in the School of Humanities & Sciences .

In Their Own Words is a collaboration between the Stanford Public Humanities Initiative  and Stanford University Communications.

If you’re a Stanford faculty member (in any discipline or school) who is interested in writing an essay for this series, please reach out to Natalie Jabbar at [email protected] .

How to Write a Character Analysis Essay Like a PRO

Mark Bradford

Have you ever wondered how to tackle a character analysis essay without breaking a sweat? Well, you're in the right place! In the realm of literature and English courses, these essays can be a bit tricky. But fear not, because, in this article, we're going to break down what character analysis is all about and show you the ropes on how to handle it.

We'll explore the nuances of character analysis, from understanding the character's context in the story to dissecting their relationships with other folks in the narrative. There's room for your personal take, too! Consider this your go-to resource, providing a thorough guide. And hey, if you ever find yourself in need of a professionally crafted essay, we've got you covered – just check out our platform, where you can pay for essays online !

What Is A Character Analysis Essay?

A character analysis essay goes deep into exploring the distinctive traits of a character found in literature or sometimes in other art forms like movies. Its main purpose is to help readers understand who the character is and their role in the story. Even though you might have personal opinions, it's crucial to approach the analysis objectively, using critical thinking skills. You'll be looking at various aspects, such as how the character interacts with others, their behavior, how they speak, and even their physical appearance.

For instance, think about how Harry Potter's courage and loyalty define his character throughout the series. In a character analysis essay, you'd explore these traits and their impact on the overall narrative. It's not like writing a resume, but there are moments where you can share your personal insights into the character, like why you think a certain trait makes them memorable or how it contributes to the story.

Why Write a Character Analysis Essay?

The purpose of a character analysis essay is to provide a detailed exploration of a character's attributes and their role within a narrative. By scrutinizing their actions, thoughts, and interactions with others, readers gain insight into the character's growth or transformation over the course of the story.

Another purpose is to uncover the underlying motivations and personality traits of a character. By examining their behaviors, decisions, and relationships, the essay aims to reveal the psychological and emotional makeup of the character, providing readers with a deeper understanding of the character's role in the story.

A character analysis essay contributes to a more comprehensive interpretation of the literary work as a whole. By dissecting the characters and their significance, readers can better appreciate the author's intentions, thematic elements, and the overall impact of the characters on the narrative structure. This analysis enriches the reader's experience and allows for a more profound engagement with the text.

Types of Characters

Characters in literature come in various types, each serving a unique role in shaping the narrative. Let's explore a few common character archetypes:

• Protagonist: The protagonist is the central character driving the story forward. Often, they face challenges or conflicts that form the core of the narrative. Examples include Harry Potter in J.K. Rowling's series or Katniss Everdeen in Suzanne Collins' 'The Hunger Games.'
• Antagonist: The antagonist opposes the protagonist, creating conflict and tension in the story. Iconic antagonists include Lord Voldemort in the Harry Potter series or the Wicked Witch of the West in L. Frank Baum's 'The Wizard of Oz.'
• Round characters: These characters undergo significant development and change throughout the story. An excellent example is Ebenezer Scrooge in Charles Dickens' 'A Christmas Carol,' who transforms from a miserly figure to a generous and compassionate person.
• Flat characters: Unlike round characters, flat characters do not undergo substantial development. They serve a specific role or function in the plot without significant change. A classic example is Shakespeare's Mercutio in 'Romeo and Juliet.'
• Dynamic characters: Dynamic characters experience internal transformation or growth during the story. Jay Gatsby in F. Scott Fitzgerald's 'The Great Gatsby' is a prime example, evolving from a mysterious and enigmatic figure to a tragic character driven by love.
• Static characters: In contrast, static characters remain unchanged throughout the narrative. Miss Havisham in Charles Dickens' 'Great Expectations' is a static character, trapped in her jilted state and unable to move on.
• Foils: Foil characters contrast with the protagonist, highlighting specific traits or characteristics. Dr. John Watson serves as a foil to Sherlock Holmes in Arthur Conan Doyle's stories, accentuating Holmes' exceptional deductive abilities.
• Stock characters: These are stereotypical characters embodying conventional traits. The sidekick or the wise old mentor often falls into this category. Think of Samwise Gamgee as Frodo's loyal sidekick in J.R.R. Tolkien's 'The Lord of the Rings.'

How to Analyze a Character?

When analyzing a character, keep these tips in mind:

• Identify the character's key traits—both physical and psychological—to understand their personality, motivations, and conflicts.
• Analyze the character's relationships with others, considering how these interactions shape their development and reveal aspects of their personality.
• Consider the character's role in advancing the plot and conveying the author's themes or messages.
• If the character evolves throughout the story, track key moments that contribute to their development.
• Identify foil characters that contrast with the one you're analyzing, providing additional insights into their traits.
• Reflect on the author's intent in creating the character and how they contribute to the overall narrative.
• Share your personal insights on what makes the character stand out or resonate with you.

Character Analysis Essay Outline

Here's a comprehensive outline for a character analysis essay:

I. Introduction

A. Hook: - Engage readers with a captivating quote, question, or anecdote related to the character.

B. Introduction of the character: - Provide basic information about the character, including their name, the work they appear in, and the author.

C. Thesis statement: - Present a concise thesis statement that outlines the key traits and significance of the character in the story.

II. Background and setting

A. Context: - Briefly describe the setting and context in which the character exists.

B. Introduction of other key characters: - Introduce characters who play significant roles in the character's life or influence their development.

III. Physical and psychological traits

A. Physical traits: - Detail the character's physical appearance, highlighting any distinctive features.

B. Psychological traits: - Explore the character's personality, motivations, fears, desires, and any internal conflicts.

IV. Relationships and interactions

A. Family and friends: - Analyze the character's relationships with family and friends, exploring how these dynamics shape their identity.

B. Romantic relationships (if applicable): - Examine any romantic relationships and their impact on the character's development.

C. Interaction with other characters: - Discuss key interactions with other characters, identifying conflicts or alliances.

V. Character development

A. Evolution throughout the story: - Track the character's development, identifying key moments that contribute to their growth or transformation.

B. Turning points: - Highlight significant turning points in the character's journey.

VI. Role in the plot

A. Protagonist or antagonist: - Clarify whether the character is the protagonist, antagonist, or a supporting figure.

B. Contribution to themes: - Explore how the character contributes to the overarching themes of the narrative.

VII. Symbolism

A. Symbolic representations: - Investigate whether the character embodies symbolic meanings or represents broader ideas.

VIII. Foils and contrasts

A. Identify foil characters: - Discuss any foil characters that contrast with the character under analysis.

IX. Conclusion

A. Restate thesis: - Recap the key traits and significance of the character.

B. Summary of analysis: - Provide a brief summary of the main points discussed in the essay.

C. Closing thoughts: - Conclude with final thoughts on the character's impact and significance within the narrative.

X. Personal reflection (optional)

A. Share your perspective: - Optionally, include a brief personal reflection on what makes the character memorable or significant to you.

How to Start a Character Analysis Essay?

Starting a character analysis essay is like taking a closer look at your favorite characters from books or movies. It's about understanding what makes them interesting. But how do you begin? Let's get into the details and talk about the basic steps. Whether you choose to buy an essay or tackle it yourself, knowing these will help you uncover the important aspects of those fictional characters and make your essay stand out with insights.

Explore the Story

Before diving into character analysis or poetry analysis essay , fully immerse yourself in the story. Whether it's a novel, a movie, or a TV series, pay close attention to the characters' actions, words, and how they relate to others. In George Orwell's '1984,' exploring Winston Smith's journey in a dystopian society adds depth to understanding the character. Take note of pivotal moments and the overall plot to grasp the character's role within the narrative.

Pick a Dynamic Character

Select a character who undergoes significant changes or growth. Dynamic characters provide rich material for analysis as they navigate challenges and evolve. Take Scout Finch from Harper Lee's 'To Kill a Mockingbird' as an example. Scout starts as an innocent child and matures through exposure to prejudice and injustice. Dynamic characters like Scout offer a wealth of material to explore, shedding light on the story's themes and the character's personal development. Focus on those who go through transformative journeys, as they often offer the most profound insights.

As you delve deeper into the story, make detailed notes about the character. Document their traits, behaviors, and key moments that shape their identity. Consider both the obvious and subtle aspects, such as speech patterns, relationships, and how they respond to challenges. For instance, in William Golding's 'Lord of the Flies,' notes on Jack's descent into savagery and power struggles with Ralph provide essential insights. Organize your observations to build a comprehensive profile, serving as the foundation for your analysis.

Select a Central Theme

Identify a central theme that resonates with the character's journey. Themes can range from love and sacrifice to power and redemption. For example, in F. Scott Fitzgerald's 'The Great Gatsby,' the theme of the American Dream is central to Jay Gatsby's character. Understanding how the character embodies or challenges the chosen theme adds a layer of complexity to your analysis. By focusing on a central theme, you can unravel deeper meanings behind the character's actions and contribute to a more nuanced exploration in your essay.

Make Questions for Analyzing Characters

Pose thoughtful questions to guide your analysis and delve into the nuances of the character. Consider questions that touch on different aspects of their personality, motivations, and relationships. Here are some examples:

What motivates the character?

• Explore the driving forces behind their actions and decisions.

How does the character interact with others?

• Examine their relationships and how they contribute to the character's development.

What challenges does the character face?

• Identify obstacles that shape the character's journey and resilience.

How does the character evolve throughout the story?

• Track the changes in their beliefs, values, and behaviors.

What symbolic elements represent the character?

• Look for symbols or motifs associated with the character that carry deeper meaning.

How does the character contribute to the overall themes of the story?

• Connect the character's experiences to broader themes explored in the narrative.

What role does the character play in the resolution of conflicts?

• Analyze their impact on the storyline's resolution and outcomes.

How to Write a Character Analysis Essay?

Step 1: open with a character quote.

Begin your character analysis essay by setting the stage with a relevant and impactful quote that encapsulates the essence of the character you're exploring. Choose a quote that highlights key aspects of their personality, motivations, or role in the story. For instance, if you're analyzing Sherlock Holmes, you might open with a quote like, 'Elementary, my dear Watson,' to capture Holmes' deductive prowess and confident demeanor.

Questions to consider:

• Why did you choose this specific quote?
• What does the quote reveal about the character's personality or mindset?
• How does the quote connect to the broader themes of the story?
• Does the quote foreshadow events in the character's journey?

Step 2: Give Background Info

Following the impactful quote about Sherlock Holmes ('Elementary, my dear Watson'), it's essential to give readers the background information they need. Sherlock Holmes is a fictional detective created by Sir Arthur Conan Doyle, known for his brilliant deductive reasoning and keen observation skills. Placing Holmes in late 19th-century London, the stories typically involve him solving intricate mysteries with his trusted companion, Dr. John Watson.

Questions to Consider:

• How does the character's background contribute to their skills or traits?
• What is the character's role in the story's setting?
• Are there any notable relationships or connections that shape the character's experiences?
• How does the character's environment influence their actions and decisions?

Step 3: Present the Character

Now that we've set the stage with the quote and background information let's take a closer look at the character. In the case of Katniss Everdeen, beyond her skills as an archer and her protective instincts, explore her internal struggles and emotional complexities. Describe how her initial reluctance to embrace a leadership role transforms as the story unfolds, making her a multidimensional character.

• What challenges or conflicts does the character face internally and externally?
• How do the character's relationships with others contribute to their development?
• Are there moments that reveal vulnerability or hidden strengths in the character?
• In what ways does the character's journey resonate with universal themes or experiences?

By presenting a comprehensive view of the character, you invite readers to connect with their humanity and understand the intricacies that make them compelling. This step forms the basis for a thorough analysis, as it captures the character's essence and sets the stage for exploring their role in the broader narrative landscape.

Character Analysis Essay Example

Here, we'll walk through a practical example to show you how to analyze a character in a story. By breaking down their traits, motivations, and journeys, we'll demonstrate the steps we discussed earlier.

If you want a tailor-made essay crafted with expertise, simply let us know by asking, ' Write an essay for me .' We'll handle the task professionally, ensuring a unique and thoughtful exploration of your chosen character. Now, get ready to explore the ins and outs of character analysis through a simple and concrete example.

Title: 'Jane Eyre: A Woman's Quest for Independence'

Introduction:

In the haunting halls of Thornfield Hall, Charlotte Brontë introduces us to Jane Eyre, a character whose indomitable spirit and unwavering independence defy the societal norms of Victorian England. 'I am no bird, and no net ensnares me; I am a free human being with an independent will,' echoes Jane, setting the stage for a character analysis that delves into the complexities of her journey towards self-discovery and autonomy.

Body Paragraphs:

Jane Eyre's journey towards independence begins in the stifling confines of Lowood School. Enduring hardship and injustice, young Jane displays resilience and a thirst for knowledge. Her defiance against the oppressive system foreshadows her future pursuit of independence.

At Thornfield, Jane encounters the enigmatic Mr. Rochester. Despite their complex relationship, Jane's decision to leave Thornfield when faced with moral dilemmas showcases her commitment to maintaining personal integrity and independence.

The revelation of Jane's true identity and her unexpected inheritance doesn't sway her from her path. Instead, it provides her with the means to secure financial independence, reinforcing her determination to shape her destiny on her terms.

Brontë challenges traditional gender roles through Jane's relationship with Rochester. Despite the power imbalance, Jane asserts her equality in love, refusing to compromise her principles. This dynamic reflects Jane's unwavering commitment to maintaining her independence, even in matters of the heart.

Conclusion:

In conclusion, Jane Eyre's quest for independence is a testament to her strength of character and refusal to conform to societal expectations. From her challenging early years to her pursuit of love and self-discovery, Jane's journey resonates as a timeless exploration of a woman's autonomy in the face of societal constraints. Through her trials and triumphs, Jane Eyre emerges as a literary icon, inspiring readers to embrace their independence and carve their own paths in the world.

Mark Bradford , a passionate and talented artist, utilizes his innovative spirit to support academic pursuits. In partnering with EssayHub, he leverages his artistic insights to assist students as a professional essay writer, helping them navigate and complete their academic assignments at every level of difficulty.

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• How to Write a Character Analysis Essay

How to Write a Character Analysis Essay: A Comprehensive Guide

By: Angelina Grin

Character analysis

Character analysis is the process of critically examining and interpreting a fictional or non-fictional character within a narrative, play, novel, film, or any work of literature or storytelling. It involves a comprehensive evaluation of the character's personality, motivations, development, and impact on the story's plot and themes.

Step 1: Choose Your Individual for Analysis

Starting with the basics: writing a character analysis overview, delving into personality traits: the core of character analysis, step 3: understanding internal vs. external traits, character arcs: transformation, growth, or regression, key events that influence the character's evolution, how challenges and conflicts shape the role, how setting influences a character's behavior and decisions, the impact of cultural, social, and historical backgrounds, how a character speaks: tone, choice of words, and mannerisms, actions that define a character: brave acts, betrayals, and sacrifices, objects or symbols associated with the character, recurring themes or patterns linked to the character, how the character stands out or blends in, the significance of character dynamics, step 9: conclude with the overall impact, pro tips for stellar character analysis essays, building the perfect character analysis, what does it mean to analyze a character, what is the purpose of a character analysis, how to write an essay about a character, can i analyze more than one character in an analysis essay, how to start a character analysis in an essay, are there any pitfalls i should avoid, how do i write a character analysis in middle school.

During a character analysis, one seeks to understand the character's internal and external traits, such as their beliefs, values, emotions, behaviors, and relationships with other characters. It aims to uncover the character's strengths, weaknesses, desires, fears, and the evolution of their personality throughout the narrative.

A well-executed character analysis not only reveals the character's multifaceted nature but also provides insights into the author's intentions, the story's underlying themes, and the broader cultural or societal context in which the character exists. Character analysis enhances the reader's or viewer's appreciation of the narrative by shedding light on the character's role in advancing the plot and conveying profound messages about human nature, society, or the human condition.

Character evaluation is the first step to a great analysis. The role or persona you choose for your analysis is crucial to its success. Primary characters are sometimes easier to write since they have well-defined personalities, and their motivations may be evident. Secondary characters can be just as interesting to write, but getting the right evidence within the text to support one's position might be challenging.

The character's significance in the story also plays a part in whether analyzing the persona will be easy or difficult. Important characters have more depth to them that's easily seen. Less significant players require a greater understanding of the background story and setting. Typically, several types show up in a story:

• Protagonist: Also known as the "main character," protagonists drive the narrative. Analyzing their development, motivations, and role in advancing the plot is often richly rewarding.
• Antagonist: The primary opposition to the protagonist, antagonists offer insights into their motivations and the reasons behind their opposition.
• Deuteragonist: These key supporting characters offer perspective and context, enriching the story's depth.
• Tertiary Characters: Smaller roles can still provide unique insights and are worth considering based on their impact on the plot.
• Romantic Interest: A romantic interest's analysis explores their influence on the protagonist and their own personality development.
• Confidant: These characters offer emotional support and guidance, shedding light on the protagonist's inner world.
• Foil: Foil characters highlight the central role's qualities and flaws, aiding in their development.

Another method of separating characters is by their quality. An individual will fall into one of these groups:

• Dynamic: A dynamic character undergoes significant internal changes during the story, and their analysis explores the events and decisions driving this transformation.
• Static: In contrast, static characters remain relatively unchanged. Analyzing them focuses on their consistency and the impact of their steadfastness on the story.
• Stock: Stock characters often adhere to familiar archetypes or stereotypes. Analyzing characters involves exploring how they conform to or subvert these expected roles.
• Symbolic: Symbolic characters represent abstract concepts, values, or themes. Their analysis delves into the deeper meaning and associations they bring to the narrative.

Each persona type offers a unique perspective, allowing you to uncover the layers of complexity that make literary and cinematic characters so fascinating. A character analysis example would offer a great format to see what each of these character types looks like.

Step 2: How to Start a Character Analysis Essay

How do you start a character analysis essay? The blank page is a difficult place for a student to start, but an outline can help arrange your thoughts. Starting your character analysis means looking at the existing work and deciding what parts of the story accentuate or support your decisions on the character's personality.

• Physical Description: Is your character short, tall, or medium-built? Does he or she have muscles? This description should be more than skin-deep; it should capture essential details, such as appearance, gestures, or personal style. These features may offer insights into the character's personality or the author's intentions.
• Role in the Story: Outline the character's role within the narrative. Are they the protagonist, antagonist, supporting role, or something more complex? Summaries of this role provide context for their actions and development.
• Relationship with Other Characters: Characters do not exist in isolation. Discuss the character's views and relationships with other key figures in the story. Take note of significant interactions, conflicts, or connections, as these relationships often influence personality development. In what directions does the character’s decisions drive the other players?

To analyze characteristics, you might be inclined to ask a few questions, such as:

• What is the Value of Your Character? Consider why the individual is essential to the story. How do they contribute to the plot's progression or thematic development? Identifying their value will help you delve into their significance.
• Is Your Character Friends with Anyone? Explore the persona's friendships, as these relationships can reveal their true nature and motivations. Analyze the dynamics of these friendships through a character summary, considering whether they're genuine or superficial.
• By the Time the Story Ends, Has Your Character Learned Anything? Investigate the role's growth and development throughout the narrative. Have they gained wisdom, overcome challenges, or evolved in any way? This transformation can be a focal point of your analysis.
• What Has Been Your Character's Main Transformation Throughout the Narrative? Beyond learning, identify the persona's primary transformation. This could be a change in beliefs, values, or traits. Understanding their journey is vital to a thorough analysis.
• What Motivates Your Character? Delve into the role's motivations and desires. What drives them to act in specific ways? Examining their inner motives can uncover deeper layers of their personality.
• How Does the Setting Influence Your Character? Sometimes, a character's surroundings significantly impact their actions and development. Assess how the story's setting interacts with your character's choices and behavior.

These questions show how to analyze a character to figure out the most critical parts of the individual under analysis and develop their report in a more well-rounded way.

What is the personality of the role you've chosen for your character analysis? Personality traits differ from person to person, and so, too, they differ from individual to individual. How to analyze characters using personality traits is pivotal to gaining a profound understanding of a person's psychological nuances.

Characterization may be divided into internal and external traits. Internal traits pertain to a character's inner qualities, such as beliefs, values, emotions, and thought processes. They influence decision-making and personal growth throughout the story. On the other hand, external traits encompass a character's outward behaviors, actions, and physical manifestations of their personality. Both dimensions play a vital role in shaping the character's identity.

Character analysis examples will show one or more of these traits as core elements of a character’s personality. By realizing a narrator has these traits, an analysis can discern what an individual is thinking as they perform an action. This makes the persona's decisions and thought process far more "real".

Step 4: Analyze Character Development: How to Do a Character Analysis Through Evolution

Analyzing character development is the most critical way we examine how a role grows and evolves over the course of the story. In a character analysis, you should look at personality arcs, the events that induce their development (or regression), and the impact of their challenges and conflicts.

Character arcs are the trajectories that characters follow, often culminating in transformation, growth, or regression. They represent the role's journey from the story's beginning to its conclusion. Understanding the type of arc a persona experiences, whether a hero's journey of self-discovery or a descent into villainy, provides a lens through which to analyze their actions and decisions.

Identifying pivotal events within the narrative is critical to character analysis. These events can be turning points that alter the role's trajectory. It's essential to scrutinize the impact of these events on the character's beliefs, values, and motivations. For instance, the loss of a loved one, a personal triumph, or a moral dilemma can all catalyze significant changes. Recognizing these moments helps chart the individual's development.

No well-rounded persona is complete without some conflict that plays on their feelings and behavior. The adversity they face can range from internal struggles to external opposition. The individual's response to these challenges, whether they overcome them, are changed by them, or succumb to them, indicates their growth or regression. Examining how characters adapt, learn, or grapple with adversity reveals their resilience, vulnerabilities, and capacity for change.

A character analysis can be built by examining these crucial elements of a persona, looking at where they start and end, and following the decisions that drive their conflict and resolution. By following the characters closely on their journey, one can gain a sense of appreciation for all they went through to get to the culmination of their arc.

Step 5: The Role of Environment in Writing Character Analysis

Whether it's a high fantasy novel or a play set in 1930s Georgia, a role's actions and decisions are driven by their environment. The prevailing social, cultural, and, at times, political climate may be more than just window dressing for a literary work or a film. It's essential to understand that characters don't exist in a vacuum, and the environment is as crucial to understanding their story as is their personalities.

The physical environment, or setting, can significantly impact a person's actions and choices. The story's location, climate, or specific places may influence a character's behavior. For instance, a character raised in a bustling city may exhibit different traits and make different decisions than one raised in a remote rural area. For instance, it's understandable that a protagonist from a poor Chicago family in the 1920s would subject himself to physical harm to ensure he could have a job during an economic depression. Yet that same decision would make no sense in a wealthy family of the same era. Analyzing the setting allows a deeper understanding of why a character behaves the way they do.

Cultural values, traditions, and norms influence their beliefs and actions. Social status, family dynamics, and community ties can determine their roles and relationships. Historical contexts, such as war, economic crises, or political movements, play a significant role in character development. For instance, a character who grew up during the Second World War may exhibit different traits and motivations than one who grew up as the child of a royal family in 17th-century Europe.

Analyzing a character's background within these contexts helps readers and viewers understand the character's identity and the constraints or opportunities that influence their decisions and evolution.

Incorporating the environment into character analysis adds depth and complexity to the examination, revealing the intricate interplay between characters and their world and providing valuable insights into the character's behavior and decisions.

Step 6: Dialogue and Actions in a Character Analysis: Unveiling the True Essence

Most well-defined characters have different layers of personality folded in on itself. To view the true essence of an individual, an analysis must examine how the persona speaks with others and the actions they take that impact other people in the setting.

A character's dialogue is a rich source of insights. Their tone—whether it's sarcastic, earnest, or timid—sheds light on their emotions and attitudes. Their choice of words, such as a formal language or slang preference, reflects their background and education. Mannerisms, like stuttering, nervous tics, or assertive body language, offer cues about their inner struggles and self-confidence. Scrutinizing these aspects of speech illuminates the character's true nature.

A character's actions, whether acts of courage, betrayal, or sacrifice, define their essence. Courageous deeds demonstrate their values and convictions. Betrayals reveal moral complexity or flaws in the persona. Sacrifices demonstrate selflessness or inner conflicts. Character analysis is the process of deducing a person's essential beliefs, their malleability, and the overarching themes of a story from their behavior.

Step 7: Symbolism and Motifs: Key Elements in How to Do a Character Analysis

Authors have always favored symbols instead of blatantly stating something about the role. "Showing, not telling" makes for compelling works, offers us commentary without being open about it, and also gives us a bit of work to unravel the symbolism each persona may carry with them.

Objects or symbols that recur throughout a character's interactions can hold deep meaning. For instance, a character's prized possession, like a family heirloom, can represent their values and connections. One of the most stunning expressions of this is the river in Huckleberry Finn as a symbol of freedom and escape from bondage. Analyzing these symbols within a paragraph or two helps unveil the character's significance in the story and their emotional attachments.

Recurring themes and patterns that revolve around a role provide a window into their role and development. These motifs can encompass elements like repeated actions, words, or situations. One of the more modern instances of this is the use of the Litany Against Fear in Frank Herbert's Dune series. By identifying and interpreting these motifs, character analysis can expose the character's personal growth, impact on others, and broader relevance to the narrative's themes and messages.

Step 8: Compare and Contrast: Enhancing Your Character Analysis Through Dynamics

The compare and contrast approach helps to make for a richer analysis, especially for college-level reports. By focusing on the characters' dynamics and their interaction with their society, we can derive particular insights into the character's mind and behaviors.

Comparing the individual to others in the story can be helpful in illuminating their uniqueness. It highlights distinctive traits, values, and behaviors that set them apart or make them blend in with the narrative's world. This distinction can reveal the character's individuality or their role as a representative of a specific group or archetype.

Exploring character dynamics—how they interact with other characters in a book or film—holds a mirror to their personality and development. Comparing these interactions can unveil power struggles, alliances, and emotional bonds. The significance of these dynamics lies in their impact on the character's evolution, their influence on the plot, and the broader thematic implications for the narrative.

The character's profound influence on the world, the plot, and the other personas should form the basis for your analysis's conclusion. Their place in driving the action forward should be highlighted. Moreover, the emotional impact on the reader or viewer should be emphasized, highlighting how the character's journey, personality, and interactions resonated. Whether it's admiration, empathy, or a sense of closure, examining the character's ability to evoke emotions and engage the audience adds a meaningful dimension to the character analysis, underscoring their enduring significance within the story.

• Provide Evidence: Back your analysis with specific examples from the text or source material to support your claims. Ideally, reference a certain scene if possible.
• Consider Conflicting Traits: Acknowledge contradictions or inconsistencies in the character's behavior, as these can reveal depth and complexity. A good character analysis paper example can help you see how this is done.
• Stay Objective: Your analysis should be done from the point of view of an impassionate researcher, even if the topic is one that is close to your heart.
• Relate to Themes: Discuss how the character's traits, actions, and development relate to broader themes in the work based on your research.
• Compare and Contrast: Compare the character to others in the narrative to highlight unique qualities and relationships.
• Maintain Focus: Stay focused on the character and their impact, avoiding excessive summary of the plot or storyline.
• Don't Overthink: Sometimes, all it takes to see a character's place in a story is to examine the story around the character.

The steps mentioned above will give you a general idea of what your character analysis should look like. However, each character is unique, and each character review will touch on different topics, themes, and interactions. A deep character analysis not only helps you understand the character but also helps to put their struggle and conflict in perspective. To truly understand the art of good character analysis, you should try with a few characters from your favorite books. Reach out to some of the genres that you don't usually read and analyze them. With practice comes perfection.

To start a character analysis in an essay, begin by introducing the character you will analyze, including their name, the work they appear in, and their role in the story. You might start with a compelling description or quote that encapsulates the character's essence. Briefly mention the context of the story and how the character fits into it, including any significant relationships or conflicts. End the introduction with a thesis statement that outlines the main traits or development of the character that you'll be exploring in your analysis.

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Story in Literary Fiction

• Literary Fictional Story

Character in Literary Fictional Story

• Narration of Literary Stories
• Desire and Motivation
• Credibility
• Improving Dialogue
• Characterization Improves Dialogue, Motivates Plot, and Enhances Theme
• Techniques for Excellence in Creating Character in Literary Fiction
• How to Change Fiction Writing Style
• Author’s Attitudes
• How Literary Stories Go Wrong
• Preparing to Write the Great Literary Story
• The Anatomy of a Wannabe Literary Fiction Writer
• Victims as Characters in Literary Fiction
• Information and Literary Story Structure
• 1st person POV in Literary Story
• Top Story/Bottom Story
• Strong Voice and Attention to Time
• Humor and Fiction
• Emotional Complexity in Literary Fiction
• Conflict in Literary Fiction
• What Exactly Is a Character-Based Plot?
• Writing in Scene: A Staple for Reader Engagement in Fiction
• Creating Story World (setting) in Literary Fiction
• Perception in Literary Fiction: A Challenge for Better Narration
• Creating Quality Characters in Literary Fiction
• Mastering the Power of a Literary Fictional Story
• Understanding Empathy
• Q & A On Learning to Think About Narration in Literary Fiction To Write Better Stories
• Incorporating Rhythm in Prose Style
• Fiction Writer’s Manual
• A Simple Life
• Gatemouth Willie Brown on Guitar
• The Wreck of the Amtrak’s Silver Service
• The Indelible Myth
• Inside the Matryoshka
• Speaking of the Dead
• The Necklace
• The Golden Flute
• The Amish Girl
• Dr. Greiner’s Day in Court
• The Cart Boy
• The War of the Flies
• Father Ryan
• Suchin’s Escape
• The Stonecutter
• Facing Grace with Gloria
• The Perennial Student
• The Activist
• Curse of a Lonely Heart
• The Miracle of Madame Villard
• On the Road to Yazoo City
• Captain Withers’s Wife
• The Thirteen Nudes of Ernest Goings
• Crossing Over
• Lost Papers
• Sister Carrie
• Graphic story: Homunculus
• Graphic Story: Reddog
• mp3 Short Stories
• The Spirit of Want
• Guardian of Deceit
• Tour of Duty
• Art Gallery
• The Surgeon’s Wife
• Short Fiction of William H. Coles 2000-2016
• The Art of Creating Story
• Illustrated Short Fiction of William H. Coles 2000-2016
• Facing Grace with Gloria and other Stories
• The Necklace and Other Stories
• The Short Fiction of William H. Coles 2001-2011
• The Illustrated Fiction of William H. Coles 2000-2012
• Lee K. Abbott
• Steve Almond
• John Biguenet
• Robert Olen Butler
• Ron Carlson
• Lan Samantha Chang
• D’Ambrosio
• Peter Ho Davies
• Jonathan Dee
• Fred Leebron
• Michael Malone
• Rebecca McClanahan
• Josh Neufeld / Sari Wilson
• Richard North Patterson
• Michael Ray
• Jim Shepard
• Rob Spillman
• Kirby Wilkins
• Susan Yeagley / Kevin Nealon
• Geoffrey Becker
• Julia Glass
• Lori Ostlund
• Lydia Peelle
• Andrew Porter
• Sylvia D. Torti
• Story in Fiction Today
• About Things Literary
• Opening Lines
• Women Authors
• About Style and the Classics
• SILF Gallery
• Book Reviews
• Narration in Literary Fiction: Making the Right Choices, by William H. Coles
• How Humor Works in Fiction, by William H. Coles
• Books on Writing
• Stories for Study
• SILF – Audio mp3 Download
• Books about Writing
• Book Candy TV
• Workshops – I. Choosing a workshop
• Workshops – II. Making the Experience Valuable
• Workshops – III. How to Critique a Manuscript
• Workshops – IV. Workshops and Literary Agents
• Workshops: V. Top-Ten Rules for Fiction Workshops

by William H. Coles

Characterization in literary fiction has special importance and authors need to develop their own sense of responsibility for full and effective character development.

Development

Character is everything in literary fiction. Not that character replaces plot and setting or theme and meaning, but character intimately relates to all those. Although characters are sometimes categorized as round or flat, every character in fiction must have complexities and uniqueness that may or may not be written on the page. A character that does not need to be fully presented for the story may appear two dimensional, but there should be three dimensions in the creator’s mind. Full character development assures that the author has thought about the story as a unit. Depth of understanding of all characters assures underlying motivations are reasonable, dialogue believable, and logic of action is clear.

The goal of character creation in fiction is complex but creating a unique character — one that is not stereotypical — is the essence of great fictional stories. The character will be adopted by the reader and the characters will drive the momentum of the plot. At the start of character development, there are no restrictions. A character emerges unencumbered. Then that character must be perfected for the plot. The character must be unique but remain believable and within the boundaries set by the suspension of disbelief all fiction requires. The character must not be stereotypical yet must feel comfortable to the reader in a familiar way. As a memorable character develops, the reader becomes attached and admires the character in the same way they would begin to like a new acquaintance as a friend. This reader attachment is often associated with liking the character, but affinity is not absolutely necessary. Respect and/or admiration are also strong attachments for a reader to a character. As the author creates an emerging character, subtle choices and imaginative attributes given to the character must keep within the overall story guidelines set in the contract between author and reader. Subsequently, in revision, scenes, thoughts, actions, conflicts and motivations that do not contribute maximally to the character engaging the reader and driving the plot forward are eliminated, or at least changed.

Maximizing opportunities

To create a character for a reader in a literary story, there are a limited number of things the character can think or do. In a short story, even for the protagonist, there may be only ten to twenty key characterization opportunities. Often, there are fewer. In the novel, with its longer timeline and wider range of development from the direct story line, there are more opportunities for a character to show his or her true colors, but ultimately, even these openings are limited. How do authors take key opportunities and make the most of them?  First, character development must be reasonable for the story and for the sensibilities of the reader. The actions and thoughts of the character must also be unique, with elements of surprise, so that the actions and traits embed in reader memory. In-scene showing of a character’s actions, thoughts and opinions has more lasting impact than narrative telling. And character development leaves more impression on the reader when in-scene story time predominates over backstory or narrator comments on past character action.

Misconceptions

Literary fiction demands extraordinary skills for character development but two erroneous attitudes suppress authors achieving the memorable characters required for great stories: 1) that character development is an inherent trait and that author learning and experience provide little improvement; 2) that characters take over the author’s stories when authors are in their best writing trances and the character carries the story to successful completion — a common but surefire limitation on developing the best fictional character. Characters are imagined and created–not discovered and described–for maximum story effectiveness.

Significance

Stories, to be great, should be significant and meaningful. A major way for an author to instill these qualities in storytelling is through effective characterization.

Stereotypes

A stereotypical (oversimplified standardized image or idea) character is avoided in literary stories. But in fact, stereotypes abound in many stories, and are often essential. Comic superheroes are so rigid that cartoonists must adhere strictly to the visual and story history so familiar to the reader, say for Spiderman. In detective fiction, Hercule Poirot, Agatha Christie’s detective, is consistent crime after crime. He has a role that defines him and that is required for the story telling as she created it. In literary fiction, every character is, by nature of the creative process, born stereotypical, and is then developed to some non-stereotypical threshold. This improves reader interest and augments quality of the story. But in stories with multiple characters, all characters cannot be unique, vibrant and memorable; some stereotypes are unavoidable. This is not bad. Over-development of too many characters may create unbelievable and/or ineffective fiction. As in the writing of all fiction, proper balance must be sought, a balance that is uniquely individual for each writer’s style and sensibilities.

Character in different types of writing

Although many would reflexively disagree, it is true that memoir, creative nonfiction, and biography do not have the options and do not reach the potential of character development available to the fiction writer. Yet, many, if not the vast majority, of pieces published as fiction stories today are simply authors telling something that has happened, often to them or someone they know, with a little freedom from reality, and calling the result fiction. A character and his or her traits are described. This result does not have the imaginative structure of fiction and relies on narrative telling to the reader rather than in-scene engagement. Lyrical writers–the poets of prose–find it easier to experiment with language through nonfiction. This is not all bad and is very enjoyable to some readers but it does not address how to create great fictional stories. In fiction, characters emerge, plot progresses, meaning arises, and structure supports a story that is created in the imagination and then skillfully crafted to provide entertainment for the reader. Fiction demands that the reader knows more than the characters, and often more than the narrator. Fiction is less reliant on the discovery of something already known than on the awareness of how and why something happens based on character and plot. In memoir, biography and autobiography, the character is formed before the writing starts. The author chooses accurate descriptions of happenings. There are few decisions allowing change for the betterment of the story.

Character and Plot

In literary fiction, character moves the plot. Consider some brief plot descriptions:

• The plane crashed.
• The drunk pilot crashed in a stolen plane.
• The grief-stricken pilot, rejected by his second wife, fails to listen to a transmission from the tower and is injured after a midair collision.
• The plane was shot down by enemy fire.
• The nearly bankrupt airline failed to pay maintenance man Joe Hubbard for two months and Joe refused to perform a routine maintenance check, yet Max Fine, the supervisor, allowed the plane to fly. The plane crashed.

These scenarios demonstrate how plot can be circumstantial (1 and 4) or character motivated (2, 3 and 5). (These are not suggested as worthy of development.)

The author who wants to create great stories must characterize well. Time and multiple tries are required, and a healthy dissatisfaction with all early opportunities is essential. In fact, during the creative process, authors must continue to search for improved characterization, never being satisfied with mediocrity.

To read EXAMPLES of stories with emphasis on strong characterization, see: Homunculus , Reddog , Facing Grace with Gloria .

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33 thoughts on “ Character in Literary Fictional Story ”

Hi! I want to use this as a reference for my undergraduate thesis. May I know when was this published online? Thank you. It would help me much.

It was first published on Apr 7, 2008.

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Hi my name is, Lynn. I just had a question. It might be silly sounding. But, here it goes. I am working on completing an assignment and I was asked to:

This assignment requires that you consider the connections between literary elements and that you apply your analytical skills to developing a coherent argument about a literary work. The paper is an opportunity to further develop and apply your understanding of literary analysis.

I do not have much understanding. I have picked my two literary elements which are character and plot. ( the story is red riding hood) I guess I just want to know if I am on the right track? Thanks so so much!!

Lynn– Thanks for your question. You are on the right track. There is a blog post on site that uses Little Red Riding Hood as an example and discusses character and plot in that story in detail with examples of how changing the plot and character affect the meaning. Click here . I hope this helps. WHC

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First off, thank you for your continued input and help on my problem. I really appreciate your support. I’ve been having trouble with this story concept for a long time and that is what kept me from even physically starting it. I could never find someone that understood my troubles with my story, but your wisdom in the literary field has allowed me to finally see it being healed into the high standard I want of it.

I wish you could help me more, but then you might as well be writing the story (that and I’d have to reveal my actual plot without allegories). I will strive to continue developing my story on both a mental standpoint in mind and physical standpoint on paper. I already have used some suggestions you’ve given me here, so I’m glad to know I’m on the right track there! However, I never thought of the top/bottom material you mentioned. That will be another great addition! Thank you for that too. :)

Thank you for responding! You’re definitely quite thorough with your advice, and great advice at that! I’ll be sure to look at your responses again and again as I write my story. Thank you for making the one-stop place to prepare my thoughts in writing. :)

However I must confess that my original problem does not seem to be solved or leading in the right direction. I understand the character-driven narrative and movements which directly affect the plot, but my characters position is special in that it must pass through the thoughts of another character (which is the foreboding character) first for his ratification.

The best allegory I can give to you is that my main character is in a room and can not open the door to any other room. She is locked inside the room. No matter what she does, no matter what her reaction is, she can not escape or go to another room. She can cry, weep, or get angry and punch the doors or walls, but to no avail.

To this, the foreboding character is in a command center that has control of the doors and rooms in which to open and close them for my main character to enter and exit. That is if he wants. My foreboding character can simply keep my main character in that same room forever. But he wants something and that something is to see the reaction my main character takes to the rooms. If she acts sad, the foreboding character will open and may force my main character into the new room to the left. If she reacts angrily to the new left room though the foreboding character will eventually open another door and may force her into a new room north of her. In this example, she is literally like a lab rat or slave in the “plot maze” you suggested not to put her in.

In other words, to my main character’s perspective, she is trapped in a prison-like place. Based on her character development, she can react differently and change each time she sees and lives in different rooms with different features. Perhaps she sees a toy in the initial room and acts a bit happy, but in the second room she sees the toy again and is instead now fearful and has learned and/or chosen not to play with it anymore. The doors in the rooms to her seem to randomly open and she sees no pattern to their opening and closing. But in actuality she, through her developing reactions, can actually control which door she can open (through the approval of the foreboding character), she just doesn’t realize it. She just thinks in her mind that it just happens to be the situation she is in and that no matter what she does, she can’t control the plot and direction of her own life.

Let me set this straight though, the foreboding character is not simply a plot device for opening doors. He is a three-dimensional character too that changes as her life goes on. It’s just that his actions seem random to my main character. He studies her and is very interested in her and his future actions reflect this in his development to the tests he put her through in the past.

It is through these two character’s driven actions and reactions that they affect the minds and paths of each other. My main character affects the mind of the foreboding character, and he in exchange, allows new paths in life to be opened (if forced at times) to her.

My trouble and main problem though is that I don’t want my story to seem situation-driven by my main character’s perspective. I want it to feel and show that each situation was purposely caused, but subtly, like a mystery within a shadow.

Within this allegory, it shows that my story is not like an autobiography, as these actions are within the present and are ever changing for multiple non-predetermined futures, but the “term” autobiography was the best word I could use to describe her story as a whole.

I’m very sorry if I seem (or am) spewing stupid nonsense at you, but this is the way I feel about my own story and it is the best way I can describe it to you so you can help answer my troubles. Again, I’m sorry.

Very interesting. The premise for story and character change is sound. A couple of thoughts and suggestions I hope might help. First, you might consider thinking about this as two main characters each with emotional complexities that seem opposite and where one is dominating the other. Both characters have emotional arcs that progress through the story. Change occurs in both so that the nondominate one becomes dominate. This is already what you have set up and I don’t think equating the importance of the two would change your allegorical concept too much, but it would give momentum to the emotional changes occurring in the story (i.e. expansion of the reversal). I would try to solidify the emotional arcs with credible and realistic action, and maybe avoid being too ethereal. You want the reader to care, and they might not care if they don’t think the character could actutally exist.

I haven’t picked up exactly what happens in the plot yet. But consider this. Make your plot more distinct in your thinking, and develop it in addition to the interesting and powerful emotional arcs you have going. I think of this suggestion working as if you might develop a scene where a husband and wife are arguing about divorce while motor boating on a lake and he is driving and the argument gets hotter and the boat’s speed increases and he is distracted and there are sunken logs and rocks in the area they have entered. Now there is a top story–the boat danger and accident–on the top and the conflict and separation of their argument underneath. Both are related and both affect one another. Note how this might increase interest and complexity with synergism. In your situation, there might be a plot where the woman is kidnapped, or abducted (in some metaphorical way even) and she struggles to be free and the dominating presence struggles to keep her where he’s got her. Then, through the expression of emotional conflicts occurring simultaneously, changes occur that reverse their roles, she takes him over through enlightenment about who he is and what makes him tick, and he submits to her with awareness developing that she is not what he thought she was. (I know this is what you’re doing.) During this time, she is physically trying to escape. This thinking needs a lot of work and its only value for you may be for you to be able to continue to seek new ways to use and effect your original idea (which is good and should continue to be the skeleton of the story). (You might look at this essay .)

Overall, I think you are on the right track and just need to continue your thinking, adding a little flexibility, and maybe releasing a little from the rather tight allegorical concept you expressed to expand and embellish in the actual creation of the story (but not abandoning your concept in any way). My suggestions also point to the search for conflict, action, and resolution (drama) in the story, and in every scene and paragraph.

It might also help to repeatedly ask, what do I want the reader to experience and discover, and how does it relate (always directly) to the story? This will begin to help you develop the characters and point out the the best use of your craft skills to please the reader. You might also think in the creation and writing that you want to avoid telling the reader about your very interesting story premise, but that you want to let them discover, through dramatic scenes, your characters and your plot–and how the two interact. It may seem obtuse, but this is the way to present your ideas in engaging and entertaining ways that will result in powerful revelations about your idea discovered by the reader. If you pull it off, the reader will love your story, and remember it forever.

All the best in your writing. Let me know about your progress if you have time.

Well first off i have to say this is quite interesting. People hate to fail but love to achieve and succeed, therefore I am very glad to have read this essay by coles who helped me when I was writing my novel by this essay. I have development and complexity and a very interesting plot about a duck who wants to seek revenge on his best friend the donkey who is in love with carrot girl, the most prettiest girl in the town of farminginamals.

Hello, amateur here, sorry for the late response, but my question just happens to be especially related to this essay.

I have just started to write a story I have been wanting to do for a while, but some aspects of it have me worried. One of the main aspects of it is the way the “plot” progresses. Throughout the whole story I focus it through one character, and that character alone. The “plot” basically is the autobiographical experience the character has had with her own life as a whole (baby to death). What troubles me is that I want it to be as you say, a character-driven plot. You would think this would be easy then, as you can’t be much more interwoven with a plot and character if they directly relate with each other as the life of that person. However my character’s life is largely out of her hands and is instead directed by a foreboding character that operates in the shadows (symbolically). This foreboding character makes it hard for my main character to seem in control. In other words, my story seems to be situation-driven (with the life changing situations made by the foreboding character). How should I go about the story in order to remedy this so that my character SEEMS to be in control of her own progression of her life?

I know it seems like a hard question to answer, but this seems like the best place I can go to to have my question answered. Thank you for your time.

If you need more specific information so you can properly answer, I’ll be glad to give more.

Thanks for your question and your confidence in the site. I am impressed with your thought process. You are thinking about writing in admirable ways, ways that many even very successful writers never seem to achieve. Here are some suggestions to achieve what you want, a character-drive plot. This is important in literary fiction because your purpose is to provide new awareness or reawakening in the reader about what it means to be human–i.e. meaning. And, of course, as you’ve already discovered, to nurture significance in a story that is character-driven, you must build the character through action and description so the story plot takes its interesting turns from the character’s strengths and weakness. In the great story, the character is changing. Something is happening that will never allow them to be as they were before. (An enlightenment.) To effect this, authors must be careful not to depend on real happenings (autobiographical material which is often presented in description), which are fatalistic because they are events that have already happened (even in the imagined story). Authors must find what drives the character and then present to the reader in action scenes and objective active prose (Tears ran down her cheeks), rather than subjective abstract prose (She was so sad! She cried.) Characters built with the imagination-stimulating action scenes rich with conflict and resolution that illuminates the character and will engage the reader, and entertain and enlighten the reader. And these characters will also now be capable of integrating into the story so the plot results from their actions, rather than their acting in the story like actors on the stage. This is the gift story telling in prose gives to writers and readers. So as you learn to know your character (and respect or even love the character) you can restructure your story, using the plot stimulated by the autobiographical material, so the the plot results from character action scenes. Choice of POV will be important. Single, multiple. !st or 3rd. Each will have advantages and disadvantages. You will need to identify narrator and character purpose (and function) in your story. Try different POVs (and the voices that are associated with story information delivered through these POV’s) to find what best provides the maximum impact for you story (being true to your story) and for your reader (engaging and pleasing). Now, as you create your story, you will restructure in a series of action-conflict scenes and carefully constructed narrative transitions, a story with a vibrant character that affects the plot action that is the skeleton for your story. Note that you are not slotting the character into the plot maze. The plot maze is moving because of what the character is doing in action scenes. You, as author, are thinking of how character desires and traits are making changes that result in plot progressions. (You have not abandoned your original plot idea, however, you have just restructured to make the character the essential force in plot movement.) All this is not easy, but to achieve it puts you on the path to being a writer with a significant chance of pleasing the targeted group of readers you seek to please. Best wishes for every success. WHC

Many thanks for your response. It is very timely considering the competition deadline is Monday and I’m at about the fifth stage of rewriting! My problem is that I spend so much time getting the language right on the first few paragraphs that I get bogged down and then the ending is rushed as I’m always working at the eleventh hour. I am new to creative writing (although I have been involved in journalism in the past) so I think I write narrative in ‘over-poetic’ language. I might find this visually stunning in a self-satisfied way but it will bore the pants off the reader so I end up scrapping it. But then, if I just write the facts is that not tedious also? It’s knowing how much to include (or not to include in my case!) that is a major headache. Can you write with imagery and poetic descriptions in fiction or should I try my hand at poetry?

What a perceptive response. You’ve really answered the dilemma of lyrical prose and effective story prose for yourself. You share the frustrations of all writers when you spend time with adjustments in the beginning and wind up cheating the ending, which is so important. The beginning, of course, is to engage the reader. Who. what, when, and where. The middle is the how and why. The end is the resolution of the conflict that must be in the story and under the control of the writer. And imagery, description, lyrical language are all essential in creating your style, just don’t let them become the major focus of your writing so they replace effective elements of story . In description, look to create momentum . There is an example too in “How Literary Stories Go Wrong” that may help. Amen to never boring the reader. It is a paradox that poetic prose is absolutely a great way to grab a reader’s attention, yet the prime reason readers lose interest in reading. Poetics in fiction needs to be concrete and vibrant, not abstract and static. In terms of getting bogged down in twiddling with the prose, think of the story as a unit with a series of dramatized scenes that will carry the reader effortlessly to the ending. Anything you write should support the unity of the story. Nothing should be parenthetical or nonrelated, even in word choice. This is especially true in revision. You can master all this; you can be effective for story and still be visually stunning (and self-satisfied too). You can do this! Don’t default to just poetry! I can tell you have the potential. WHC

This is really helpful thank you so much.

Thank you so much for the quick response. I gladly appreciate it.

Hi, question and I will try not to be confusing. How do you write a plot with more than one character. Let’s say I introduce a character that walks into a room and then they started talking to another character. How do I write a plot without going back and forth between characters and making it to confusing. I’m working on a story that has about 4 to 5 characters in it. Thanks.

Thanks for the question. Here are some basics to help you think about how to get your story on the page. Plot is everything that happens in a story. Characters act out happenings in a story in a series in interrelated scenes. Each scene is dramatized by using conflict that causes action that leads to resolution. Narrators tell story, so decide who is going to narrate, someone outside story–a narrator–or a character. (It is useful to think of the writer as story creator telling story through a narrator. Mother telling <em>Little Red Ridinghood</em> to her child at bedtime is as narrator, the author is not present (dead actually). That’s a good rule to follow, visualize telling your story through a narrator.) In terms of characters going back and forth, that’s an essential way to deliver action and conflict in the story–interaction among the characters. So don’t worry about confusion; instead, concentrate on using the interaction to further your story. To get this in some form, think about your story step by step. Get who says what in your mind. . . what happens, where it happens. Keep thinking about why characters are doing things, and is what they’re doing reasonable and logical for the story? Then tell your story from memory to yourself in the mirror as if you were another person. Then tell your story to someone . . . see if you can hold his or her attention and if he or she understands your story. Make adjustments. (This is getting your plot down–create it, don’t write it. Your story should be based on happenings that will then make up the essence of the plot.) Then look to how to best translate your story into the medium of fictional prose. Look to the elements of writing–narration, description, dialogue, setting. Make things happen. Keep the story moving. Outline the events of your story on a timeline. Is the pacing right? Is everything important? Is the storytelling time too long or too short; it is almost never is just right until your finished. Learn to show your story through actions, and avoid narrative telling. ( Examples. I went to the store . . you know it was cold as hell and my neighbor, she said, “Morning Elsie, bit of chill in the air today, ain’t there?” I told her I got to be going to see Sadie. She’s sick as a pregnant hound dog. [That’s telling. Look at showing. ] The snow made crisp crunchy sounds under my brogans and my breath came out steamy and disappeared over my shoulders as I walked as fast as I could. I saw Sadie’s shack up ahead. There was no smoke from the chimney. The windows were dark, and the door was ajar . . . the blackness in the opening frightened me for fear that the cold had rushed in to team up with Sadie’s sickness. God, I hoped she was all right. [That’s more showing than telling.]) It takes a while to learn, but start now with this story showing your story through action. This will take away your concerns about confusion among characters. Everything you write will have a purpose, and characters speaking will seem natural for your story. There’s lots about this on the site. The study guide helps. It takes many different perspectives to get it all straight in our minds as writers. But the effort is necessary and worthwhile. WHC

I am entering a short story competition where the subject has to be about animals or from an animal’s point of view. If characterisation is one of the most important parts of a story can you treat animals as humans and give them similar character traits or will this sound silly?!

Interesting dilemma. Animals are personified in many stories. Whether it sounds silly depends on the expectations of the reader (some–usually adult–readers will never buy into animals acting and thinking as humans), and on the skill of the author. As a writer, as you try to create the character, you’ll have to try to imagine the reader shifting to embrace the character through suspension of disbelief. You will need to reach a level of credibility for the character–and reader–by carefully constructed prose that does not raise questions about whether this could be true or not . . . and that will allow the reader you’re targeting to accept the personified animal as okay for the story. So the setting and the prose have to be right. For personified animals, it is easier for a reader to suspend disbelief if the setting is a barnyard rather than a Wall Street boardroom. Also consider an effective POV. Do you want to be in the animal’s thoughts exclusively? If not, if you also use human thoughts as well, you may lose credibility when switching around. In general, keep thinking, what purpose does it serve my story to be in the animal’s point of view. What advantage does it give the reader, and the story? Be sure, as you write, to maintain a purpose . . . it could be the innocence of an animal POV, or could be seeing the world from eighteen inches off the ground . . . or it might be that it serves the story conflict, say between a pig and a chicken, or a sheep and the shepherd. If there is a solid purpose for your POV choice that is related understanding, humor, or meaning, suspension of disbelief will be easier for the reader, and acceptance of the POV more assured. All this will take repeated tries, I believe. Good luck. Thanks for the question. I hope this helps. WHC

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I’m writing a mystery and have two conflicted main characters and a few secondary characters in my story but I’m having a problem trying to bring it all together without solving the crime too soon. Any suggestions would be much appreciated.

Thanks, Maria

Maria–

Thanks for your question. I am not experienced as a writer in traditional mysteries. However, as a storyteller, I was interested in you dilemma, and your expression of it. Although this may go against your prime objective for story, you might consider focusing on the two main characters and their conflicts. In reading your description, that is what stimulated my wanting to read–the resolution of those human conflicts and desires. In addition to solving the crime, these might be the real golden core for your story. The solving of the crime would then be secondary, and in essence, the solution of the the crime could come at any time. If you did this, as a story, the tension in the story comes from the solution of the human conflict rather than the tension achieved from withholding information. From your description. this seems possible since you’ve got the conflict between characters already established. In classics, two stories come to mind–<em>Crime and Punishment</em> (Dostoevsky) and <em>The Beast Within</em> (Zola). These are not contemporary in flavor, but contain story-creation principles where crimes are solved early and the aftermath (primarily psychological with 19th century sensibilities) creates the momentum for most of the storytelling.

This approach may also involve the reader seeking involvement with the characters and the plot, but it also might diminish the attractiveness to those of us who of enjoy a traditional crime/mystery read. It would depend on your goals as a writer; do you want to write stories based on withheld information or are you interested in delivering in your stories some enlightenment about what it means to be human? Both are reasonable and generate satisfaction for a writer; the effective writer will clarify the the goals (as you seem to have already done) so the techniques of storytelling and fiction writing are best learned and utilized. I would add, when you have the questions about your story they may be symptoms of a need to make structural changes for maximum results. You have the right approach so seek ways to change to create what you want. In your search, looking to restructuring plot and characters may help you to perfection.

I hope this is helpful; I wanted to offer my thoughts for consideration.

Best regards,

I have two stories in my head that will not go away so I’m trying to write one. Do i start with the characters in an outline,or just strat wrting a story a fill them in later>

Thanks for comment. Really, there is not right way to approach this. But you might try this. Is the story about a character who has a conflict and who resolves that conflict? Is that character is the most important reason you want to write the story? If so, I’d begin to explore everything about that character including the core desire (like fear of loneliness) that drives the character and the motives that express that desire. Then I’d outline in my head, or on paper, where the story is going to go and how to get there. Then you’ll be developing the story with strong characterization. If your story is about a happening, an event, then outline the movement of the characters in the event–beginning, middle, and end. Find the conflict (all stories need some conflict that is resolved). Then see how the characters begin to fit into that conflict. This is a little different in that you’ll be changing the characters thoughts, feelings, and actions, for the best telling of the happening your creating (rather than creating a strong character first). Be sure to keep things moving and stay inside your characters heads and feelings so what you write on the page makes logical sense to the reader.

It’s not easy. It takes lots of thinking and time, so don’t get discouraged, and always keep looking for ways to improve story and characters on every draft. It’s a never ending process for a good story.

Best wishes,

I think the treatment of characters and plot is what distinguishes literary fiction from genre writing.

Stereotypical, I don’t know, but every long fictional work has flat characters along with round ones. The tag of ugliness stuck to flat characters is totally unjustified.

Hello I want to know how to create charactert for a novel – where do I begin and hod I develop character. Thanks

Hi Sarah-Ann, Begin by imagining your character’s likes and dislikes, emotions, opinions, appearance, habits, etc. Find the core desire in life for the character. What does that character want most in life? Many writers mentally carry the character in their day to day lives and imagine how the character would react to situations. Then you can look on this website for the study guide (button on home page or in the sidebar) that will direct you to essays and interviews that relate to characterization. WHC

Dear Mr. Madison Grape

An interesting question about your characters. And very positive that you have more characters than you think you should have, and that, as a writer, you are concerned about how many will be effective. Of course, number of effective characters can be dictated by how your story is developing, a short or long work. And you should also not be equating characters: there are both primary and secondary characters, each of which will require different development, and different assessment of value. Although it may seem complicated, here are some thoughts for you to evaluate your story and your characters. 1. Are you describing your characters to your reader, or are you presenting the characters in scenes where they act and reveal traits the reader can enjoy and latch onto? For example, you might have gone to a new church where you were fascinated by the characters in the congregation. You sit down to meticulously describe selected characters that you remember. This structure for a (literary) story will rapidly fail to interest the reader no matter how well described, and/or how bizarre or ordinary, the characters are. Instead the reader wants something to happen, and the reader wants change in the characters that will change them, the readers. So you, as a writer, look for sources of action. Find an interesting character (s) and determine a core desire. What drives this person’s thoughts and actions. To fulfill an intense sexual need is one, or for the power wealth can bring, or for adoration of as many people as possible, are the sort of things you’re looking for. As you study your characters, interesting core desires will be imagined, changed, intensified, as needed. This desire will relate to the motivations of the character’s actions. For example, the choir director needs passionate love, this motivates him to fall in love with the minister’s wife who sings soprano. She rejects his advances, an obstacle to his success. He then tries to woo her by making her the soloist at church. She is not good and is humiliated. I’ll stop here, but you can see desire and motivation now driving the action of your story. Every character in the congregation is now secondary or less interesting than the primary characters. As a concerned writer, you will develop this character fully, and a few others—the preacher’s wife possibly—to maintain the momentum of your story. And characters you add to your story should relate to this story line and the meaning of the story, which in this case might be some enlightenment about morality. No character is needed if that character does not support the story action, the drama/conflict of the story, or the character development of the characters you have chosen to be primary. 2. Does every character you’ve introduced have a story purpose? As authors, we tend to a false pride when we describe that perfect character with vivid imagery and satisfying uniqueness. But when you evaluate a character and you cannot not find the purpose for that character to advance your story, no matter how perfect the description, that character needs to be removed as a distraction to your purpose (to be used elsewhere, or become primary in another story, etc.). Remember, as storytellers, we are trying to engage and please the reader. We do this by having something to say—a good story to tell—and then present it dramatically. Drama requires conflict and resolution. And characters must not just exist on the page, they must contribute to the story action. 3. Success as a literary fiction writer comes from the gift of building characters through dramatic action that a reader will never forget. For me, Heathcliff and Catherine in Wuthering Heights are examples. Unforgettable. Every successful story has this (these) quality character (s). In the literary story, the plot action itself is secondary. In literature we are learning something new and interesting about the character as a human being, not discovering delayed information in the plot–who is the murderer, will the airplane crash, etc. So if you develop your character (s) to your maximum potential, you will begin to weed out unnecessary characters as part of the process. Too many characters will weaken your character development, and too many characters will confuse and dilute the readers enjoyment. I hope this helps. And best wishes for success in your story. From the nature of your question, I know you are on the right track for successful writing.

William Coles

I am having rouble writing I love to think of characters but recently I have had the feeling that I have added to many characters. When should I stop adding characters to my story.

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Attributing quotes to fictional characters

Let's say, for example, that I want to post my favourite quote from Babylon 5 somewhere:

"I'm not saying what I'm saying. I'm not saying what I'm thinking. As a matter of fact, I'm not thinking what I'm thinking." - John Sheridan, Babylon 5

How can I make it clear in the attribution that this is a line spoken by a character rather than an excerpt from a book called Babylon 5 written by a guy named John Sheridan?

• Also see Attribution: Quoting a Fictitious Character , –  James Waldby - jwpat7 Commented Sep 13, 2013 at 17:01

6 Answers 6

The easy part: According to MLA Handbook, you cite a movie as: title underlined (we often use italics instead of underlining), director, distributor, and year released. You may mention writers, actors, and/or producer. Example:

It's a Wonderful Life . Dir. Frank Capra. Perf. James Stewart, Donna Reed. RKO, 1946.

For a TV series, they say title of the episode in quotes, title of the program underlined (or italics), title of the series (by which they seem to mean a group of related episodes within a program) neither underlined nor in quotes, name of the network, call letters and city of the local station if applicable, and broadcast date. Example:

"Chrysalis", Babylon 5 , PTEN. Oct 26, 1994.

The harder part is how to attribute words of a fictional character. If you just name the character, it gives the impression that that's a real person. But if you just give the author, that loses context for people who are familiar with the character, and it could be very misleading, implying that the author really believes those words, when it could be that he put them in the mouth of a fool or a villain. Also, when you're quoting characters from a TV show or movie, it's not always easy to find out exactly who wrote the line you're quoting: many such programs have multiple screen writers and the actors may ad lib.

It's common when quoting TV and movie characters to put the character's name followed by the actor in parentheses. Like:

"Things are not always what they seem." G'Kar (Andreas Katsulas)

That's probably what I'd do for a TV show. For a novel, I'd want to mention the character and the author, but I don't know a consistent, recognized format for this and couldn't find one with a little web searching. I'd think something like:

Sherlock Holmes, in Doyle, Arthur Conan. "A Study in Scarlet", The Adventures of Sherlock Holmes etc.

A minimalistic approach is to place the character's name in quotes:

Lorem ipsum dolor sit amet, consectetur... – “John Sheridan”, Babylon 5

A more-proper method is to mention the character-name in quotes, the work (or series and episode), and the author. Here is an example from a literary quotation ethics webpage:

“We are all brothers under the skin—and I, for one, would be willing to skin humanity to prove it.” — “Ellsworth Toohey” in the novel The Fountainhead by Ayn Rand.

Wikiquote's page about quoting from fictional characters unfortunately is not helpful on this issue; the bulk of the page lists places where Wikiquote does not allow such quotes. The page does not address how to format such quotes.

I'd write it as:

"With all these new personalities floating around, it's a shame we can't find one for you." — Holodoc to Tuvok, "Infinite Regress," Star Trek: Voyager

I'd find it weird to have the character name in quotes. They look like scare quotes or "this is fake" quotes. You italicize the name of the show, and the put the episode name in quotes (using magazine-vs.-article logic; big things get italics, little things get quotes).

I'm also looking for a proper way to do this. I find especially for novelists who deal extensively in irony or satire, it's important to directly call out both the character and the author separately.

Until someone can convince me of a better proper way to do this, my solution has been something of the following:

"We must stem the tide of malice, and pour into the wounded bosoms of each other the balm of sisterly consolation" ~ Mary Bennet, Pride & Prejudice, by Jane Austen

I would recommend finding out who wrote the episode and embedding the character while citing the author as you normally would in-text.

For example:

The Eleventh Doctor once said, "We are all stories in the end" (Moffat, 2010).

This is APA, but it could work with any citation style/format.

For more formal work, you might include the season and episode numbers or episode title as well.

In "The Big Bang," season 5, episode 13, the Eleventh Doctor said, "We are all stories in the end" (Moffat, 2010).

“Quote.” — Fictional character name / Author name, Work Title, (optional Year)

“The world is merciless, but is also very beautiful.” — Mikasa Ackerman / Hajime Isayama, Shingeki no Kyojin

• Welcome to Writing.SE! Someone has flagged this post as low quality, presumably because it doesn't back itself up. Would you be able to explain why you believe this is the correct approach? –  F1Krazy ♦ Commented Oct 22, 2020 at 19:06

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How to Write a Character Analysis Essay

How many individuals do you know? We mean know ‘well’: their feelings, personality traits, behavior patterns, etc. One hundred? A few hundred? If you are not very sociable, your answer might be a few dozen, for example. However, we’ll bet that you don’t realize how many persons you actually know well.

Wonder Woman, Harry Potter, Dorian Grey, Ophelia, Sponge Bob, Batman, and Mickey Mouse – we can continue this list forever, but you’ve probably got our message. Aren’t they individuals? Do you know how they look and how they act? Now, think again about the number of individuals you know.

You may tell that these characters are not real, but does it really matter? Of course, you can’t communicate or interact with them. On the other hand, you can share their beliefs and feelings, worry about their fate, and learn important lessons from them.

We rely on analysis when we want to learn more about our favorite heroes and heroines. Everything is much easier if we are interested in analyzing. If you are not lucky enough, a strict instructor will require a character analysis essay about the hero who doesn’t awake any warm feelings in your soul. This is a common assignment for students who study literature, fine arts, and psychology. Let’s figure out how to write a character analysis essay correctly.

Where to get ideas for character analysis essay

Character analysis essay writing step 1 – identify character type

Our minds are full of stereotypes and stereotypical characters. You can often hear phrases like “he is a typical romantic” or “she is a typical rebel.” Every piece of fiction is somehow based on real life. Reality is the mother of any fantasy world. That’s why our stereotypes and evaluation reflect in literature and movies.

When we meet a new person (let’s call her Pam), we automatically try to identify her, define her “type”: party girl, housewife, romantic, princess, etc. Sure, such evaluation is biased and weak, but it’s only the first step.

The same applies to fictional characters: first of all, you need to identify character type. Check out our guide on 10 types of fictional characters!

1. Protagonist

A protagonist is a hero who stands at the epicenter of the novel or movie: Peter Pan, Frankenstein, Faust, etc. As a rule, character analysis essays about them are frequently assigned by instructors.

Usually, it is a good and amiable hero but not necessarily. For example, Macbeth is the protagonist of the Shakespearean play, but this fact doesn’t make him a good person, right. There is one secret: as you see, all names of protagonists mentioned above are at the same time the titles of books. If the character’s name is a title, he or she is almost always a protagonist. Of course, exceptions exist (e.g. Coco in the animated cartoon “Coco” is not the protagonist but his great-grandmother), so be attentive.

2. Antagonist

The pretty Greek word “ἀνταγωνιστής” (antagonist) is the antonym of the word protagonist. Consequently, the antagonist is a hero who stands against the protagonist. By analogy with the previous type, antagonists are not always bad. Still, the most famous of them are villainous: Lord Voldemort, Maleficent (the original version, not the one portrayed by Angeline Jolie), Captain Hook, etc.

ATTENTION! An antagonist is not always a concrete person. In general, it can be anything that spoils the protagonist’s life: forces of nature, fate, society, machine, and even animal.

Changes are natural. Our life is not stable, so the characters that evolve throughout the story seem more real. They’re called “dynamic characters.” A protagonist should always be a dynamic character, as the main hero who doesn’t change at all is not interesting and flat. Usually, major characters are also dynamic; they may evolve along with the protagonist. When you write a character analysis essay about dynamic character, make sure that you’ve described all stages of his or her evolution/degradation.

The classic example of dynamic character is Rodion Raskolnikov in the novel “Crime and Punishment” by Fyodor Dostoevsky. He’s got a long way to go: from the murder and suffering to repentance. Another example of dynamic character is Dorian Gray in the novel “The Picture of Dorian Gray” by Oscar Wilde. In that case, the hero goes through degradation. At the beginning of the story, he is a naïve and young boy. In the end, Dorian becomes a murderer and libertine (sorry for spoilers).

Static characters are also called unchanging. As a rule, they are minor characters who interact with the protagonist or major heroes to highlight their qualities or actions. Unchanging characters are not supposed to be protagonists, as their inner world is of no interest for readers. Static heroes are typical for folklore and fairytales where they can be protagonists. Such literature is simple and not aimed at deep analysis but at homily or entertainment.

A good example of a static character is the White Rabbit in the book “Alice’s Adventures in Wonderland” written by Lewis Carroll. He is always the same: fussy, nervous, and cowardly.

There is always one protagonist in any story, but he or she can be surrounded by other major characters. Surprisingly, the majority of antagonists are major characters, as they frequently appear on the screen or on the pages of the book interacting with the protagonist. Every major character may have his or her plot line that intertwines with the line of the protagonist. When the protagonist has one or two friends, you can be sure that they are major characters, like Hermione and Ron in “Harry Potter” by J. K. Rowling.

Actually, stories without minor characters exist. These character types are not necessary, especially when it comes to stories about lonely journeys or self-discovery. However, they add to the development of complex stories, though they are normally static. They also may contrast with major characters to underscore their positive traits (in case the minor one is a villainous hero). Normally, you pick two or even three minor characters to write a character analysis essay as such heroes are not portrayed in detail.

Good examples of minor characters that you can easily identify are sidekicks of antagonists: hyenas in “The Lion King,” Harley Quinn in comics about Batman and Joker, or the parrot Iago in “Aladdin.”

Of course, we don’t mean their geometric shape. You must agree that would be weird. Round characters are well-developed life-like heroes. They are multi-layered, so don’t expect that you’ll understand their ideas and thoughts at once. Such heroes are interesting for readers, as it’s not always easy to predict their actions. In high-quality stories, all protagonists along with major characters should be round. Sure, that doesn’t apply to children’s literature where the characters can be simply identified as bad and good ones.

A great example of the round character is Nora Helmer in “A Doll’s House” by Henrik Ibsen. At first sight, she is a pretty small-minded housewife who can’t even raise her kids on her own. Later, we discover that Nora is not that simple. We see that she is a hard-working, caring, and strong woman who is a victim of circumstance and gender stereotypes.

The inner world of such characters is as plain as day. As a rule, they have only one major quality that determines all their actions and beliefs. If the main hero of the book is flat, there are two options: it’s either a bad book or a fairy tale. Flat characters lack depth because they are one-dimensional, and you can see them only from one perspective. Such type is good for children’s literature where every character is not a personality but a generalized idea.

Almost all villainous characters in fairy tales are flat: Ursula in “The Little Mermaid,” the Evil Queen in “Snow White,” and The Shadow Man in “The Princess and the Frog.” They are bad because they are bad, and that’s all of the story.

9. Stereotypical

You can know everything about a stereotypical character from the first sight. Their actions and thoughts are determined by their appearance, job, gender, or social role. For example, a stereotypical villain of modern pop-culture is always associated with dark colors and a good sense of humor. A stereotypical crazy scientist has to wear a white lab coat, speak indistinctly, and has a messy hairstyle. There are no stereotypical characters in real life, though all of us like to label everyone with concepts like “macho man,” “princess,” “bully,” “rebel,” and so on.

Scriptwriters generally use stereotypical characters in teen movies where everything has to be simple and understandable. Any movie about school life has such heroes: captain of the football team, cheerleader, nerd, outcast, the queen of the school, etc. We don’t recommend you to pick these characters for your character analysis essay as there is actually nothing to write about.

A foil character contrasts with the major character. The only goal of such characters is to highlight and underscore some quality of the protagonist. At the same time, they are not antagonists. They don’t fight against major characters: they are just different and not necessarily bad. As a rule, a foil charactercan be considered as the protagonist’s “alter ego” or embodiment of his or her hidden side.

In the novel “Pride and Prejudice” by Jane Austen, all Elizabeth’s sisters are her foils: Jane’s gentle nature contrasts with Lizzy’s ironical manners; Mary’s obsession with books contrasts with Elizabeth’s ability to judge things independently; Lydia’s carelessness and silliness contrasts with the wisdom and logical reasoning of her elder sister.

For our favorite readers, we’ve created a few principles that will help you to identify character types:

• If your character is a protagonist, he or she is also dynamic, major, and round (as a rule);
• If your character is flat, he or she is also minor, or stereotypical (as a rule);
• If your character is an antagonist, he or she is also a foil (as a rule).

As you see, there are always exceptions, so be accurate and attentive while identifying your character’s type.

Finally, you have enough information about every character type. Still, identifying the type is just the first stage in character analysis essay writing. Let’s take a closer look at two other stages of analysis and create a simple character analysis essay outline!

Character analysis essay writing step 2 – describe the character

We hope that the first step won’t be difficult for you. Describing character can be much more complex, though you’ll deal with it quickly using our outline! Remember that you can provide an excellent character analysis essay only if you’ve read the book or watched the movie! And don’t forget to take notes in order to include all detail in your sample. Follow this character analysis essay outline to make sure that you’ve depicted your character properly.

Character analysis essay outline:

• Name, book/movie, author/film director/ctor.
• Character type/types (one character may represent more than one identity).
• Appearance: face, stature, sight, cloth, skin, walk, posture, voice, manners.
• Major personality traits: principles, ideas, attitude, beliefs.
• Changes throughout the story (if dynamic): differences before, during, and after the turning point, motivation, speed (changes slowly or suddenly), visibility (changes obviously or discreetly), how the attitude of other characters changes.
• Symbolic meaning.
• Historical relevance.
• Portrayal in other pieces of art.

You’ve done it all, right? Let’s move on to the next and final stage of our character analysis essay writing!

Character analysis essay writing step 3 – conflict

A conflict is not necessarily something huge like war, murder, divorce, or betrayal. A difficult choice, bet, or misunderstanding are also conflicts that may reveal the hidden character traits or motivate the hero to change his or her views, behavior, or attitude.

All possible conflicts are of two types: external or internal. External conflicts take place “outside” the character’s inner world. The character can stand against another character or group of characters, whims of fate, natural forces, wild animals, artificial intellect, etc. Internal conflicts are usually focused on the ethical dilemma that the character needs to solve. Such conflicts are possible only if the character is round and dynamic.

Defining conflict can be difficult especially if there are two or more of them. However, this stage is the most significant for your character analysis essay as it reveals the meaning of the hero for the plot.

Character analysis essay structure

After we’ve figured out all nuances related to character types and steps of writing a character analysis essay, it is now the right moment to tell a few words about its structure.

Introduction

As any other essay, you’d start your character analysis essay with a catchy and relevant introduction. Don’t forget to compose an interesting hook and exhaustive thesis statement. Include general information about the character: name, author, book/movie title, character type.

This part consists of two main parts. Firstly, you describe the character in details according to the character analysis essay outline provided above. Then, define and analyze the conflict/conflicts in relation to the hero. Remember that you should divide the whole text into paragraphs to improve the readability of your essay. Include a topic sentence and a piece of evidence in each section.

Restate each section in your final paragraph. Don’t copy your thesis statement word-for-word. Use paraphrasing in order to avoid self-plagiarism. Compose a strong concluding statement on your character.

Character analysis essay writing tips

Now, our guide on how to write a character analysis essay is completed! Such assignments are much more interesting and helpful than any other ones. When you learn how to analyze fictional characters, you also develop your skills of understanding people around you. Take a closer look at your friends! Maybe, you’ll notice a real princess or knight among them.

Character analysis essay writing help from the experts

If writing a character analysis essay seems to be too difficult for you, you’re welcome to use our essay writer service , EssayShark.com. Our writers are experienced and knowledgeable, so every character analysis essay example that they produce is informative and well structured. Don’t hesitate to contact our team anytime, as we’re available 24/7! You may also use the mobile version of our custom writing service to always keep in touch with our specialists.

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Model Essay on Identity

An Essay by Eileen for Option #1 of the Common Application

Laurence Mouton / PhotoAlto Agency RF Collections / Getty Images

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Eileen's application essay on being a wallflower works beautifully for two of the 2020-21 Common Application essay prompts. It could clearly fit under the popular Option #7, "topic of your choice." But it also works nicely with Option #1 : "Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story." Eileen's essay, as you'll see, is very much about her identity, for being a wallflower is an essential part of who she is.

Eileen applied to four New York colleges that vary widely in size, mission and personality: Alfred University, Cornell University, SUNY Geneseo and the University of Buffalo. At the end of this article, you'll find the results of her college search.

Wallflower I wasn't unfamiliar with the word. It was something I remembered hearing since I was able to grasp the fine art of polysyllabic language. Of course, in my experience, it had always been subtly laced with negativity. They told me that it wasn't something I was supposed to be. They told me to socialize more — okay, maybe they had a point there — but to open up to strangers I didn't know from Adam? Apparently, yes, that was exactly what I was to do. I had to 'put myself out there,' or something. They told me I couldn't be a wallflower. Wallflower was unnatural. Wallflower was wrong. So my impressionable younger self tried her best not to see the inherent beauty in the word. I wasn't supposed to see it; no one else did. I was terrified to recognize its rightness. And that was where Charlie came in.

Before I get any further, I feel obligated to mention that Charlie is not real. I question whether that makes a difference — it shouldn't, really. Fictional, factual, or seven-dimensional, his influence in my life is indisputable. But, to give credit where credit is overwhelmingly due, he comes from the brilliant mind of Stephen Chbosky, from the universe of his novel, The Perks of Being a Wallflower . In a series of anonymous letters to an unknown friend, Charlie tells his story of life, love, and high school: of skirting the fringes of life and of learning to make the leap. And from the first sentences, I was drawn to Charlie. I understood him. I was him. He was me. I felt acutely his fears of entering high school, his just-barely-perceptible separation from the rest of the student body, because these fears were mine as well.

What I didn't have, the singular distinction between this character and myself, was his vision. Even from the very beginning, Charlie's innocence and naiveté gave him an unparalleled ability to see beauty in everything and to acknowledge it without hesitation, exactly as I'd longed to allow myself to do. I had been scared to be the only one to value being a wallflower. But with Charlie came the promise that I wasn't alone. When I saw that he could see what I wanted to see, I suddenly found that I could see it, too. He showed me that the true beauty in being a wallflower was the ability to acknowledge freely that beauty, to embrace it for everything it was while still managing to 'put myself out there' on a level I hadn't thought myself capable. Charlie taught me not conformity, but the honest, open expression of myself, free from the vise-like fear of being judged by my peers. He told me that sometimes, they were wrong. Sometimes, it was okay to be a wallflower. Wallflower was beautiful. Wallflower was right.

And for that, Charlie, I am forever in your debt.

Discussion of Eileen's Admissions Essay

The minute we read her title, we know that Eileen has chosen an unusual and perhaps risky topic. In truth, the topic is one of the reasons to love this essay. So many college applicants think their essay needs to focus on some monumental accomplishment. After all, to get admitted to a highly selective college one needs to have single-handedly rebuilt a hurricane-ravaged island or weaned a major city from fossil fuels, right?

Obviously not. Eileen tends to be quiet, thoughtful, and observant. These are not bad traits. Not all college applicants need to have the type of exuberant personality that can psych up a gymnasium full of students. Eileen knows who she is and who she is not. Her essay focuses on an important character in fiction who helped her be comfortable with her own personality and inclinations. Eileen is a wallflower, and she is proud of it.

Eileen's essay readily acknowledges the negative connotations bound up in the term "wallflower," but she uses the essay to turn those negatives into positives. By the essay's end, the reader feels that this "wallflower" could fill an important role within a campus community. A healthy campus has all types of students including those who are reserved.

Eileen may be a wallflower, but she clearly has a sprightly mind. The essay takes its subject matter seriously, but it also has no shortage of wit and humor. Eileen takes a self-deprecating jab at herself for needing to socialize more, and she plays with the idea of what is "real" in her second paragraph. Her language is often informal and conversational.

At the same time, Eileen is never flip or dismissive in her essay. She takes the essay prompt seriously, and she convincingly shows that fictional Charlie had a profound influence on her life. Eileen strikes that difficult balance between playfulness and seriousness. The result is an essay that is substantive but also a pleasure to read.

The Writing

Eileen has accomplished an impressive task by covering her topic so well in under 500 words. There is no slow warm-up or broad introduction at the start of the essay. Her first sentence, in fact, relies on the essay's title to make sense. Eileen jumps into her topic immediately, and immediately the reader is drawn in with her.

The variety of the prose also helps keep the reader engaged as Eileen makes frequent shifts between complex and simple sentences. We move from a phrase like "the fine art of polysyllabic language" to a deceptively simple string of three-word sentences: "I understood him. I was him. He was me." The reader recognizes that Eileen has an excellent ear for the language, and the essay's pacing and rhetorical shifts work well.

If there is one criticism to offer, it's that the language is a little abstract at times. Eileen focuses on "beauty" in her third paragraph, but the exact nature of that beauty is not clearly defined. At other times the use of imprecise language is actually effective — the essay opens and closes with reference to a mysterious "they." The pronoun has no antecedent, but Eileen is abusing grammar deliberately here. "They" is everyone who is not her. "They" are the people who don't value a wallflower. "They" are the force against which Eileen has struggled.

Final Thoughts

While "I'm a wallflower" may be a conversation stopper at a social event, Eileen's essay is remarkably successful. By the time we finish the essay, we can't help but admire Eileen's honesty, self-awareness, sense of humor, and writing ability.

The essay has accomplished its most important task — we have a strong sense of who Eileen is, and she seems like the type of person who would be an asset to our campus community. Remember what is at stake here — the admissions officers are looking for students who will be part of their community. Do we want Eileen to be part of our community? Absolutely.

The Results of Eileen's College Search

Eileen wanted to be in Western New York State, so she applied to four colleges:  Alfred University ,  Cornell University ,  SUNY Geneseo  and the  University of Buffalo . All schools are selective, although they vary greatly in personality. Buffalo is a large  public university , SUNY Geneseo is a public liberal arts college, Cornell is a large  private university  and member of the Ivy League, and Alfred is a small private university.

Eileen's essay is clearly strong, as were her test scores and high school record. Because of this winning combination, Eileen's college search was highly successful. As the table below shows, she was accepted at every school to which she applied. Her final decision was not an easy one. She was tempted by the prestige that comes with attending an Ivy League institution, but she ultimately opted for Alfred University because of both the generous financial aid package and the personal attention that comes with a smaller school.

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Writing Character Development: 45 Questions to Ask Your Characters

Written by MasterClass

Last updated: Jun 7, 2021 • 3 min read

Do you know what your main character would do if all of their friends forgot their birthday? What about if they found a hundred-dollar bill on the ground? These kinds of questions (often called “character development questions”) are a great way to help you breathe life into your characters in the first draft of your short story or novel.