The key to creating characters readers will wish to search for

"Strong" is a word we hear a lot when describing good characters. But how do you create a strong character for your story? What makes the difference between a character that your readers take root for and one that they forget?

Strong can mean many things. It could mean that they are intelligent like Hermione, resilient like Katniss, exceptionally physically strong like Hercules, or cunning like Sherlock Holmes. And although all of these characters have different strengths, they all successfully encourage readers to get behind them and continue their efforts.

Creating characters that readers will find strong is not an easy task. Here's a quick writing tip to help you write.

The no-wuss rule

Nobody has roots for a fool.

It's a simple fact of life – everyone wants to find someone who will act decisively and go straight to their adventure instead of being dragged along.

If your character doesn't believe in their own adventure and goals, the reader will have a hard time getting behind them too.

Think how much less admirable Bilbo would be if he didn't fight the spiders that are preparing to eat his friends.

Or imagine how much less impressive Moana would look if she whined and complained every time Maui told her he wasn't helping her return Te Fiti's heart?

Both characters model protagonists that readers admire – and it comes as no surprise that they aren't what would be called Wuss. For a couple of good reasons.

When characters do nothing, it slows the story down and makes readers dislike it. Like I said, no one wants a fool.

2 principles for creating no-wuss characters

If you ponder these ideas as you create characters for your book, you can consider writing a cast that readers will enjoy – one that you want to have a happy ending. Here are two principles to follow when creating simple characters for your own story.

1. Creating characters that readers will take root for doesn't mean creating perfect characters

It's easy to believe that a strong character is someone who is always confident. They know exactly what they are doing and why they are doing it.

You might ask what about character flaws? And depth? If I create a strong character – one that is too perfect – am I not creating a boring cartoon?

Won't it flatten her?

The important thing here is to understand that having a strong character does not mean creating perfect characters.

In fact, it is much better if your characters are imperfect because their imperfections make them someone readers can relate to, and if they cannot relate to the character, then it is far more likely to be for them Put down roots.

Harry Potter is far from perfect, even if he's the chosen one (especially in book five when he gets insanely dramatic – though, in fairness, he's also a bit obsessed).

So characters don't have to be perfect and confident for readers to like them. You don't even need an obvious personality suggesting how they're going to behave (though knowing where your character falls on the Myers Briggs tests can be a fun and useful find.)

You have to take action.

And act on purpose because the author intended.

Characters are action.

2. Purposely create characters who act in a crisis

When writers create characters who act on purpose, they develop protagonists who strive to overcome the fears or other obstacles that stand in their way.

We learn most about a character when we finally see him act. And a character cannot act unless they are constantly faced with obstacles that are hampering their scene by scene and their overall goals.

Consider the story of Sandy, a woman who has just found out that her boss, for whom she has worked faithfully for many years, is planning to fire her.

She decides to confront him before he can:

I went back to work feeling disoriented. I couldn't believe what I was up to. My legs carried me down Main Street and I couldn't help but stop at every storefront on my way to look – a distraction from what I inevitably had to do. All the way back, I kept throwing up the worst scenarios. What if he yells at me? What if I start crying and can't stop? What if I start giving my speech and then forget my words? I really hope my nerves get harder before I get there.

Ask yourself: Does Sandy sound like someone in control of something?

She "found" herself walking, her "legs carried" her, she "can't believe it" and she "can't help it" to stop. Her movements indicate that she cannot do anything on her own. She keeps talking about her mind spinning and her nerves getting hard, like there's nothing she can do about it, even though they're a part of her.

As a reader, you already do not believe that she can handle this confrontation. So it's very likely that you don't like them.

In fact, you might think that it would be best if she turned around and let herself be carried off her legs before making a fool of herself.

When you learn a little more about them, you may like them as a person, but you can feel sorry for them too.

And when the word pity comes to mind, it is definitely unlikely that you will put down roots for her as she tries to achieve her goal. (Learn more about the importance of adding goals and a crisis to your scenes, like creating characters yourself.)

Why?

Because Sandy is acting like a fool right now.

Her worries allow her to transform into a moment of paralysis, and while it's okay for characters to have fears (great, even!), Characters who constantly allow those fears to consume them become unlikely do.

You get tired.

Stories give us the opportunity to learn from characters, and we don't learn from characters if they keep choosing not to do anything. Don't learn and grow.

Like Sandy does upstairs.

You don't have to make a character confident to make them likeable, but you have to make them act on purpose.

How to take characters who are a know and make them strong

If you want to create characters like Sandy because that's part of their characterization, the example paragraph above might work.

However, if you want readers to get behind her and cheer her on while she faces her boss, you'll want to make her different.

Remember, this doesn't mean she needs to be confident or even need a plan. You just have to act with Intention – that is, she needs to recognize her fears and hesitations and dig deep into herself to take on the internal blocks holding her back, regardless of the consequences.

I like what Atticus says about the real courage to kill a mockingbird:

Instead of getting the idea that courage is a man with a gun in hand. It's when you know you will be licked before you start, but you start anyway and see through it no matter what.

When characters act on purpose, they are using their inner courage.

In a craft book by James Scott Bell, Bell describes this character choice as a demonstration of a character's strength.

Using the example of Lambert the lion, he explains:

Lambert is a lion who was raised by a ewe. Like Rudolph, all the other sheep make fun of Lambert for being a coward. Big and bulky, yes, but he always runs back to his mother.

Until one day a wolf comes to eat the sheep.

When the Wolf targets Lambert's mother, Lambert begins to duck. He doesn't know what to do. He is desperately afraid.

But then – when the wolf has nailed his mother to a cliff – his mother calls him. Lambert knows he has to find his inner lion. He does it and then saves his mother from the wolf moments before she has eaten.

I've said it before and I'll say it again: Stories are about character transformation, and it is for this reason that stories give readers an opportunity to learn a lesson. To grow by learning how to deal with difficulties, like the characters who drive the story.

Readers look for outsiders like Lambert because he's scared – it's his fear and his decision to overcome his fears that make him admirable.

Go Lambert!

Example: When Sandy acts on purpose

Check out the differences in Sandy's character when she's scared of confronting her boss with grit. Her actions are the same, but now she moves on purpose:

I went back to work feeling disoriented. What I was about to do felt unreal. I stopped at every storefront on Main Street to look inside. I pretended to be interested but only delayed the inevitable. Every worst scenario came to mind. He could yell at me. I could start crying and not stop. I could get through my speech and then forget my words halfway and look like a complete idiot. I had two blocks left to build my nerves, so I'd better do it quickly.

Notice the difference in this excerpt? Do you see Sandy acknowledge what to expect but still prepare to face her obstacles?

Did you like it better this time?

I know that I did.

If you're like me reading this passage, you're probably suddenly wondering how Sandy's confrontation with her boss will wane.

You want her to see her challenge through to the end, and you hope Sandy does everything well because her fears put her in relationship – and her decision to face her fears made her admirable.

You feel that although Sandy is ill-prepared and maybe a little impulsive, that's what she wants. This is what she has to do if she is to live with herself.

Sandy leaves, stops, and prepares to face her boss on purpose, even if it means it may not turn out well.

And as a reader, you look forward to following Sandy through to the end because you're right next to her. Turning back now is not an exciting or desirable option.

The power of intention

A strong character has strong intentions. They pursue their goal because they know that choosing not to do anything will lead to the same or worse destiny.

If you find yourself creating characters who don't believe in their decisions, don't expect your readers to believe in your characters or root them in when they take action (and remember that doing nothing still makes a choice ). Instead, rethink your intentions. Are they completely missing? If so, it's time to add them to your story.

Who are you rooted for and how did they act on purpose to achieve their goal? Share your thoughts in the comments below.

WORK OUT

Write a paragraph or two in which your character has faced a fear. Show how your character recognizes this fear, but then chooses to act in a way that addresses that fear on purpose.

Make sure that the character is faced with a difficult decision and that that decision has ramifications, even if they choose not to do anything.

Don't you have a character in mind? Create a new character with one of these fears: