Four Dimensions: Character Analysis Beyond 3d Characters

Four dimensions like four eyes give 3d characters added depth.Fleshing out characters (giving 3d characters four dimensions) is one of my favorite aspects of writing a story, perhaps more than weaving the plot. The human mind is complex, and in a story, every character is an outstanding individual, with their own story, dreams, hopes and fears. The possibilities are limitless, and I could spend all day uncovering the characters’ motivations, ideals, and inner workings.

Once the plot gets going, even complex 3d characters get busy with what’s going on around them, and are in danger of losing their personality quirks. When I’m writing through an exciting scene, I often forget that the characters wouldn’t act the way I would act. I have to go back and evaluate the scene, and whether they are acting true to character.

When that happens, I look over four dimensions of a character’s personality, to see if they are acting consistently throughout the story. These four dimensions can be determined at the beginning of a story, or infused at any point in time thereafter to bring out the best in your heroes.

Thoughts: The Hero’s Conscious Awareness

Discover through character analysis the four dimensions of your characters.Your characters each have their own perspective on the world. Their upbringing, education level, and current situation shape their thoughts and consequently their actions. A well-to-do, college-educated attorney will think about the world far differently than an abused high school dropout. They will be concerned about different things, have a particular sense of right and wrong, and analyze problems in unique ways. They will also hold themselves and their companions to separate standards, praising and criticizing under various circumstances.

The most common way we look at an individual’s thoughts today is through left brain, right brain analysis. In general, characters who are left brained think logically and rationally, working through a situation step-by-step to its conclusion. Right brained folks look at life on a grander scale, working holistically and creatively to solve problems. You can really flesh out a character’s thought patterns by figuring out if she’s left or right brained, and how she approaches critical thinking.

Feelings: What His Heart Wants

In direct opposition at times to the hero’s thought processes are his emotional reactions to the world. Before his brain gets a chance to analyze, his heart will express his initial reaction to external stimuli. Your protagonist will obviously have feelings about all the other characters he meets, whether they are good, bad, or indifferent feelings. This will color his actions in how much he interacts with others, and in what ways.

However, people have feelings about everything in their lives, not just other humans. She may feel that she is on the wrong course of action, even when she cannot think of a reason why this is so. Known as gut reactions, following your intuition, or even psychic awareness, these feelings crop up consistently throughout our lives. Your character may feel like wearing a red shirt today, even though her blue shirt is clean too. She may despise her best friend’s brother, even though she just met him and knows nothing about him. These are all human feelings that can take your story and characters down exciting new paths.

Actions: How He Presents Himself to the World

Your protagonist shapes his world and his story via his actions, how he interacts with other people and his environment. Actions reveal a lot about a person’s character, illuminating his thoughts and feelings with a tip of his hat. If your character doesn’t act, he doesn’t progress through the story, and will have to be helped along by his companions.

Actions are the home of “show, don’t tell”, where your heroine can really stand out from the crowd. If she pulls over to help an injured animal along the side of the road, she will come across as compassionate and nurturing, even if no one else in the story recognizes that fact. If she stands firmly against every obstacle in her path, readers will come to the conclusion that she is headstrong, determined, and perhaps a little ruthless. Actions really do speak louder than words, amongst your characters and to your readers as well.

Relations: How He Interacts with Others

Your hero does not live in a vacuum. He has to deal with other people, and all of the things that we do in our daily lives. Work, home, school, society, religion, health, goals, and values shape your character continuously. He has to relate to and react to all of these environmental influences on a daily basis, with certain aspects taking precedence depending on the day’s events.

How your character relates to her environment can provide new insights you may not have considered. If your protagonist is a diligent worker, yet lives in a messy home, she obviously has different values about what is acceptable in different settings. At the beginning of the story, she may be a self-proclaimed atheist, yet is presented with many challenges to her faith throughout the story arc. Whether she lets herself relate to those challenges, or remains unchanged, will give readers a new perspective on her personality.

These four dimensions of a character’s personality will give you unlimited characterization ideas and plot possibilities. Your readers will easily relate when the characters think, feel, act, and relate to the world in ways that we all do each day. When your heroine seems dull, go over these four dimensions and see if she has the opportunity to show of her amazing self!

How do you ensure that your characters are fleshed out and believable? To what standard do you hold them accountable? What tricks do you use to bring out the best in your heroes?

Photo Credit: Four Eyes by Carulmare
Photo Credit: Mask by Cliff1066tm

Book Review: The Plot Thickens

I’d like to give my sincere thanks to Katie-Anne Gustafsson for this Guest Review. I haven’t had a chance to read Noah Lukeman’s book, “The Plot Thickens: 8 Ways to Bring Fiction to Life” but it definitely sounds like this book and Noah’s first, “The First Five Pages” are necessary additions to my writer’s shelf. I hope you enjoy her review.

Noah Lukeman’s second book (his first being “The First Five Pages”) is about plot, and yet it’s also about characters. Anyone who loves to write character-driven plots will love this book! Create a character (the first two chapters of the book show you how) and then map a journey for them to take. What kind of person are they? How would they react to various situations? The exercises at the end of each chapter allow you to build your character into a three-dimensional person who has a goal and, perhaps, a mind of their own!

The Plot Thickens: 8 Ways to Bring Fiction to Life” is not just a instructional, it’s an ideas book. What I particularly loved about this book was that the examples used came not only from books, but also from well-known movies. I hadn’t seen all the movies referenced, but I did know enough about all of them to see the point that was being illustrated.

Plot is one of the hardest disciplines in the fiction writing field for many writers. How to get from a-to-b in a believable route that doesn’t meander too far off track is often a tricky job. “The Plot Thickens: 8 Ways to Bring Fiction to Life” gives advice how to achieve this in the most natural way possible.

An easy to read book that can be read from start to finish, or which can be delved into whenever you’re blocked for an idea on where your plot should go next, “The Plot Thickens: 8 Ways to Bring Fiction to Life” is a guide that will complement any writer’s reference shelf.

Have you read Noah Lukeman’s book? I would love to know what you thought of it. Feel free to leave your comments, review, or book review link in the comments. Are there any books in particular you’d like to know more about or would you like to share a Guest Review on Writer’s Round-About? Leave a comment or drop me an email!

Read more about Plot and Structure!

SG1 Series Part Two: Character Development

Characters are an elemental part of every story. An intriguing plot with a good story-arc is important but without approachable characters your story will never connect with an audience. Readers need characters. Characters are the socket for your stories power supply. It is through your characters that readers can plug into the plot and experience the life of your story.

The Stargate series introduces a multitude of characters in various stages and of differing quality and consideration. Some play bit parts as extras or body count but others grow into the story, we come to love them or hate them, we come to care for the part they play in the story, their injuries and deaths bring anguish and grief or heartfelt cheers.


SG1 – Jack, Daniel, Sam and Teal’c

The original SG1 is a team of four diverse characters. Their differences create an initial challenge; they struggle as a unit until they learn to use each others strengths to counter their own weaknesses. It shows the importance of bringing opposites together. These characters are unique in their own fields. It is their united purposes, each individual to their character, which brings them together. A bond is formed that gives this eclectic community a solid friendship. We see the bond develop and grow with the characters as the series progresses.

It is important to blend characters but avoid carbon copies. Each character should be unique and individual. Distinguish them with separate goals, established histories, areas of interest and technique.


The SGC and General Hammond

The Stargate Command is an entity in its own right. It is actually a collection of individuals that work in regulated ways to create a standardized base of operations. There are many faceless characters lead by the General. Most of the time we don’t connect with these individuals but General Hammond represents the unity. His personality molds the actions of the SGC.

Larger forces need a strong head character to represent their interests. Armies can seem like a long column of faceless men but a charismatic leader will show a distinguishing command of his forces. Each of his men is ultimately the voice of this man and a solid leader is one whose men will lay down their own lives to support the orders he puts forth. This is true of the ‘good’ and the ‘bad’ guys.


The Goa’uld

While the Goa’uld are a nasty bunch in their own right they are an ideal antagonist. They aren’t evil. They have solid reasoning and a collection of emotional reactions that allow readers to associate with them. The Goa’uld act entirely out of an arrogant sense of self preservation and domination. As a people (um… symbiotic race) they act with rational, intelligent thought. They are challenging but not insurmountable.

Antagonists should be normal people. You can create more impact with a sympathetic antagonist then with a diabolical freak. If a reader can see themselves in a protagonist you have a good story but if readers can see themselves to some small degree in the antagonist then you have a charged situation that will keep a reader tied to the outcome.

There are many more characters involved in the Stargate series. Each new person (or group of people) is shown in snippets. Base motivations appear and personality traits are revealed but characters always have an element that remains unseen. It is impossible to know everything and it is important that characters can still do something unexpected or unpredictable.

Over time, we get to know the main characters. Their own personal stories are revealed and delved into. The primary characters are challenged with personal situations forcing them to make choices that distinguish them. Whole episodes play a vital role in adding depth to these characters and introduce situations that push their qualities forward.

  • Use time in your story to slowly reveal your characters.
  • Allow their actions and reactions to portray the depth of their beliefs and desires.
  • Each scene should use your characters strengths and weaknesses.
  • 3D characters have sides we cannot see.
  • A characters relationships reveal vital clues to their personality.
  • Characters always continue to grow and change based on the situations that occur in each moment of their lives.

Finally, just because your story has reached ‘The End’ does not mean your characters have. Characters should still be imperfect in the final scene. Their growth remains incomplete. Some of your characters may have died but most will live on beyond your closing paragraph and while they began at one point and progressed to another in this story there should always be another world to save, another enemy to fight, another day to live and another dream to follow.

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