
Master storyteller David Corbett's "The Art of Character" unlocks the five cornerstones of unforgettable characters. Why do acclaimed writers consider this their secret weapon? From "Breaking Bad" to "Macbeth," discover how desire and contradiction create characters readers can't forget - and neither will your audience.
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What separates a forgettable character from one who lives in our minds long after we close the book? Consider Tom Ripley, whose layered deceptions and impenetrable void at his core made Patricia Highsmith's creation unforgettable. Or Omar from *The Wire*, simultaneously a shotgun-toting vigilante and tenderly affectionate lover. These contradictions don't just make characters interesting-they make them *real*. Character creation isn't about filling out questionnaires or mapping personality types. It's about understanding the mysterious alchemy between deliberate craft and intuitive discovery, between what we plan and what surprises us on the page. Some writers experience characters as pre-existing beings they simply uncover. Playwright Martin McDonagh described his characters "jabbering" at him incessantly, as if they existed somewhere waiting to be found. Others build characters gradually through persistent refinement, like Michelangelo freeing figures from marble. The truth? Most writers alternate between both approaches-starting with an impression and developing it through scenes that evoke conflict, desire, and vulnerability. This explains those magical moments when characters surprise their creators. After doing the hard work of developing specifics, your unconscious transforms raw material into something organic. Like Geppetto with Pinocchio, you work lovingly until your creation takes on independence. But here's the crucial insight: a character's source is merely a beginning. Becoming wedded to your first impression leads to mere elaboration rather than true development. Characters who truly live must change and surprise you, contradicting initial impressions in credible ways. The dream image needs a story; the real person needs an imagined inner life; the archetype needs flesh and blood.
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