How to Craft Unforgettable Characters with James Scott Bell

If readers don’t care about your characters, they won’t care about your book. If your characters are wooden, generic, or forgettable, readers won’t buy or finish reading your book, and they certainly won’t recommend it. If you want to write a book that people finish and recommend, you must craft compelling characters.

How do you craft compelling characters?

I spoke with James Scott Bell. He’s the author of award-winning and bestselling books; he’s a writing coach that people like Jerry Jenkins go to for advice; and he writes novels and popular craft books, including his newest book, Writing Unforgettable Characters: How to Create Story People Who Jump Off the Page (Bell on Writing Book 12).

Are unforgettable characters really that important?

James: They are absolutely imperative. I started out focusing on plot and structure because that was the most mysterious part of the craft when I began learning how to write fiction. I worked hard to master it. One day, I wrote a screenplay because, being in Los Angeles, it’s almost a requirement. An agent agreed to look at it and said the plot was good, but the characters didn’t jump off the page. That made me think, “Okay, what’s that about?”

As I delved into that aspect of the craft, I realized that when we talk about great stories, novels, or movies, we often refer to the characters. We say things like, “That was a great character.” To get your fiction firing on all cylinders, you need a marriage of plot and character. You need both, and the more you enhance the character aspect, the more unforgettable your book will be. That’s what we strive for.

Thomas: This is especially true for a series. If someone is going to move from book one to book two, which is where you really start to make money as an author, what keeps them engaged? Sure, you can end on a cliffhanger and use plot elements to draw them in, but what truly keeps readers coming back is their desire to spend more time with the characters. That’s why you keep watching a TV show five seasons in. The plot may change every episode, but the characters remain the same, and that’s what keeps you invested in the story world.

James: Great series characters like Sherlock Holmes, Hercule Poirot, and Harry Bosch all meet the criteria of being multifaceted and quirky, with qualities that keep you interested in them as characters. This approach allows the series to proceed successfully.

There are two ways to achieve this. In Michael Connelly’s Harry Bosch books, the character undergoes constant inner transformations. Bosch deals with inner demons, discovers new things about himself, and experiences personal growth.

In contrast, Lee Child’s Jack Reacher remains the same throughout his series. Reacher enters a town where no one knows him, gets into trouble, beats up the bad guys, buys clothes at a thrift store, grabs his toothbrush, and moves on.

Both authors have spoken about their approaches. For Connelly, the character’s growth process is rooted in his backstory. For Child, the appeal lies in the consistency and predictability of Reacher’s character, which his readers enjoy. Despite their differences, both characters are unforgettable.

Thomas: And while Jack Reacher is the same from book to book, everything else is different. He’s in a totally different town with entirely different characters. I imagine some characters are with him from story to story, but for the most part he’s in a completely different frame, which allows you to see him in a different way.

James: A friend of mine, Thomas Sawyer, who was the showrunner for Murder She Wrote, has authored a number of hit TV series and scripts. That’s how he envisioned Angela Lansbury’s character, Jessica. Jessica is the same character with some associates, but each episode introduces new quirky characters who are allies, enemies, or suspects. That made each episode original.

What is a multifaceted character?

Thomas: When we talk about “multifaceted characters,” what do we mean?

James: At the basic level, a character must show strength of will. To me, a successful story or novel is one where a character fights against three aspects of death: physical, professional, or psychological/spiritual. Unless the stakes feel like a life-and-death issue for the character, the reader’s interest won’t be fully engaged.

The character must demonstrate the capacity for strength of will very early in the book. They need to take the initiative, grow, learn to fight, gather resources—whatever it takes. A character can’t just react indefinitely; they must start to act. This is a fundamental facet of storytelling.

As the story progresses, various elements come into play. For instance, what drives the character’s life? What do they burn with? What would they die for? How does the plot compel them to make choices aligned with these passions?

This introduces inner conflict, which adds complexity. The character will encounter numerous reasons to give up and equally compelling reasons to continue the fight. Balancing these elements creates depth and complexity, enhancing the story’s entertainment value for the reader.

Thomas: Figuring out your protagonist’s motivation is crucial. You can’t develop the other elements of the character until you’ve nailed this down.

While coaching authors on pitching their books for the first time, I repeatedly ask, “Who is your protagonist, and what do they want?” Many authors can name the protagonist but struggle to articulate clearly what the character wants. If you don’t know what your character wants, your pitch isn’t ready. Your character must have a strong desire that drives the plot forward. The protagonist has to actually “protag.”

In Christian fiction, a common issue is that the antagonists often end up being more interesting. Their desires are clearer, and their actions more compelling, making them more engaging than the protagonists. This mirrors the classic mistake in Milton’s Paradise Lost, where Lucifer is arguably the most interesting character because he drives the plot forward more forcefully than anyone else. Your protagonist must have strong, clear motivations to avoid this imbalance and keep readers invested.

James: In Christian fiction, there’s often a tendency to make villains purely evil and stereotypically bad. However, it’s much more interesting when the villain is somewhat attractive and justified in their own mind. This aligns with the Biblical idea that Satan can appear as an angel of light. Villains typically see themselves as doing right.

When writing antagonists, I recommend creating a closing argument they might present to a jury to justify their actions. A compelling example is Hermann Goering’s chilling defense during the Nuremberg trials, where he justified the Nazis’ actions based on Germany’s history and the Treaty of Versailles. He truly believed he was in the right.

Villains don’t wake up thinking, “What evil can I do today?”—except for characters like Doctor Evil. Generally, they believe they are doing the right thing.

Thomas: There are many ways to make a villain more complex, and one effective approach is to make them highly competent. One of my favorite villains is Admiral Thrawn from the Star Wars books. Unfortunately, he was cut from the movies, but the sequel series should have been about him. He is the second most interesting villain in all of Star Wars, right after Vader, and the exact opposite of Vader.

Vader is controlled by his emotions. He’s very angry and physically powerful, with the ability to control the Force. Thrawn, on the other hand, is none of these things. He is cool, calculating, and brilliant, with absolute control over his emotions. Thrawn is not human and belongs to a lesser species in the Empire. He has no Force abilities, yet he remains an incredibly compelling character.

Part of what makes Thrawn so intriguing is his brilliance. It’s almost as if he can predict the future, but he doesn’t actually foresee events. Instead, he understands his enemies so well that he can anticipate their actions through logic and reason. Thrawn doesn’t need the Force because he is exceptionally smart. This makes him a captivating and formidable villain.

James: Think about Hannibal Lecter, one of the greatest antagonists in crime fiction. He stands out because he is the smartest person in any room, able to manipulate people from his cell and possessing a wicked charm. The truly scary part of villainy and evil is the allure of it. When you can convey that to the reader, they experience it too.

I’m a big advocate for what I call crosscurrents of emotion. You root for the hero, but then the villain starts to exert a certain sway over you, creating conflicting emotions. This isn’t a bad thing; it enhances the emotional experience of the novel and makes it unforgettable. That’s what we’re aiming for.

Thomas: A character must have more than mere strength of will. Although a good example of a character who has strength of will is the little rodent who wants the acorn in the trailer of the Ice Age movies. The little squirrel keeps trying to get the acorn, but the acorn keeps getting moved away, so the squirrel keeps chasing it. It holds your attention for a trailer, but it doesn’t necessarily hold your attention for a 90-minute movie. A character needs more nuance.

What are some of the other elements of making a compelling character?

James: In my book, I have a chapter on grit and moxie. Grit is an old-fashioned word that’s making a comeback in business book circles. Grit is standing up against immediate conflict.

Consider the famous novel True Grit, which most people associate with John Wayne as Rooster Cogburn. However, the book is truly about Mattie, the young girl who shows remarkable grit. She faces obstacle after obstacle, refusing to quit until she gets justice for her murdered father.

Then there’s the concept of moxie. I love this because it represents a certain degree of audacity that a character can use to their advantage. A prime example is Eddie Murphy in the movie 48 Hours. In the scene that made Eddie Murphy a superstar, he plays a prisoner who is temporarily released by a cop because he has crucial information. At one point, they enter a redneck bar filled with white country guys playing pool. Through sheer moxie, he convinces them that he’s from the police and has the authority to shut the place down. It’s a fantastic scene.

These traits, whether displayed on a large or small scale, can add depth and inventiveness to a character, making them more engaging and memorable.

How do a character’s flaws make him unforgettable?

Thomas: Part of a character’s journey involves not just external conflicts, like man-against-man or man-against-society, but also internal struggles, such as man against himself. A character might want to achieve great things but be hindered by personal flaws they need to overcome.

How do you decide what flaws to give your character that serve the story? We don’t want perfect “Mary Sue” characters who are flawless, like Mary Poppins. You can only have one Mary Poppins, and she’s already taken.

To decide on your character’s flaws, consider how they connect with the overall theme of the novel. Rather than randomly picking flaws and having the character work around them, choose flaws that resonate with the story’s message and contribute to the character’s growth. This approach ensures that the flaws are meaningful and integral to the character’s journey.

James: Let me push back slightly on the idea that all characters need moral flaws. Take Jack Reacher, for example. He’s not introspective, he’s not going to see a shrink, and he stays pretty much the same throughout his stories.

This is why I talk about two kinds of character arcs. The first kind, which you’re describing, involves a character beginning with moral flaws—flaws that affect those around them. A classic example is Rick in Casablanca. At the beginning of the story, Rick sticks his neck out for nobody and doesn’t care about anyone else. We later learn why, and his arc revolves around whether he will remain that way or reclaim his humanity by the end.

In my book Write Your Novel from the Middle, I discuss how understanding the kind of story you’re telling can help guide your writing. In the middle of a book or movie, the main character often confronts themselves, almost as if looking in a mirror. Rick in Casablanca has a moment where he questions who he is and whether he will stay the same or change.

The second type of arc doesn’t involve transformation but rather strengthening. The character is fundamentally good but must become stronger. A classic example is The Fugitive, the Harrison Ford film based on the TV show. The protagonist, a surgeon wrongly accused of murdering his wife, must survive as an escaped prisoner and seek justice. His “mirror moment” is when he assesses his dire situation and wonders if he can survive and overcome the odds.

These “mirror moments” are crucial for helping writers understand what their story is truly about and how they want to tell it.

Thomas: Agreed. A Jack Reacher story isn’t about Reacher looking in the mirror and battling himself. It’s very much a man-against-society story. In many ways, it’s the classic Western: a man outside the law bringing order to a chaotic world. Reacher tries to change the environment around him, leaving the community different after he departs. It’s about him bringing justice from outside the law, a form of vigilante justice.

Although Reacher doesn’t have moral failings, he’s still an interesting character because he has unique challenges. His lack of resources, for example, adds to his complexity. If he had the authority of the police, he might be a less interesting character.

James: In a Reacher book, you know he’ll demonstrate both physical and mental prowess. This is key to all such series. Take Hercule Poirot or Miss Marple, for example. These characters don’t change, but the next case or situation must seem like the toughest challenge they’ve faced so far. In the middle of the book, they have to think, “How am I going to get out of this one? How will I fight this fight? How will I meet the mental challenge of this villain?”

That’s the key to these characters and how you maintain reader interest. Readers know everything will work out in the end, just like they know the two lovers will end up together in a category romance. The enjoyment comes from the journey and seeing how the characters overcome their obstacles.

Thomas: They’re also very quirky. While Poirot doesn’t have any moral flaws necessarily, he does have some quirks that inhibit his work in some cases. But whether they’re helping him move the plot forward or not, they’re making him a more interesting character.

How do you make your characters quirky without making them cheesy?

Thomas: Adding quirks to characters is very easily done poorly. It’s like a seasoning that you have to add sparingly to your dish.

James: A great series character usually has a core competency—they excel at something. For example, Sherlock Holmes has an incredible mind but also a major quirk: his cocaine use. To his credit, Holmes’ habit doesn’t affect others, as he indulges alone when his mind lacks stimulation.

Similarly, Hercule Poirot is fastidious about his mustache and dress. Your analogy about spice is quite apt—you can easily overdo it and ruin the dish. It’s about being careful and choosing the right amount of quirkiness.

When you find the right quirk, it becomes a great asset for a continuing series.

Thomas: This is another example of why knowing your readers is crucial. You need to understand how “spicy” your target readers want their books to be, which is why selecting beta readers is so important. They should not be your author friends, especially if they write in a different genre. For instance, if you’re writing sci-fi, having romance authors as beta readers would be unhelpful, even if they are best-selling, award-winning romance authors. Beta readers should represent your target market.

If you’re writing military sci-fi, ensure your beta readers have read military sci-fi books in the last 12 months and are genuine fans of the genre. Finding real fans of the genre you’re writing in is essential. If you don’t know anyone who reads the genre you’re writing in and are trying to “fix” it because you think it’s broken, you will fail. Your book needs to resonate with existing fans to succeed.

What other elements make characters unforgettable?

James: Three things come to mind: nobility, sacrifice, and unpredictability.

Nobility

An unforgettable character possesses nobility of purpose, even if they are deeply flawed. A character can be a criminal, yet their cause can be more noble than the other criminals around them.

A famous example is Parker, a character created by Donald Westlake under the pseudonym Richard Stark. Parker was featured in the novel adapted into the movie Point Blank with Lee Marvin and later Payback with Mel Gibson. Parker is a criminal involved in a heist for which he will receive half the money, but his partner betrays and nearly kills him. Parker survives and returns to claim his half of the money, which is now with the syndicate. Despite being asked why he wants such a small amount, Parker insists he only wants his fair share. He fights his way up the organization, killing to get to the top, all for his half of the money. You root for him because he was unjustly treated by his partner.

More often, you have a hero representing a noble cause, like Atticus Finch, who embodies the highest and best ideals. These characters display their nobility by standing up for what is right, showing their true character.

Sacrifice

Another essential element of an unforgettable character is sacrifice. What is the protagonist willing to give up to achieve their goal?

Take Casablanca, for example, where Rick sacrifices what he wants most in the world—Ingrid Bergman. His choice is understandable. He loves her, but he knows that taking her away from her husband, a war hero, would harm the war effort. Additionally, Rick is sacrificing his life because once they take off, the French police will arrest him, likely leading to his execution by firing squad.

This scene also showcases a powerful reversal of sacrifice.

Unpredictability

At the top of my list for creating unforgettable characters is unpredictability. A book becomes boring when a reader can anticipate what’s going to happen, and then it happens. That’s the very definition of boring. You need to find ways to make your character unpredictable in scenes or story beats.

It’s crucial for readability. Unpredictability keeps readers engaged and deeply connected to the character.

How do you recommend adding unpredictability to the story?

Thomas: Some authors use dice to introduce an unpredictable element into their stories. At certain moments, they roll dice or cast lots to determine what happens next in the narrative, effectively relinquishing full control over the plot to the roll of the dice.

As they write, these authors assign outcomes to various numbers on the dice and commit to following whichever outcome the dice roll dictates. This approach is similar to role-playing games, where dice are used to determine the success or failure of actions. For example, in a role-playing game, a player might roll dice to see if their character successfully learns secrets from a bartender.

Some authors take this method further, rolling dice to decide whether a character lives or dies or whether certain events are successful. This technique can introduce substantial and unpredictable story elements, adding a layer of spontaneity to the writing process.

How do you recommend adding unpredictability to the story?

James: Several years ago, I taught a series of workshops across the country, and we did exactly that. I gave everyone dice and a list of different twists and turns corresponding to the dice rolls, and that’s how they made their choices. I’m all for that approach.

Personally, I make lists. I periodically stop and think about what a typical reader might expect to happen next, and then I list all the possibilities that aren’t that. This method works wonders. You can come up with two or three alternatives easily, but if you push yourself to four, five, or six, you’ll churn your mind and subconscious to produce some truly startling and interesting ideas. Usually, those are the ones that will excite you and are worth pursuing.

I call this technique “anticipation.” You can apply it to scenes or individual lines of dialogue. I love having lines of dialogue that don’t necessarily fit what was just said. Unexpected dialog prompts the reader to wonder why a character said that. This approach immediately enhances the reading experience.

The movie that re-energized me to pursue writing was Moonstruck, the romantic comedy with Cher and Nicolas Cage. That film is full of unanticipated characters and dialogue. If anyone wants to see how it’s done, they should watch Moonstruck. It’s a marvelous example of keeping an audience interested with quirky, unpredictable characters.

Thomas: Another excellent film that masterfully employs dramatic reversal is Spider-Man: Into the Spider-Verse, which many argue is the best Spider-Man film ever made. Every scene contains a twist that steers the story in an unexpected direction. Even the music and presentation reflect the unpredictability.

If you’ve seen Into the Spider-Verse, you might recall the poster art depicting Spider-Man falling, but with the sky above him. It looks like he’s flying upward. This flipped perspective is a visual metaphor for the film’s approach to storytelling, constantly turning expectations on their head.

The film won an Academy Award, though it was initially underappreciated due to biases against its art direction. Don’t let the unique animation style deter you from experiencing an amazing story. If you haven’t seen it, I highly recommend it.

Where can people learn more about creating unforgettable characters?

James: The book is available, of course, on all the regular online retailers and on my website, JamesScottBell.com. On my website you can find all the writing books I’ve done and the writing courses I offer. Audiobook versions are coming soon.

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Sponsor: Christian Writers Institute

The Course of the Week: The Inside Secrets of Bestselling Fiction

Based on Bell’s popular fiction workshops, this course takes you into the deep layers of can’t-put-it-down storytelling. The videos, slides, and handouts are packed with tools and techniques–and no fluff.

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The seven critical success factors of fiction
Character-driven vs. plot-driven: what’s the difference?
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The absolute essentials of structure
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How to write scenes with no dull parts
The fastest way to improve your manuscript
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Becoming an idea-generating factory
Top ten ways to get ideas

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