46 Best Character Development Writing Exercises

A talk show is scripted to promote the guest and discuss topics with which the guest is comfortable. Imagine your protagonist on the Ellen Degeneres Show (or The Late Show With Stephen Colbert - whichever show you're familiar with). What questions would be asked of your protagonist? What funny anecdotes would your protagonist share? Write down the reactions of both your protagonist and the host.

"There are two types of people: those that talk the talk and those that walk the walk. People who walk the walk sometimes talk the talk but most times they don't talk at all, 'cause they walkin'. Now, people who talk the talk, when it comes time for them to walk the walk, you know what they do? They talk people like me into walkin' for them," said Key in the 2005 film Hustle and Flow. Which of these two types are your characters? Write down an exchange between two of your characters that confronts this very difference between them.

Nothing can create conflict for your characters like good old-fashioned fear. Take time now to define your protagonist's biggest fear. Is it something physical (e.g. tight spaces or flying in an airplane) or internal (e.g. fear of failure, commitment, or rejection)? Write a scene in which your protagonist must face this fear.

Your protagonist's name is called. They approach the stool, where an old and tattered hat lies. They put on the hat. They will next hear one of four words called out: Ravenclaw, Gryffindor, Slytherin, or Hufflepuff. Which one is it? Write down the reasons detailing why.

Choose a character and think of ways they'd react to things that happened during your (the writer's) day. Use your experiences, think how you reacted, and then how your character would have reacted. Possible events: cut off in traffic, caught in the rain, missed an important meeting, lost a valuable item.

Humans are highly resistant to change - for a character to believably undergo a personal journey that substantially alters them, something HUGE and specific must happen to them. This event doesn't have to happen in your story, but once you can identify your character's limits, you can determine what is required to create a potential change in their fundamental nature.For this exercise, determine what this catalyst for change might be by considering situations or attributes that feel counterintuitive. For instance, if your character is a Good Samaritan, it is unlikely they would commit a crime. What would have to be at stake for this unlikely situation to happen - and for a core part of your character to change?

Set a timer and start free-writing from one of your character's perspectives. Try to really get inside their head - what do they want, what ticks them off, what do they feel passionate about? Are they writing in a diary, telling a story to a friend, or dictating a formal letter?

In order to dive deeper into your character's emotional depths, ask a round of questions - both probing and seemingly innocuous alike. (Hey, you never know when your character's favorite choice of ice cream topping might come in handy!) While we encourage you to build and refine your own set of questions, these questionnaires will provide solid inspiration for now: Arthur Aron's 36 Questions That Lead to Love, and The Proust Questionnaire.

Looking for a writing exercise that gets you out of your chair? Decide what kind of store your main character likes to shop at. Go to that store and wander the aisles, looking for items your character would most be tempted to buy. Create a list of at least ten items, explaining why each caught your eye, and why you think your character would want the item. Bonus points for identifying your character's guilty pleasures and how she would justify buying those items.

How people perceive your character may be markedly different from who your character really is. Think about what the average stranger might think - or hear - of your character. What's the gossip around town concerning your character? Write down a scene in which your protagonist is forced to confront this gossip, and the consequences of that confrontation.