kollabor 0.4.9__py3-none-any.whl → 0.4.15__py3-none-any.whl

agents/creative-writer/character-development.md

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+<!-- Character Development skill - creating deep, believable, memorable characters -->
+
+character-development mode: PEOPLE FIRST, PLOT SECOND
+
+when this skill is active, you follow character-driven storytelling.
+this is a comprehensive guide to creating living, breathing people on the page.
+
+
+PHASE 0: EXISTING CHARACTER VERIFICATION
+
+before creating ANY new character, check what characters already exist.
+
+
+check for existing character notes
+
+  <read>file:characters/</read>
+
+if no characters directory:
+  <create>
+  <file>characters/README.md</file>
+  <content>
+  Character Database
+
+  This directory contains all character notes, sheets, and development work.
+
+  Structure:
+  - protagonist.md - main character(s)
+  - antagonist.md - opposition character(s)
+  - supporting_[name].md - secondary characters
+  - minor_[name].md - tertiary characters
+  - character_bible.md - master character reference
+  </content>
+  </create>
+
+
+check for character bible
+
+  <read>file:characters/character_bible.md</read>
+
+if no character bible exists, create one:
+  <create>
+  <file>characters/character_bible.md</file>
+  <content>
+  Character Bible
+
+  Story Title: [YOUR STORY HERE]
+
+  Last Updated: [DATE]
+
+  Character List:
+  [Protagonist]
+  [Antagonist]
+  [Supporting Characters]
+  [Minor Characters]
+
+  Relationships Map:
+  [Document how characters connect to each other]
+
+  Voice Guide:
+  [Notes on distinctive speech patterns for each character]
+  </content>
+  </create>
+
+
+check for existing story context
+
+  <read>file:story/premise.md</read>
+  <read>file:story/outline.md</read>
+
+understand the story before creating characters.
+characters must SERVE the story, not exist in isolation.
+
+
+verify character consistency tracking
+
+  <read>file:characters/consistency_log.md</read>
+
+if no consistency log exists:
+  <create>
+  <file>characters/consistency_log.md</file>
+  <content>
+  Character Consistency Log
+
+  Use this log to track character details and maintain consistency.
+
+  Format for each entry:
+  DATE - CHARACTER - Detail noted
+
+  Example:
+  2024-01-15 - Protagonist - Established: allergic to peanuts
+  2024-01-16 - Protagonist - Scene 3: almost ate peanut butter (caught)
+
+  Quick Reference:
+  - Physical traits
+  - Speech patterns
+  - Backstory facts
+  - Relationship status
+  - Skills/abilities
+  - Fears/phobias
+  - Goals/desires
+  </content>
+  </create>
+
+
+PHASE 1: THE CHARACTER FOUNDATION
+
+every memorable character starts with a strong foundation.
+
+
+the three pillars of character
+
+  [1] WANT - what does the character consciously desire?
+  [2] NEED - what does the character actually require (growth)?
+  [3] FEAR - what prevents them from changing?
+
+example from casablanca:
+
+  Rick Blaine:
+    WANT: to stay neutral and avoid involvement
+    NEED: to re-engage with the world and fight for what's right
+    FEAR: loss, vulnerability, getting hurt again
+
+example from breaking bad:
+
+  Walter White:
+    WANT: to provide for his family before he dies
+    NEED: to acknowledge his own ego and desire for power
+    FEAR: being powerless, forgotten, ordinary
+
+
+the character equation
+
+  Memorable Character = Flaw + Desire + Contradiction
+
+  flaw: what's wrong with them?
+  desire: what do they want?
+  contradiction: what makes them complex?
+
+exercise: the three-sentence character
+
+  write a character in exactly three sentences:
+
+  [1] who they are and what they want
+  [2] what flaw prevents them from getting it
+  [3] what contradiction makes them interesting
+
+  example:
+
+    Elena is a brilliant forensic accountant who wants to expose
+    the embezzlement scheme at her firm. Her perfectionism makes her
+    incapable of letting anything go, even when putting herself in danger.
+    Despite her obsession with truth, she keeps her own past as a
+    convicted hacker hidden from everyone.
+
+  your turn:
+    [create your own three-sentence character]
+
+
+PHASE 2: CHARACTER ARCHETYPES AND SUBVERSIONS
+
+
+archetypes as starting points
+
+  use archetypes as foundations, not finished buildings.
+
+  common archetypes:
+
+  the hero
+    - wants to save/achieve something
+    - willing to sacrifice
+    - often reluctant at first
+    - example: luke skywalker, harry potter, katniss everdeen
+
+  the mentor
+    - guides the hero
+    - has wisdom from experience
+    - often has a tragic past
+    - example: gandalf, dumbledore, haymitch
+
+  the threshold guardian
+    - tests the hero before the real journey
+    - may become an ally
+    - example: stormtroopers, sorting hat, peacekeepers
+
+  the shapeshifter
+    - loyalty is unclear
+    - may switch sides
+    - creates tension
+    - example: han solo, snape, finnick
+
+  the shadow
+    - represents the hero's dark potential
+    - wants what the hero wants, for wrong reasons
+    - example: vader, voldemort, snow
+
+  the trickster
+    - brings chaos and humor
+    - challenges assumptions
+    - example: r2-d2, fred/george weasley, haymitch
+
+
+subverting archetypes
+
+  memorable characters often start familiar then surprise us.
+
+  han solo starts as greedy mercenary (archetype)
+  subversion: comes back to help (surprise)
+  becomes more heroic than he appears
+
+  severus snape starts as villain (archetype)
+  subversion: protecting harry all along (surprise)
+  becomes more complex than either hero or villain
+
+  subversion techniques:
+
+  [1] give the villain a noble motive
+  [2] give the hero a selfish motive
+  [3] make the mentor flawed
+  [4] make the trickster wise
+  [5] make the shadow sympathetic
+
+
+exercise: archetype twist
+
+  choose an archetype and add three twists:
+
+  archetype: [your choice]
+
+  twist 1: [unexpected trait]
+  twist 2: [contradictory behavior]
+  twist 3: [hidden motivation]
+
+  example:
+
+    archetype: the mentor
+
+    twist 1: he's younger than the hero
+    twist 2: he's learning from the hero, not teaching
+    twist 3: his "wisdom" comes from a future version of himself
+
+  your turn:
+    [create your own twisted archetype]
+
+
+PHASE 3: THE CHARACTER QUESTIONNAIRE
+
+
+foundational questions (required for all major characters)
+
+  basic information:
+    [ ] full name
+    [ ] age
+    [ ] birth date/place
+    [ ] physical description
+    [ ] distinctive features
+    [ ] usual manner of dress
+    [ ] health status
+    [ ] handedness
+
+  background:
+    [ ] family history
+    [ ] childhood experiences
+    [ ] education level
+    [ ] work history
+    [ ] significant past events
+    [ ] traumas/wounds
+    [ ] triumphs/proud moments
+    [ ] secrets kept
+
+  personality:
+    [ ] greatest strength
+    [ ] greatest weakness (fatal flaw)
+    [ ] dominant emotion
+    [ ] repressed emotion
+    [ ] sense of humor (or lack thereof)
+    [ ] optimism or pessimism
+    [ ] religious/spiritual beliefs
+    [ ] moral code
+
+  relationships:
+    [ ] family status
+    [ ] close friends
+    [ ] romantic history
+    [ ] enemies/rivals
+    [ ] role in social groups
+    [ ] who do they love most?
+    [ ] who do they hate most?
+
+
+deep dive questions (for main characters)
+
+  desires and fears:
+    [ ] what do they want most? (conscious desire)
+    [ ] what do they need most? (unconscious need)
+    [ ] what are they most afraid of?
+    [ ] what's the worst thing that could happen to them?
+    [ ] what would they sacrifice everything for?
+    [ ] what line would they never cross? (until they do)
+
+  conflicts:
+    [ ] internal conflict (within themselves)
+    [ ] interpersonal conflict (with others)
+    [ ] societal conflict (with institutions/norms)
+    [ ] existential conflict (with meaning/purpose)
+
+  contradictions:
+    [ ] what about them doesn't fit?
+    [ ] what belief do they violate?
+    [ ] what habit contradicts their self-image?
+    [ ] when do they act out of character?
+
+
+exercise: complete the questionnaire
+
+  pick your protagonist and answer ALL questions.
+
+  <create>
+  <file>characters/[character_name].md</file>
+  <content>
+  # Character Name: [NAME]
+
+  ## Basic Information
+  Full Name:
+  Age:
+  Birth Date/Place:
+  Physical Description:
+  Distinctive Features:
+  ...
+
+  ## Background
+  Family History:
+  Childhood:
+  Education:
+  ...
+
+  [Complete all sections]
+  </content>
+  </create>
+
+
+PHASE 4: CHARACTER VOICE AND SPEECH
+
+
+what is character voice?
+
+  voice is how a character sounds in their head and out loud.
+  it includes vocabulary, rhythm, tone, and thought patterns.
+
+  voice components:
+
+  [1] word choice - what words do they use?
+  [2] sentence structure - how do they build thoughts?
+  [3] speech patterns - hesitations, repetitions, fillers
+  [4] metaphors - what do they compare things to?
+  [5] humor - what do they find funny?
+  [6] formality - how do they address others?
+
+
+developing distinctive voices
+
+  character A (formal, educated):
+    "I fail to comprehend the necessity of such precipitous action.
+     Perhaps we might examine the alternatives before proceeding."
+
+  character B (casual, direct):
+    "I don't get why we're rushing. Can't we think about this first?"
+
+  character C (tentative, anxious):
+    "I mean, I'm not sure, but maybe... could we... um, maybe
+     think about it? Before we do anything?"
+
+  same meaning, three different voices.
+
+
+voice exercise: the same scene, three characters
+
+  scenario: someone just spilled coffee on their shirt.
+
+  write how three different characters would react:
+
+  character 1: [voice description]
+    reaction: [what they say]
+
+  character 2: [voice description]
+    reaction: [what they say]
+
+  character 3: [voice description]
+    reaction: [what they say]
+
+
+speech patterns to consider
+
+  verbal tics:
+    [ ] filler words (like, um, you know)
+    [ ] repeated phrases
+    [ ] sentence starters
+    [ ] ways of saying yes/no
+
+  grammar choices:
+    [ ] complete sentences vs fragments
+    [ ] formal vs casual grammar
+    [ ] slang usage
+    [ ] technical jargon
+
+  rhythm:
+    [ ] fast talker vs slow thinker
+    [ ] interrupts often or listens carefully
+    [ ] pauses before speaking or blurts immediately
+    [ ] long explanations vs short answers
+
+
+PHASE 5: CHARACTER ARC STRUCTURE
+
+
+what is a character arc?
+
+  a character arc is the internal journey a character takes.
+  it parallels and often drives the external plot.
+
+  three types of arcs:
+
+  [1] positive arc - character grows and changes
+  [2] negative arc - character falls and degrades
+  [3] flat arc - character's beliefs are tested but confirmed
+
+
+the positive arc (growth)
+
+  structure:
+
+  beginning: character believes a lie
+    - "I'm not good enough"
+    - "I don't need anyone"
+    - "The world is fair"
+
+  middle: character is tested
+    - lie is challenged
+    - character resists change
+    - crisis forces confrontation
+
+  end: character believes truth
+    - "I am enough"
+    - "I need connection"
+    - "The world is unjust but I can fight"
+
+  example: a christmas carol
+
+  beginning: scrooge believes money = success, people = burdens
+  middle: ghosts show him the truth, he resists
+  end: scrooge believes connection = success, people = joy
+
+
+the negative arc (fall)
+
+  structure:
+
+  beginning: character has a flaw but some goodness
+  middle: character chooses the flaw repeatedly
+  end: character is consumed by flaw
+
+  example: breaking bad (walt)
+
+  beginning: flawed but sympathetic, trying to provide
+  middle: chooses pride/ego over family repeatedly
+  end: completely consumed, loses everything that mattered
+
+
+the flat arc (conviction)
+
+  structure:
+
+  beginning: character knows the truth
+  middle: world challenges the truth
+  end: character's conviction is strengthened
+
+  example: wonder woman (diana)
+
+  beginning: knows love is the answer
+  middle: war and humanity test this belief
+  end: still believes, but understands complexity
+
+
+exercise: map your character's arc
+
+  for your protagonist, map:
+
+  [ ] starting belief/lie:
+  [ ] inciting incident that challenges it:
+  [ ] midpoint confrontation:
+  [ ] low point (all seems lost):
+  [ ] climax choice (truth or lie):
+  [ ] ending belief/truth:
+
+  <create>
+  <file>characters/[name]_arc.md</file>
+  <content>
+  # Character Arc: [NAME]
+
+  ## Starting State
+  Believes: [LIE they believe]
+  Because of: [backstory wound]
+  Consequence: [how this limits them]
+
+  ## Arc Journey
+  Inciting Incident:
+    - what happens:
+    - how it challenges the lie:
+
+  First Test:
+    - what happens:
+    - character's reaction:
+
+  Midpoint:
+    - major challenge:
+    - character's choice:
+
+  Low Point:
+    - crisis moment:
+    - character's rock bottom:
+
+  Climax:
+    - final choice:
+    - truth acknowledged:
+
+  ## Ending State
+  Believes: [TRUTH they now accept]
+  Changed: [how are they different]
+  Cost of change: [what did they lose/gain]
+  </content>
+  </create>
+
+
+PHASE 6: MOTIVATION AND GOALS
+
+
+layers of motivation
+
+  motivation operates on multiple levels.
+
+  surface motivation (conscious):
+    - what character says they want
+    - immediate, visible goals
+
+  deep motivation (subconscious):
+    - what character actually needs
+    - emotional fulfillment
+
+  core motivation (fundamental):
+    - universal human need
+    - drives all behavior
+
+  example: lord of the rings (frodo)
+
+  surface: destroy the ring
+  deep: prove his worth, protect the shire
+  core: the need for purpose, to matter
+
+
+the motivation hierarchy
+
+  abraham maslow's hierarchy applied to characters:
+
+  [1] physiological - food, shelter, survival
+  [2] safety - security, stability
+  [3] love/belonging - connection, acceptance
+  [4] esteem - respect, status, achievement
+  [5] self-actualization - fulfillment, purpose
+
+  where is your character on this hierarchy?
+  what level represents their primary motivation?
+
+  example: the hunger games (katniss)
+
+  story starts at level 1 (survival)
+  moves to level 2 (safety of family)
+  then level 3 (connection with peeta/rue)
+  reaches level 5 (purpose: revolution)
+
+
+conflicting motivations
+
+  compelling characters have conflicting desires.
+
+  internal conflicts:
+    - want vs need
+    - desire vs morality
+    - ambition vs love
+    - safety vs freedom
+    - truth vs comfort
+
+  example: hamlet
+
+  want: revenge for his father
+  need: to find peace/justice
+  conflict: violence vs morality, action vs inaction
+
+  exercise: identify two conflicting motivations for your character
+
+  character: [name]
+
+  motivation A: [what they consciously want]
+  motivation B: [what competes with it]
+
+  scene where both are active:
+    [describe a moment where the conflict plays out]
+
+
+goal structure
+
+  goals should be:
+  [1] specific - clear and defined
+  [2] measurable - character knows when achieved
+  [3] difficult - requires struggle
+  [4] time-bound - has urgency
+
+  goals operate at three scales:
+
+  story goal (entire narrative):
+    - what drives the plot
+    - "destroy the ring"
+
+  scene goal (individual moments):
+    - what character wants in each interaction
+    - "get gandalf to explain the ring"
+
+  immediate physical goal (right now):
+    - tactical objective
+    - "hide from the ringwraiths"
+
+
+exercise: goal hierarchy
+
+  for your protagonist:
+
+  story goal:
+    [ ] what do they want by the end?
+    [ ] why do they want it?
+    [ ] what happens if they fail?
+
+  scene goals (first three scenes):
+    scene 1: [ ]
+    scene 2: [ ]
+    scene 3: [ ]
+
+
+PHASE 7: BACKSTORY AND WOUNDS
+
+
+the backstory principle
+
+  backstory is everything that happened before page one.
+  it explains WHY the character is who they are.
+
+  key rule:
+  backstory should be revealed ONLY when relevant to the present.
+
+  [x] dumping backstory in chapter one
+  [ok] revealing backstory when it explains current behavior
+
+  the iceberg principle:
+  - show 10% of backstory in the story
+  - know 90% to create consistency
+
+
+the ghost (defining wound)
+
+  every compelling character has a ghost:
+  a past trauma that haunts them and drives their behavior.
+
+  ghost examples:
+
+  batman: parents murdered in alley
+    - creates need for control/justice
+    - creates inability to trust
+    - creates obsession with preparation
+
+  harry potter: orphaned, parents murdered
+    - creates need for family/belonging
+    - creates identification with underdogs
+    - creates willingness to sacrifice
+
+  indiana jones: relationship with father
+    - creates distance from others
+    - creates competition/need to prove
+    - creates fear of vulnerability
+
+
+finding the ghost
+
+  ask for your character:
+
+  [ ] what's the worst thing that ever happened to them?
+  [ ] what do they refuse to talk about?
+  [ ] what memory keeps them awake at night?
+  [ ] what would they erase if they could?
+  [ ] what are they most ashamed of?
+
+  exercise: write the ghost scene
+
+  write the moment your character's wound occurred.
+
+  <create>
+  <file>characters/[name]_ghost.md</file>
+  <content>
+  # The Ghost: [CHARACTER NAME]
+
+  ## The Wound
+  What happened: [brief description]
+  When: [age, time period]
+  Who was involved: [other characters present]
+
+  ## The Impact
+  How it changed their belief about the world:
+    Before: [what they believed]
+    After: [what they now believe]
+
+  How it changed their behavior:
+    [new behaviors, defenses, coping mechanisms]
+
+  ## The Scene
+  [write the actual scene in detail, showing the wound as it happens]
+
+  ## The Resonance
+  How does this ghost affect current story events?
+    [connect past wound to present conflicts]
+  </content>
+  </create>
+
+
+backstory integration techniques
+
+  [1] dialogue - character references past in conversation
+  [2] triggered response - present event triggers past memory
+  [3] physical reminder - object, place, person from past
+  [4] behavior explanation - current behavior reveals past cause
+  [5] confession - character deliberately reveals past
+  [6] discovery - another character uncovers the past
+
+  example: triggered response
+
+  present: character sees someone drop a glass
+  trigger: reminds them of an accident
+  revealed: backstory about responsibility/guilt
+
+
+PHASE 8: CHARACTER RELATIONSHIPS
+
+
+the relationship web
+
+  characters don't exist in isolation.
+  each character is defined by their connections to others.
+
+  relationship types:
+
+  [1] primary - protagonist's main relationships
+  [2] secondary - important but less central
+  [3] tertiary - background relationships
+  [4] opposition - antagonistic forces
+  [5] mentorship - teaching/learning relationships
+  [6] romance - love in all forms
+  [7] family - blood and chosen
+  [8] friendship - companionship and loyalty
+
+
+relationship dynamics
+
+  each relationship has a dynamic:
+
+  complementary:
+    - characters complete each other
+    - strengths cover weaknesses
+    - example: holmes and watson
+
+  parallel:
+    - characters mirror each other
+    - similarities highlight differences
+    - example: batman and joker
+
+  transformational:
+    - characters change each other
+    - growth through relationship
+    - example: elizabeth and darcy
+
+  destructive:
+    - characters bring out worst in each other
+    - toxicity and codependency
+    - example: macbeth and lady macbeth
+
+
+relationship development
+
+  relationships follow arcs too:
+
+  beginning: establish baseline
+    - how do characters start?
+    - what's their initial dynamic?
+
+  middle: challenges and growth
+    - what tests the relationship?
+    - how do they respond?
+    - do they grow closer or further apart?
+
+  end: transformed state
+    - how has the relationship changed?
+    - what's the new normal?
+
+  exercise: map a key relationship
+
+  characters: [A] and [B]
+
+  starting dynamic:
+    [how do they begin?]
+
+  inciting incident for relationship:
+    [what event tests them?]
+
+  midpoint shift:
+    [how does the relationship change?]
+
+  crisis:
+    [what nearly breaks them?]
+
+  resolution:
+    [what's their ending state?]
+
+
+relationship chemistry
+
+  what makes characters spark?
+
+  [1] complementary traits - opposites attract
+  [2] shared history - known each other long
+  [3] shared trauma - bonded by experience
+  [4] shared goal - united by purpose
+  [5] intellectual match - stimulate each other
+  [6] emotional resonance - understand each other
+  [7] conflict - tension creates interest
+
+  writing chemistry exercise:
+
+  write a scene where two characters meet.
+  focus on:
+    - what draws them together?
+    - what pushes them apart?
+    - what makes them interesting together?
+
+  <create>
+  <file>characters/[name]_and_[name]_relationship.md</file>
+  <content>
+  # Relationship: [CHARACTER A] & [CHARACTER B]
+
+  ## Dynamic
+    Type: [romantic/familial/friendly/antagonistic/mentoral]
+    Pattern: [complementary/parallel/transformational/destructive]
+    Chemistry source: [what connects them]
+
+  ## Arc
+  Beginning:
+    [starting state, first impressions]
+
+  Turning Points:
+    [key moments that changed the relationship]
+
+  Ending:
+    [final state, how they've changed]
+
+  ## Key Scenes
+  [list important scenes for this relationship]
+  </content>
+  </create>
+
+
+PHASE 9: FLAWS AND VIRTUES
+
+
+the flaw system
+
+  flaws are what make characters human.
+  perfect characters are boring.
+
+  flaw categories:
+
+  [1] minor flaws - annoying but not destructive
+    examples: chronic lateness, bad jokes, messy, forgetful
+
+  [2] major flaws - serious problems for self and others
+    examples: arrogance, cowardice, greed, jealousy
+
+  [3] fatal flaws - will lead to downfall without change
+    examples: pride, obsession, inability to trust
+
+  a good main character has all three types.
+
+
+the virtue trap
+
+  virtues taken too far become flaws.
+
+  loyalty -> tribalism, blind following
+  confidence -> arrogance, dismissing others
+  honesty -> cruelty, lack of tact
+  ambition -> ruthlessness, moral compromise
+  love -> jealousy, control, smothering
+
+  exercise: flip a virtue
+
+  character's greatest strength: [virtue]
+
+  how it becomes a flaw:
+    [describe the shadow side]
+
+  example scene:
+    [write a moment where this trait causes problems]
+
+
+flaw consequences
+
+  flaws must have real consequences.
+
+  in-scene consequences:
+    - causes immediate problems
+    - damages relationships
+    - creates complications
+
+  story consequences:
+    - drives the conflict
+    - prevents goal achievement
+    - requires change to overcome
+
+  exercise: consequence chain
+
+  character's flaw: [ ]
+
+  immediate consequences:
+    [ ] [scene 1 consequence]
+    [ ] [scene 2 consequence]
+    [ ] [scene 3 consequence]
+
+  ultimate consequence if unchanged:
+    [ ] [what happens if they never change?]
+
+
+redemption and growth
+
+  flaws can be overcome.
+
+  redemption paths:
+
+  [1] recognition - character sees the flaw
+  [2] remorse - character feels the damage
+  [3] resistance - character tries to change but fails
+  [4] resolve - character commits to change
+  [5] recurrence - flaw returns under stress
+  [6] resolution - character chooses differently
+
+  example: arc with recurrence
+
+  character recognizes flaw: act 1
+  character tries to change: act 2
+  flaw returns under pressure: act 2 climax
+  character finally chooses better: act 3 climax
+
+  this feels more real than instant perfection.
+
+
+PHASE 10: CHARACTER CONSISTENCY
+
+
+the consistency problem
+
+  characters must change through the arc
+  but stay consistent to their nature.
+
+  the paradox:
+  - consistent characters don't change
+  - changing characters aren't consistent
+
+  solution: core traits stay consistent, behaviors evolve.
+
+
+tracking consistency
+
+  create a character style guide:
+
+  [ ] speech patterns - how do they talk?
+  [ ] decision patterns - how do they choose?
+  [ ] emotional patterns - how do they feel/react?
+  [ ] behavioral patterns - how do they act?
+  [ ] moral boundaries - what lines won't they cross?
+
+  exercise: create the style guide
+
+  <create>
+  <file>characters/[name]_style_guide.md</file>
+  <content>
+  # Character Style Guide: [NAME]
+
+  ## Voice
+  Vocabulary level: [formal/colloquial/technical/etc]
+  Common phrases: ["exact quotes of things they say often"]
+  Sentence structure: [long/complex/short/simple/etc]
+  Filler words: [um, like, you know, etc]
+
+  ## Behavior
+  Under stress: [how they react when things go wrong]
+  When happy: [how they express joy]
+  When sad: [how they process sadness]
+  When angry: [how they show anger]
+  Decision-making: [impulsive/deliberate/emotional/logical]
+
+  ## Morality
+  Absolute lines: [what they will NEVER do]
+  Flexible lines: [what they might do under pressure]
+  Justified lines: [what they can rationalize doing]
+
+  ## Habits
+  Daily routines: [morning, evening, work patterns]
+  Physical habits: [gestures, posture, movement]
+  Mental habits: [worry patterns, planning, etc]
+
+  ## Relationships
+  With authority: [respectful/resistant/manipulative/etc]
+  With peers: [friendly/distant/competitive/etc]
+  With subordinates: [supportive/demanding/indifferent/etc]
+  </content>
+  </create>
+
+
+consistency checking
+
+  before writing a scene, ask:
+
+  [ ] would this character say this?
+  [ ] is this action consistent with their established nature?
+  [ ] does this decision follow their motivation?
+  [ ] does this emotional reaction fit their personality?
+  [ ] am i making them do something for plot convenience?
+
+  if answer is no:
+  - either change the scene
+  - or build justification (show WHY they act out of character)
+
+  out-of-character moments need explanation:
+  - extreme stress
+  - major revelation
+  - deliberate choice to change
+  - manipulation/coercion
+
+
+PHASE 11: MINOR CHARACTER DEVELOPMENT
+
+
+the hierarchy of character depth
+
+  not every character needs equal development.
+
+  protagonist: full development
+    - complete questionnaire
+    - detailed arc
+    - full backstory
+    - complex relationships
+
+  major supporting: significant development
+    - key traits established
+    - clear motivation
+    - relationship to protagonist
+    - mini-arc possible
+
+  minor supporting: functional development
+    - 2-3 clear traits
+    - specific role in story
+    - distinctive voice
+    - relationship to plot
+
+  background characters: minimal development
+    - one memorable trait
+    - clear function
+    - distinctive detail if named
+
+
+the rule of three for minor characters
+
+  give minor characters three things:
+
+  [1] one visual detail - how they look
+  [2] one behavioral trait - how they act
+  [3] one speech pattern - how they talk
+
+  example:
+
+  the bartender:
+    visual: missing two fingers on left hand
+    behavior: always polishing the same glass
+    speech: ends every sentence with "eh?"
+
+  instantly memorable. three details, done.
+
+
+function over development for minor characters
+
+  minor characters serve specific functions:
+
+  [1] information delivery - give exposition naturally
+  [2] obstacle creation - block or challenge protagonist
+  [3] thematic reinforcement - embody story themes
+  [4] worldbuilding - reveal setting details
+  [5] comic relief - provide humor
+  [6] contrast - highlight protagonist traits
+  [7] catalyst - trigger important events
+
+  identify the function first.
+  develop only what serves that function.
+
+
+exercise: minor character card
+
+  create a card for each minor character:
+
+  <create>
+  <file>characters/minor_[name].md</file>
+  <content>
+  # Minor Character: [NAME]
+
+  ## Function
+  Role in story: [what do they do?]
+  Scenes: [where do they appear?]
+
+  ## Three Details
+  Visual: [one memorable appearance detail]
+  Behavior: [one characteristic action]
+  Speech: [one distinctive way of talking]
+
+  ## Relationship
+  Connection to protagonist: [ ]
+  Connection to plot: [ ]
+
+  ## Exit
+  How do they leave the story? [ ]
+  </content>
+  </create>
+
+
+PHASE 12: CHARACTER DESCRIPTION AND INTRODUCTIONS
+
+
+the introduction principle
+
+  first impressions matter for characters too.
+  the first time we meet a character should establish:
+  - who they are
+  - what they want
+  - why they're interesting
+
+  introduction techniques:
+
+  [1] action - character doing something characteristic
+  [2] dialogue - character speaking in their voice
+  [3] reaction - character responding to a situation
+  [4] appearance - visual description that reveals personality
+  [5] reputation - others talking about them first
+  [6] mystery - something that makes us ask questions
+
+
+showing character through description
+
+  descriptions should reveal, not just record.
+
+  [x] "she was five-foot-six with brown hair and green eyes"
+  [ok] "she had the compact toughness of a bantamweight,
+        eyes that constantly scanned for threats, hair cut
+        short because she had better things to do than style it"
+
+  the first describes. the second reveals personality.
+
+
+descriptive details that reveal character
+
+  choose details that mean something:
+
+  clothing:
+    [ ] what do they choose to wear? (values, priorities)
+    [ ] how do they wear it? (self-image, comfort)
+    [ ] condition? (attention to detail, resources)
+
+  body:
+    [ ] build? (history, lifestyle, work)
+    [ ] scars? (past trauma, experience)
+    [ ] posture? (confidence, energy, attitude)
+    [ ] movement? (energy, intent, mood)
+
+  face:
+    [ ] eyes? (age, emotion, focus)
+    [ ] expressions? (default mood, openness)
+    [ ] distinguishing features? (history, individuality)
+
+  hands:
+    [ ] condition? (work history, self-care)
+    [ ] movement? (nervousness, confidence)
+
+
+exercise: the introduction scene
+
+  write your protagonist's introduction.
+
+  requirements:
+  [ ] show them in action
+  [ ] establish their voice
+  [ ] hint at their motivation
+  [ ] include a revealing detail
+  [ ] make the reader want to know more
+
+  <create>
+  <file>scenes/character_introduction_[name].md</file>
+  <content>
+  # Character Introduction: [NAME]
+
+  Draft: [write your introduction scene]
+
+  Checklist:
+  [ ] character in action
+  [ ] voice established
+  [ ] motivation hinted
+  [ ] revealing detail included
+  [ ] questions raised (why do we want to know more?)
+
+  Revision Notes:
+  [what works, what needs work]
+  </content>
+  </create>
+
+
+PHASE 13: CHARACTER EMOTIONAL RANGE
+
+
+the emotional spectrum
+
+  characters should experience a full range of emotions.
+
+  primary emotions:
+    - joy, sadness, anger, fear, disgust, surprise
+
+  secondary emotions:
+    - shame, guilt, envy, jealousy, love, hate
+    - pride, embarrassment, disappointment, relief
+    - hope, despair, curiosity, boredom
+
+  mixed emotions:
+    - bittersweet (joy + sadness)
+    - nervous excitement (fear + anticipation)
+    - angry love (anger + affection)
+    - confused relief (surprise + processing)
+
+
+showing emotion
+
+  emotions are shown through:
+
+  [1] physical sensations
+    - heart rate, breathing, temperature
+    - muscle tension, shaking, sweating
+    - stomach, chest, throat feelings
+
+  [2] actions and behaviors
+    - what characters do when emotional
+    - conscious and unconscious actions
+    - avoid clichés (clenched jaw, pounding fist)
+
+  [3] thoughts
+    - how emotions affect thinking
+    - racing thoughts, blanking out
+    - focus shifts, distraction
+
+  [4] dialogue
+    - tone, rhythm, word choice
+    - what is said vs what isn't
+    - subtext and hidden emotions
+
+  [x] "she felt sad"
+  [ok] "her chest hollowed out. she couldn't seem to draw
+        a full breath. everything looked gray, like the
+        world had been desaturated."
+
+
+emotional consistency
+
+  characters have emotional patterns:
+
+  [ ] what emotions do they feel most often?
+  [ ] what emotions do they avoid?
+  [ ] what emotions are they comfortable expressing?
+  [ ] what emotions do they suppress?
+  [ ] how long do they hold onto emotions?
+  [ ] what triggers each emotion?
+
+  exercise: emotional profile
+
+  create an emotional profile for your character:
+
+  <create>
+  <file>characters/[name]_emotions.md</file>
+  <content>
+  # Emotional Profile: [NAME]
+
+  ## Baseline
+  Default mood: [ ]
+  Emotional range: [broad/narrow]
+  Emotional intensity: [high/low/variable]
+
+  ## Common Emotions
+  Primary emotion: [what they feel most]
+  Triggers: [what causes this emotion]
+  Expression: [how they show it]
+
+  ## Suppressed Emotions
+  What they hide: [ ]
+  How they hide it: [ ]
+  What would make them lose control: [ ]
+
+  ## Emotional Arc
+  Starting emotional state: [ ]
+  Emotional journey: [key emotional beats]
+  Ending emotional state: [ ]
+  </content>
+  </create>
+
+
+PHASE 14: CHARACTER DECISIONS AND AGENCY
+
+
+character agency
+
+  agency means characters make choices that drive the plot.
+  things don't just happen TO them; they MAKE things happen.
+
+  the agency test:
+  - if your character were replaced with someone else,
+    would the story unfold the same way?
+  - if yes, they lack agency.
+
+  giving characters agency:
+
+  [1] active goals - they want something specific
+  [2] difficult choices - they must decide between options
+  [3] consequences - their choices matter
+  [4] initiative - they act, not just react
+  [5] competence - they have skills to affect outcome
+
+
+decision types
+
+  characters face different kinds of decisions:
+
+  [1] tactical - immediate, in-scene choices
+    "do i fight or run?"
+
+  [2] strategic - long-term planning
+    "how do i defeat the antagonist?"
+
+  [3] moral - right vs wrong
+    "do i sacrifice one to save many?"
+
+  [4] emotional - heart vs head
+    "do i follow love or duty?"
+
+  [5] identity - who am i?
+    "what kind of person do i choose to be?"
+
+
+difficult choices
+
+  good choices have:
+  - real stakes (something important on the line)
+  - real cost (any option has a price)
+  - no obvious right answer (both options have merit)
+  - character-specific (only this character would choose this)
+
+  exercise: the impossible choice
+
+  create a decision point for your character:
+
+  choice A: [option 1]
+    benefit: [ ]
+    cost: [ ]
+
+  choice B: [option 2]
+    benefit: [ ]
+    cost: [ ]
+
+  what do they choose and why?
+  [this reveals who they are]
+
+
+consequences of choices
+
+  choices must have consequences.
+
+  [1] immediate - happens right away
+  [2] ripple - affects other situations/characters
+  [3] long-term - changes the story trajectory
+  [4] character - affects how they see themselves
+
+  tracking consequences:
+
+  choice made: [what they decided]
+  immediate consequence: [what happens next]
+  ripple effects: [who else is affected]
+  long-term impact: [how story changes]
+  character impact: [how they change]
+
+
+PHASE 15: CHARACTER DEVELOPMENT CHECKLISTS
+
+
+comprehensive character checklist
+
+  for major characters, verify:
+
+  foundation:
+    [ ] clear want (conscious desire)
+    [ ] clear need (unconscious growth requirement)
+    [ ] clear fear (what blocks change)
+    [ ] defining flaw (what's wrong with them)
+    [ ] defining strength (what's right with them)
+    [ ] ghost/wound (past trauma)
+    [ ] contradiction (what doesn't fit)
+
+  voice:
+    [ ] distinctive vocabulary
+    [ ] distinctive sentence structure
+    [ ] distinctive speech patterns
+    [ ] distinctive thought patterns
+    [ ] figurative language preferences
+
+  arc:
+    [ ] starting belief/lie
+    [ ] inciting incident
+    [ ] midpoint shift
+    [ ] low point
+    [ ] climax choice
+    [ ] ending truth
+
+  relationships:
+    [ ] connection to protagonist
+    [ ] relationship arc
+    [ ] distinctive dynamic
+
+  consistency:
+    [ ] style guide created
+    [ ] patterns established
+    [ ] boundaries defined
+
+
+minor character checklist
+
+  for minor characters, verify:
+
+  [ ] clear story function
+  [ ] one memorable visual detail
+  [ ] one memorable behavior
+  [ ] one memorable speech pattern
+  [ ] clear relationship to protagonist/plot
+  [ ] defined exit (if applicable)
+
+
+scene-level character checklist
+
+  before writing each scene, verify:
+
+  [ ] what does each character want in this scene?
+  [ ] how does this scene advance their arc?
+  [ ] is their voice consistent?
+  [ ] are their actions consistent?
+  [ ] are they making choices (showing agency)?
+  [ ] what do they learn/feel/change?
+
+  after writing each scene, verify:
+
+  [ ] could this scene be told by any other character?
+    (if yes, voice needs work)
+  [ ] would this character make this choice?
+    (if no, justify or revise)
+  [ ] is the emotion clear?
+  [ ] is the subtext working?
+
+
+character consistency pass
+
+  after drafting, do a character pass:
+
+  read one character's scenes only:
+  [ ] is their voice consistent throughout?
+  [ ] does their arc develop logically?
+  [ ] are there any out-of-character moments?
+  [ ] do their contradictions remain consistent?
+
+  check relationships:
+  [ ] do relationships develop properly?
+  [ ] are interactions consistent with dynamics?
+  [ ] are off-screen relationships implied effectively?
+
+  check growth:
+  [ ] is change earned?
+  [ ] are steps skipped?
+  [ ] is regression consistent with stress?
+
+
+PHASE 16: AVOIDING STEREOTYPES AND CLICHÉS
+
+
+recognizing stereotypes
+
+  stereotypes are lazy characterization.
+
+  common stereotypes to avoid:
+
+  [x] the wise old mentor with white beard
+  [x] the evil henchman who's just following orders
+  [x] the strong female character who's just "one of the boys"
+  [x] the brilliant but socially awkward genius
+  [x] the tough guy with a heart of gold
+  [x] the femme fatale with no motivation beyond being sexy
+  [x] the chosen one who's special for no reason
+  [x] the noble savage
+  [x] the magical minority
+  [x] the sassy best friend
+
+  if a character fits a known pattern, subvert it.
+
+
+from stereotype to human
+
+  transformation process:
+
+  [1] identify the stereotype
+  [2] add complexity (contradictions)
+  [3] add specific history
+  [4] add personal motivation
+  [5] add agency and choice
+  [6] add flaws
+
+  example: from wise mentor to human
+
+  stereotype: old, wise, perfect guide
+
+  human version:
+    - makes mistakes and admits them
+    - has personal stake in outcome
+    - is wrong about some things
+    - learns from the hero too
+    - has a life beyond the hero
+    - carries regret/guilt
+
+
+diversity and representation
+
+  write characters different from you with respect.
+
+  guidelines:
+
+  [1] do the research
+    - understand the culture/experience
+    - talk to people from that background
+    - read works by authors from that background
+
+  [2] avoid single stories
+    - no group is monolithic
+    - individuals vary within groups
+    - show multiple perspectives from same group
+
+  [3] focus on humanity first
+    - universal experiences connect us
+    - specificity creates authenticity
+    - avoid tourism or fetishization
+
+  [4] get sensitivity readers
+    - have people from that background read
+    - listen to feedback
+    - be willing to make changes
+
+
+PHASE 17: CHARACTER EXERCISES AND PROMPTS
+
+
+warm-up exercises
+
+  exercise 1: the character interview
+
+  interview your character as if for a magazine.
+
+  questions:
+    - what's your greatest accomplishment?
+    - what's your biggest regret?
+    - what do you want most that you don't have?
+    - what would you change about yourself?
+    - what's the hardest thing you've ever done?
+    - who do you love most?
+    - what are you most afraid of?
+    - how do you want to be remembered?
+
+  write their answers in their voice.
+
+
+exercise 2: the letter
+
+  have your character write a letter they'll never send.
+
+  to whom: [someone important to them]
+
+  topic: [what do they need to say but can't?]
+
+  write the letter in their voice, revealing things they'd
+  never say aloud.
+
+
+exercise 3: the worst day
+
+  write about your character's worst day ever.
+
+  show:
+    - what happened
+    - how they reacted
+    - what it changed in them
+    - how it still affects them
+
+  this reveals their breaking point and recovery mechanisms.
+
+
+deep development exercises
+
+  exercise 4: the character doppelganger
+
+  create a version of your character who made one
+  different choice at a crucial moment.
+
+  your character: [name]
+  the choice: [what decision defined them]
+  alternate choice: [what if they chose differently]
+
+  write a scene with both versions meeting.
+  how are they different? how are they the same?
+
+
+exercise 5: the prequel scene
+
+  write a scene from your character's past that
+  explains something about their present behavior.
+
+  present behavior: [something they do now]
+  past cause: [what made them this way]
+
+  write the scene when it happened.
+
+
+exercise 6: the future scene
+
+  write your character ten years after the story ends.
+
+  - where are they?
+  - who are they with?
+  - what did the story change?
+  - what stayed the same?
+
+  this forces you to understand the long-term impact
+  of their arc.
+
+
+relationship exercises
+
+  exercise 7: the relationship first meeting
+
+  write the scene where two important characters first met.
+
+  - how were they different then?
+  - what was their first impression?
+  - what about each other did they notice first?
+  - how did they establish their dynamic?
+
+
+exercise 8: the relationship argument
+
+  write an argument between two characters.
+
+  - what are they really fighting about?
+  - what are they pretending to fight about?
+  - what does this reveal about their dynamic?
+  - what doesn't get said that matters?
+
+
+exercise 9: the relationship reconciliation
+
+  if two characters have a falling out, write their makeup.
+
+  - who apologizes first?
+  - what concessions are made?
+  - what's unresolved?
+  - is their relationship changed forever?
+
+
+PHASE 18: CHARACTER DEVELOPMENT RULES (STRICT MODE)
+
+
+while this skill is active, these rules are MANDATORY:
+
+  [1] EVERY character must want something
+      if you don't know what they want, you don't know the character
+      want = visible goal that drives their actions
+
+  [2] MAIN characters must have arcs
+      arc = internal change from belief in lie to acceptance of truth
+      if they don't change, they're not the protagonist
+
+  [3] NEVER make characters do things for plot convenience
+      actions must flow from established character
+      if plot requires action out of character, change the plot
+
+  [4] ALWAYS know more about character than appears on page
+      iceberg principle: show 10%, know 90%
+      this depth creates consistency readers feel
+
+  [5] CHARACTER voice must be distinctive
+      if dialogue isn't tagged, reader should know who's speaking
+      if characters sound alike, rewrite until different
+
+  [6] FLAWS are more interesting than virtues
+      perfect characters are boring
+      give everyone something wrong with them
+
+  [7] BACKSTORY is revealed only when relevant to present
+      never info-dump character history
+      reveal past when it explains current behavior
+
+  [8] RELATIONSHIPS define characters as much as individual traits
+      who characters are connected to matters
+      relationships must have arcs too
+
+  [9] MINOR characters get three details max
+      one visual, one behavioral, one speech
+      anything more is wasted wordcount
+
+  [10] CONSISTENCY is more important than likability
+        characters can be unlikable but must be consistent
+        inconsistency breaks reader trust
+
+
+PHASE 19: CHARACTER DEVELOPMENT SESSION CHECKLIST
+
+
+before starting a story:
+
+  [ ] character bible created
+  [ ] protagonist fully developed
+  [ ] antagonist fully developed
+  [ ] major supporting characters developed
+  [ ] relationship web mapped
+  [ ] arcs established for all major characters
+  [ ] style guides created
+  [ ] consistency log ready
+
+
+for each character created:
+
+  [ ] foundational questionnaire complete
+  [ ] want/need/fear identified
+  [ ] ghost/wound established
+  [ ] voice developed
+  [ ] arc mapped
+  [ ] relationships defined
+  [ ] flaws and virtues balanced
+  [ ] consistency tracked
+
+
+before writing each scene:
+
+  [ ] what does each character want in this scene?
+  [ ] how does this scene advance their arc?
+  [ ] is their voice clear?
+  [ ] are their actions consistent?
+  [ ] what do they learn/feel/change?
+
+
+after completing a draft:
+
+  [ ] do a character consistency pass
+  [ ] verify all arcs resolve
+  [ ] check relationship development
+  [ ] remove/merge underdeveloped characters
+  [ ] deepen minor characters if needed
+  [ ] fix all voice inconsistencies
+
+
+FINAL REMINDERS
+
+
+characters are why we read
+
+we don't remember plots. we remember people.
+scarlett o'hara, not the civil war.
+holden caulfield, not boarding school.
+harry potter, not the defeat of voldemort.
+
+invest in your characters and readers will invest in your story.
+
+
+specificity creates authenticity
+
+the more specific your character, the more real they feel.
+not "she liked music" but "she played bach cello suites
+when she couldn't sleep, the same recording since she was
+twelve, because it was the only thing that made the
+monsters under the bed go away."
+
+specific details. universal emotions.
+
+
+contradiction creates depth
+
+real people are contradictions.
+your characters should be too.
+
+the pacifist who enjoys violent video games.
+the thief who always returns what he steals.
+the atheist who prays when the plane shakes.
+
+we're all hypocrites. your characters should be too.
+
+
+empathy over likability
+
+readers don't have to like your characters.
+they have to care what happens to them.
+
+likable = pleasant, agreeable, nice
+compelling = complex, human, worthy of attention
+
+you can write terrible people. just make them human.
+
+
+when in doubt
+
+go deeper.
+
+what are they afraid of?
+what do they want?
+what do they need?
+what hurt them?
+what are they hiding?
+what do they believe that isn't true?
+
+answer those questions and you'll find your character.
+
+now go create someone worth following.