h your son at the park. All of the people you encounter on the street are fodder for characters in your manuscripts.

Next, you have to define your characters’ purpose in the story you’re telling. You can have the most dynamic characters in the world, but if they don’t further the plot of your manuscript, then you should shelve them for a future

You might believe that the most important aspect of a short story or novel is the plot, but you would be wrong. Although every work of prose should have an exciting plot, characterization is ten times more important to your story. If your readers can’t identify with your characters, they wouldn’t care what happens to them during the course of your plot.

Characterization is a skill that many published authors have yet to master, but their readership reflects that lack of ability. When an author captivates his or her readers with the characters in novels and short stories, people can’t get enough of them.

So how do you develop skills in characterization? And how do you know when your characters are dynamic enough to capture the attention and interest of your readers?

First, you have to think of your characters as real people. They aren’t simply imaginary two-dimensional images floating around on paper, but actual human beings. They walk, talk, laugh, cry and have idiosyncrasies that differentiate them from the other characters in your manuscript.

Often, in order to effectively inflate your characters, they must be based on people that you have met. And it doesn’t have to be a close friend or a family member; practice observing the people you meet on a daily basis: the checkout girl at the grocery store, the attendant at your Laundromat, the little girl who plays with your son at the park. All of the people you encounter on the street are fodder for characters in your manuscripts.

Next, you have to define your characters’ purpose in the story you’re telling. You can have the most dynamic characters in the world, but if they don’t further the plot of your manuscript, then you should shelve them for a future

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Characterization is a skill that many published authors have yet to master, but their readership reflects that lack of ability. When an author captivates his or her readers with the characters in novels and short stories, people can’t get enough of them.

So how do you develop skills in characterization? And how do you know when your characters are dynamic enough to capture the attention and interest of your readers?

First, you have to think of your characters as real people. They aren’t simply imaginary two-dimensional images floating around on paper, but actual human beings. They walk, talk, laugh, cry and have idiosyncrasies that differentiate them from the other characters in your manuscript.

Often, in order to effectively inflate your characters, they must be based on people that you have met. And it doesn’t have to be a close friend or a family member; practice observing the people you meet on a daily basis: the checkout girl at the grocery store, the attendant at your Laundromat, the little girl who plays with your son at the park. All of the people you encounter on the street are fodder for characters in your manuscripts.

Next, you have to define your characters’ purpose in the story you’re telling. You can have the most dynamic characters in the world, but if they don’t further the plot of your manuscript, then you should shelve them for a future

aracters are dynamic enough to capture the attention and interest of your readers?

First, you have to think of your characters as real people. They aren’t simply imaginary two-dimensional images floating around on paper, but actual human beings. They walk, talk, laugh, cry and have idiosyncrasies that differentiate them from the other characters in your manuscript.

Often, in order to effectively inflate your characters, they must be based on people that you have met. And it doesn’t have to be a close friend or a family member; practice observing the people you meet on a daily basis: the checkout girl at the grocery store, the attendant at your Laundromat, the little girl who plays with your son at the park. All of the people you encounter on the street are fodder for characters in your manuscripts.

Next, you have to define your characters’ purpose in the story you’re telling. You can have the most dynamic characters in the world, but if they don’t further the plot of your manuscript, then you should shelve them for a future

s in your manuscript.

Often, in order to effectively inflate your characters, they must be based on people that you have met. And it doesn’t have to be a close friend or a family member; practice observing the people you meet on a daily basis: the checkout girl at the grocery store, the attendant at your Laundromat, the little girl who plays with your son at the park. All of the people you encounter on the street are fodder for characters in your manuscripts.

Next, you have to define your characters’ purpose in the story you’re telling. You can have the most dynamic characters in the world, but if they don’t further the plot of your manuscript, then you should shelve them for a future

h your son at the park. All of the people you encounter on the street are fodder for characters in your manuscripts.

Next, you have to define your characters’ purpose in the story you’re telling. You can have the most dynamic characters in the world, but if they don’t further the plot of your manuscript, then you should shelve them for a future project. Characters are the lifeblood of your story, the reason why people will care what happens.

And finally, always make sure that your characters are doing something. The difference between a novel and movie is that the only momentum your story has is what you are able to provide. If Jane Doe is always chewing her fingernails, point that out in your prose. And if John Doe is from East Texas, give him a East Texas dialect in your dialogue.