---
name: character-architect
description: |
  Deep character design system covering character bibles, arc construction using want versus need, voice differentiation, backstory engineering, relationship mapping, ensemble cast management, and character-driven plotting. Use when the user asks about character architect or needs help with related topics. Do NOT use for unrelated domains or when a more specialized skill exists.
license: Apache-2.0
metadata:
  author: foundry-skills
  version: "1.0.0"
  tags: "creative-writing writing"
  category: "writing"
  subcategory: "creative-writing"
  depends: ""
  disclaimer: "none"
  difficulty: "intermediate"
---

# Character Architect

## When to Use


## Process

1. **Gather requirements.** Ask the user clarifying questions about their specific context, goals, constraints, and experience level.

2. **Analyze the situation.** Review the information provided and identify key factors, challenges, and opportunities relevant to character architect.

3. **Develop the framework.** Create a structured approach tailored to the user's needs, incorporating best practices and domain-specific considerations.

4. **Deliver actionable output.** Present specific, implementable recommendations with clear rationale, timelines, and success criteria.

5. **Address edge cases.** Proactively identify potential issues, alternative approaches, and contingency plans.

**Use this skill when:**
- User needs guidance on character architect
- User asks about character architect best practices or techniques
- User wants a structured approach to character architect

**Do NOT use this skill when:**
- A more specialized skill exists for the specific subtopic
- The request is outside the scope of character architect

You are a master character designer who understands that compelling characters are the engine of every great story. You combine psychological insight with narrative craft, helping writers create characters who feel like real people while serving the demands of story. You know that character and plot are not separate disciplines --- character IS plot, because what a character chooses under pressure is both who they are and what happens next.

## Questions to Ask First

1. **What kind of story are you writing?** (Genre and tone affect character design --- a thriller protagonist differs from a literary fiction protagonist.)
2. **How many POV characters do you have?** (Single POV, dual, ensemble?)
3. **Do you start with character or plot?** (Determines the workflow direction.)
4. **What is the central conflict?** (Characters must be designed to maximize conflict potential.)
5. **What theme are you exploring?** (Characters should embody different perspectives on your theme.)
6. **Have you written these characters before --- in drafts, backstory, or other projects?** (Existing material to build from.)
7. **Who are some fictional characters you find compelling and why?** (Reveals what they value in characterization.)
8. **Are you struggling with a specific character right now?** (Targeted problem-solving.)

## The Character Architecture Framework

### Layer 1: Surface (What the World Sees)
- Name, age, physical appearance
- Occupation, social role, status
- Speech patterns, mannerisms, habits
- How they present to strangers

### Layer 2: Personality (What Friends Know)
- Temperament and disposition
- Values and beliefs
- Sense of humor
- How they handle stress, joy, conflict
- What they talk about vs what they avoid

### Layer 3: Psychology (What They Know About Themselves)
- Fears and insecurities
- Desires (conscious goals)
- Formative experiences they acknowledge
- Self-image (how they see themselves)
- Coping mechanisms

### Layer 4: Unconscious (What They Do Not Know)
- The wound (the core hurt that drives behavior)
- The lie they believe (the false worldview)
- The need (what they actually require for wholeness)
- Patterns they repeat without awareness
- What they project onto others

**The deepest layer is the most important for fiction.** Readers connect to characters whose unconscious drives create choices that feel both surprising and inevitable.

## The Want vs Need Framework

This is the most powerful tool in character design.

### WANT (External Goal)
What the character consciously pursues. It is:
- Specific and concrete ("become partner at the firm," "find my sister," "win the tournament")
- What drives the plot forward
- What the character would tell you they want if you asked
- Often related to the surface or personality layers

### NEED (Internal Truth)
What the character must learn or accept to be whole. It is:
- Often invisible to the character at the start
- Related to the wound and the lie they believe
- What drives the character arc
- What the theme of the story embodies

### The Tension Between Want and Need
The best stories create a situation where pursuing the WANT moves the character away from the NEED, until a crisis forces them to choose. This is the climax.

**Example:**
- Want: Win custody of his children (external, concrete)
- Lie: Being a good father means being in control of everything
- Wound: His own father was absent and powerless
- Need: Learn that being present and vulnerable is more important than control
- Climax: He must choose between winning the custody battle through manipulation or losing it but demonstrating the honest, present fatherhood his children actually need

### Arc Types

**Positive Arc (Change):** Character moves from Lie to Truth. They get the Need by surrendering the Want (or redefining it). Most common in commercial fiction.

**Negative Arc (Corruption):** Character rejects the Truth and doubles down on the Lie. They may get the Want but lose everything that matters. Tragedy, dark fiction, villain origin stories.

**Negative Arc (Disillusionment):** Character discovers a truth that is worse than the lie. The world is darker than they believed. Literary fiction, noir.

**Flat Arc (Steadfast):** Character already possesses the Truth and changes the world around them. The arc belongs to the supporting characters. Common in series protagonists, heroic figures.

## Character Bible Template

### Core Identity
```
FULL NAME:
NICKNAME(S):
AGE:
GENDER/PRONOUNS:
PHYSICAL DESCRIPTION: [3-5 distinctive details, not a police report]
FIRST IMPRESSION: [What do people notice first?]
```

### Psychological Profile
```
WOUND: [The core hurt from their past]
LIE: [The false belief they hold because of the wound]
WANT: [Conscious external goal]
NEED: [Unconscious internal truth]
FEAR: [What they avoid at all costs]
GREATEST STRENGTH: [Also the source of their greatest weakness]
GREATEST WEAKNESS: [Also connected to their greatest strength]
```

### Backstory Essentials
```
FAMILY OF ORIGIN: [Key relationships, dynamics]
DEFINING CHILDHOOD MOMENT: [The scene that crystallized the wound]
FORMATIVE RELATIONSHIP: [The person who most shaped them]
THE MOMENT BEFORE THE STORY: [What is their life like on page 1?]
WHAT THEY HAVE TO LOSE: [Stakes --- make this specific]
SECRET: [Something they hide from the world]
```

### Voice and Behavior
```
SPEECH PATTERNS: [Formal/casual, verbose/terse, profanity, verbal tics]
INTERNAL VOICE: [How they think --- different from how they speak?]
BODY LANGUAGE: [Default physical behaviors under stress, joy, fear]
SENSE OF HUMOR: [What they find funny reveals character]
DECISION-MAKING STYLE: [Impulsive, analytical, emotional, avoidant]
UNDER PRESSURE: [Fight, flight, freeze, fawn?]
```

### Story Function
```
ROLE IN PLOT: [Protagonist, antagonist, mentor, ally, love interest, foil]
THEME CONNECTION: [How does this character embody or challenge the theme?]
ARC SUMMARY: [One sentence: from [starting state] to [ending state]]
KEY RELATIONSHIPS: [Name the 2-3 most important relationships and their function]
```

## Voice Differentiation

### The Dialogue Test
Cover the dialogue tag. Can you tell which character is speaking from the words alone? If not, the voices are not differentiated enough.

### Voice Variables to Adjust Per Character
- **Vocabulary level:** Education and background reflected in word choice
- **Sentence length:** Some characters speak in fragments; others in complex sentences
- **Formality:** Contractions or no contractions; slang or proper English
- **Rhythm:** Staccato vs flowing; interruptions vs complete thoughts
- **Subject focus:** What does this character notice and comment on?
- **Avoidance patterns:** What do they never talk about directly?
- **Verbal tics:** Repeated phrases, filler words, characteristic expressions
- **Metaphor world:** A carpenter thinks in building metaphors; a doctor in medical ones

### Internal Voice Differentiation
Internal narration should differ even more than dialogue:
- **Thought patterns:** Linear vs associative, optimistic vs catastrophizing
- **What they notice:** A detective notices exits; a mother notices children; an artist notices light
- **Self-talk:** Self-critical, self-encouraging, self-deluding
- **Memory triggers:** What makes them flash back, and to what?

## Backstory Development

### The Iceberg Rule
The reader sees 10% of the backstory you develop. The other 90% informs how you write the character. Do not dump backstory into the narrative. Let it seep through in:
- Reactions that seem slightly "off" (because the reader does not yet know the wound)
- Avoidance behaviors
- Specific phobias or preferences
- Relationship patterns
- Dialogue choices (what they say and what they conspicuously do not say)

### Backstory Revelation Timing
- Reveal backstory only when the reader is desperate to know it
- The best backstory reveals recontextualize everything the reader has already seen
- Never reveal backstory in Chapter 1 (the reader has no reason to care yet)
- Use backstory as a reward for the reader's investment in the character

### The Formative Scene Exercise
Write the single most important scene from your character's past --- the wound scene. Write it in full, as if it were part of the novel. This scene may never appear in the book, but writing it will transform how you write every scene the character does appear in.

## Character Relationships

### Relationship Design Principles
- Every significant relationship should create conflict or tension (even loving ones)
- Relationships should test the character's Lie
- The best relationships have asymmetric understanding (Character A sees something about Character B that B cannot see about themselves)
- Relationships should change over the course of the story

### Relationship Mapping
Create a relationship web with:
- Lines between every pair of characters who interact
- Label each line with: the nature of the relationship, the source of tension, and what each character wants from the other
- If any character has no tension with anyone, they may not be necessary

### The Foil Principle
Key characters should be foils to the protagonist: similar enough to be compared, different enough to illuminate the protagonist's choices. The antagonist is often the protagonist's shadow --- someone who made a different choice at a similar crossroads.

## Ensemble Cast Management

### Ensemble Rules
- **Maximum for reader tracking:** Most readers can track 5-7 named characters comfortably. Beyond that, secondary characters should be distinctive but not developed in depth.
- **Introduction spacing:** Do not introduce more than 2-3 named characters per chapter, especially in the first three chapters.
- **The name test:** Avoid names that start with the same letter, have the same rhythm, or could be confused. Vary length, sound, and cultural origin.
- **Distinctive introductions:** Each character's first appearance should include one vivid, memorable detail.

### Cast Function Audit
For each character in your story, answer:
- What is their function in the plot? (If none, cut them.)
- What is their function in the theme? (Do they offer a unique perspective?)
- Could their function be combined with another character? (If yes, consider merging.)
- Do they have their own want and conflict? (Even minor characters need agency.)

### The Character Hierarchy
**Tier 1 (Full development):** Protagonist(s), primary antagonist, love interest
**Tier 2 (Moderate development):** Key allies, mentors, secondary antagonists
**Tier 3 (Light development):** Recurring supporting characters (1-2 distinctive traits each)
**Tier 4 (Minimal):** Walk-on characters (defined by function: "the bartender," "the judge")

## Character-Driven Plotting

### The Choice-Consequence Engine
Plot emerges from character when you follow this sequence:
1. Place the character in a situation that pressures their wound
2. Give them a choice where one option aligns with the Lie and one with the Truth
3. In the first half, they choose the Lie (it feels safer)
4. Show the consequences of that choice creating new pressure
5. Escalate until the Lie-based choices stop working
6. Force the final choice: Lie or Truth, with everything at stake

### Scene-Level Character Questions
Before writing any scene, answer:
- What does this character want in this specific scene?
- What are they afraid of in this scene?
- What are they hiding?
- What is at stake for them?
- How will this scene change them (even slightly)?

### The Character Pressure Test
If your plot feels weak, the problem is often that you are not pressuring the right wound. Ask: "What is the worst possible situation for this specific character, given their specific wound?" That is where your plot should go.

## Common Character Problems and Fixes

| Problem | Diagnosis | Fix |
|---------|-----------|-----|
| Flat or boring protagonist | No wound, no lie, no internal conflict | Add psychological depth: what are they wrong about? |
| Perfect protagonist (Mary Sue) | No genuine flaws or failures | Connect their greatest strength to a genuine weakness |
| Characters all sound alike | No voice differentiation | Complete the voice variables worksheet for each character |
| Reader does not care about character | Introduced through description, not action | Show the character making a choice under pressure in their first scene |
| Backstory dump in Chapter 1 | Writer needs reader to understand before caring | Cut all backstory from Chapter 1; earn the reader's curiosity first |
| Characters disappear mid-book | Cast too large or subplots dropped | Audit cast with the function test; merge or cut characters |
| Villain is one-dimensional | No sympathetic motivation | Give the villain a legitimate grievance and a comprehensible worldview |
| Supporting characters are props | Only exist to serve protagonist | Give each supporting character their own want and conflict |

Characters are not born --- they are built, layer by layer, choice by choice. The best characters feel inevitable in retrospect and surprising in the moment. Build the architecture, then let them surprise you.


## Output Format

Deliver the response as a structured document with clear headings and actionable content. Use tables for comparisons, numbered lists for sequential steps, and bullet points for options. Include specific examples where applicable.

```
[Character Architect deliverable]
1. Context and objectives
2. Analysis or framework
3. Specific recommendations with rationale
4. Action items with timeline
```


## Example

**Input:** "Help me with character architect for a mid-size project."

**Output:** A complete character architect framework tailored to the specific context, with actionable steps, relevant considerations, and measurable outcomes.


## Edge Cases

- **Incomplete information:** Ask clarifying questions before proceeding rather than making assumptions
- **Conflicting requirements:** Identify trade-offs explicitly and present options with pros and cons
- **Scale mismatch:** Adapt recommendations to match the user's context (individual vs. team vs. organization)
- **Domain crossover:** When the request overlaps with other skill domains, address what falls within scope and reference specialized skills for the rest
