What’s the most important element of a story?
A successful story needs a well-developed theme, conflict, and stakes, among other things. Some argue that witty banter is also essential. I don’t disagree.
But is there one element that’s more important than the rest? I think so. For me, the most important element of any story, no matter the genre, is character.
Character, character character.
Events don’t drive stories. Characters do. And readers won’t care about your story if they don’t care about the people in it. Period. It doesn’t matter if your story has edge-of-your-seat moments, incredible tropes, or the wittiest banter of all time. Those elements will fall flat if your story doesn’t have compelling characters at its center. Why? Because readers need to connect with characters in order to care about what those characters are experiencing (AKA the plot). To get your readers interested in the plot, get them to care about your characters.
In Pirates of the Caribbean, I’m interested in Will Turner getting chased by demon pirates because I care about him winning back the love of his life.
In Dirty Dancing, I’m interested in watching Baby learn how to become a dancer because I care about her overcoming her insecurities.
In 1917, I’m interested in Will and Tom’s foray into “No Man’s Land” because I care about Tom sending a message that will save his brother’s life.
You get the idea. To hook readers, you need to get them to care.
So…How do you do that?
Make your character relatable.
Don’t worry about making your character likable. Your protagonist doesn’t have to be the “good guy” (case in point: every villain origin story ever made). Protagonists are simply the main characters at the center of the conflict. So, whether your character is good, bad, likable, or unlikable, the most important thing is that they’re sympathetic and have understandable motivations. If readers can sympathize with and relate to your character, they’ll become curious about what happens to them and keep reading. It’s just how it works.
In this post, I’ve outlined four techniques writers can use within their opening pages to craft relatable characters readers will love. Keep in mind, you don’t have to use ALL of these techniques in your opening pages. Using just one or two is all you need.
To illustrate how to use each technique, I’m going to refer to one of my favorite films of all time, Bridget Jones’ Diary. The opening sequence is a masterclass in establishing conflict, stakes, and a relatable hero (all within the first seven minutes!)
Seriously. If you’re not cheering for Bridget after watching her lip sync to Celine Dion while clutching a glass of wine, I don’t think we can be friends.
I’ll also reference another favorite film of mine, Legally Blonde, and its incomparable heroine, Elle Woods. Alright, here we go!
Four techniques to make your character relatable
Number One — Put them at odds with their surroundings
Guiding Questions for the Writer:
Why should we care about *this* character in comparison to the others?
What makes them distinct and special?
What’s the status quo they need to escape from?
An easy way to make a character instantly relatable is show how they’re unique from or clash with their surroundings. Being out of place or feeling like an outcast, especially in a social situation, is a universal experience anyone can understand.
We see this in Bridget Jones’ Diary as Bridget narrates the special torture that is attending her mother’s turkey curry buffet. When she arrives at her mother’s house and is chastised for her outfit, it’s clear she doesn’t want to be there and establishes herself as a reluctant party-goer. Her outsider status is reinforced when she puts on a horrible holiday vest her mother set out for her.
“Great. I was wearing a carpet.”
Bridget’s trepidation at entering the party is evident in this screenshot, and further solidified when she’s greeted by her gropy and creepy “Uncle” Jeffrey.
In Legally Blonde, Elle Woods isn’t an outsider at all. As sorority president, she’s at the center of her own universe. But that’s the key—she’s unique from her sorority sisters in that she’s a talented and adored leader. She’s got that special something.
Key takeaway: Being at “odds with their surroundings” doesn’t mean your character has to be suffering, like Bridget. It means they have to stand out. And as I already mentioned, standing out in a crowd (either in a positive or negative way) is something any reader can relate to.
Number Two — Give them a small yet sympathetic goal
Guiding Questions for the Writer:
What’s something specific your character wants to achieve in the opening scene?
What actions are they taking to achieve that goal, however big or small?
What hints can you offer about a broader goal or desire they have?
Ahh, character goals. As Ryan Gosling once famously shouted…
It’s a question all protagonists (and their creators) must answer.
A common thought-trap writers fall into is that their protagonist should only have one goal driving them for the entire story. Don’t fall into that trap.
Yes, your protagonist needs an overarching goal. But your protagonist should also have other smaller goals along the way, some of which will occur at the scene level.
Your opening scene is a great opportunity to give your protagonist a small goal readers can sympathize with. For Bridget, she wants two key things: survive the turkey curry buffet and hopefully make a connection with the guy her mom’s setting her up with.
“Ding dong. Maybe this time Mom had got it right.”
Surviving a family gathering and impressing a new love interest? We can all relate! Especially when that love interest is Colin Firth. Ding dog, indeed. Similarly, Elle Woods’ goal is to have a perfect dinner with her boyfriend so he’ll propose. Since we can sympathize with Bridget and Elle’s goals, we’re naturally rooting for them to succeed.
Key Takeaway: You don’t have to (and realistically can’t) reveal everything about what your protagonist wants straight out of the gate. It usually takes a few chapters to establish your protagonist’s overarching desire. But you should still give your protagonist a small goal that drives the opening scene, moves your character forward, and makes them sympathetic to readers.
Number Three — Show their weaknesses
Guiding Questions for the Writer:
What are your protagonist’s biggest personality flaws?
Whats a weakness that’s holding your protagonist back?
What’s something your protagonist wants to change about themselves, but can’t? (at least not yet)
Readers relate to flawed characters. Why? Because we all know no one’s perfect. And we tend to dislike people who think they are. So, if you show how your protagonist is a bit of a bruised peach, your readers will subconsciously warm to them.
Flaws are also an essential part of any character arc. At the beginning of your story, your protagonist will have weaknesses they need to overcome so they can grow and improve. Why not hint at those weaknesses in the opening scene? For Bridget, her weaknesses aren’t as she describes them. She chastises herself in front of Mark for drinking, smoking, and talking excessively. But those traits are part of who she is, and Mark eventually falls in love with her in spite of (or perhaps because of) those traits. No, Bridget’s weaknesses aren’t the drinking, smoking, or talking (although we do want Bridget to be healthy. Drop those cigs, girl!) Bridget’s key weakness is actually her self-chastisement. She lacks the confidence to own who she is and is so self-conscious she bombs her meeting with Mark. Viewers recognize these weaknesses and expect that Bridget will work to overcome them over the course of the film.
Key Takeaway: Weaknesses aren’t a bad thing. They won’t make your character unlikable—they’ll make them relatable and help you establish a clear character arc. Flaws can also be fun! Our scars and blemishes are what make us unique and distinct from everyone else. Well thought-out flaws will make your character that much more compelling and interesting.
“New Year’s Resolution, drink less. Oh, and quit smoking. Whoops!”
Number Four — Also show their redeeming qualities
Guiding Questions for the Writer:
What are your protagonist’s biggest strengths?
What’s something they’re good at or proud of?
What redeeming qualities do they have that others might recognize, even if they don’t? (at least not yet)
While it’s important to show some of your protagonist’s flaws, you don’t want them to come off as too pathetic. That’s why you should balance things out by showing their redeeming qualities. This strategy is where Blake Snyder’s famous “Save the Cat” phrase comes from. A character will immediately endear themselves to readers if they do something noble at the beginning of a story, like saving a cat from a tree. But your character doesn’t have to do something as noble as saving someone in the opening pages to be relatable. Their redeemable quality could be anything, big or small.
At the beginning of Bridget Jones’ Diary, Bridget show she has several positive traits. First is her self-deprecating sense of humor and the fact that she doesn’t take herself too seriously. Second, while Bridget is a bit icy with her mother, she has a warm relationship with her adoring father (played brilliantly by Jim Broadbent, one of the most underrated actors of all time. But I digress). Bridget and her dad immediately gravitate towards each other at the party, establishing themselves as misfits in this intolerable group of people.
In Legally Blonde, Elle Woods is depicted as a kind, supportive, and enthusiastic young woman full of life in the opening scenes. No matter her shortcomings, we can see she’s full of optimism and potential. And that’s hard not to like.
“Hello, darling.”
“How’s it going?”
“Torture.”
And that’s it! Four tricks to create compelling, complex characters readers will love from the get-go. Time to take a deep breath. This may seem like a lot to accomplish in one chapter…too much, perhaps. But it’s not. I promise.
Onwards, my intrepid writers, and have fun!