This week: Creating the Strong-Identity Characters! Edited by: Joy  
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“In the social jungle of human existence, there is no feeling of being alive without a sense of identity.”
Erik Erikson
“I always had long hair. When you lose it, you realise just how important it is to your identity.”
Delta Goodrem
“Before I can live with other folks I’ve got to live with myself. The one thing that doesn’t abide by majority rule is a person’s conscience.”
Harper Lee
“Know, first, who you are, and then adorn yourself accordingly.”
Epictetus
“If you really have your own identity you’ll keep on doing what you think is really right for you, and you’ll also understand the next step you want to take.”
Helmut Lang
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Hello, I am Joy , this week's drama editor. This issue is about coming up with characters that show strong identities.
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Welcome to the Drama newsletter
When we read or write stories, we all love characters we can identify with, don't we! Well, let's just say, at least, we need to meet or create characters that are identifiable one way or another. This idea brings up the issue of identity.
Identity is, according to Wikipedia, "the set of qualities, beliefs, personality traits, appearance, and/or expressions that characterize a person or a group. Identity emerges during childhood as children start to comprehend their self-concept, and it remains a consistent aspect throughout different stages of life."
True, although people may and do change throughout life, I think a certain part of them stays the same or similar to the original. Now, how are we going to catch and illustrate that specific part in the characters we create?
I believe this can be done in three ways: 1. internal development 2. external development 3. in uniting the internal and external developments. If writing a short story, we can squeeze those developments in a single scene or maybe two or three scenes, or we can do a much thorough job in a long story, a novel, or a play.
Internal development is when the character changes or adapts internally, perhaps with his thoughts and emotional responses, which originate from that character's internal processes. For example, through dialogue and actions resulting from characters mental and emotional choices.
External development happens with a character's internalizing or responding to other characters' prejudices, likes, dislikes, biases, and assumptions, as well as their appearances and behavior. Even in real life, outsiders, sometimes, see that some two best friends usually act and even begin to look like each other.
This may often show up in dialogue, if we are careful to listen. People who are close to each other or who may be living together may end up using the same tone or same expressions or even the same sentences or remarks. They may even share the same secrets.
Secrets can be very interesting and attention-getting. When characters often have secrets--that is, hidden sides to their lives or knowledge--such sides of them can shape a story in profound ways. They can also add depth and intrigue to the plot. Such secrets may even go beyond internal conflicts, although they may as well be the results of internal conflicts. When brought into the open, such secrets have a strong effect on the storyline. Remember the hidden crazy wife in the Thornfield Mansion where Jane Eyre went as a governess for Edward Rochester's daughter and how that crazy secret wife changed the flow of the plot?
Interesting character identity, however, need not depend on secrets alone. Strong identities also come from the characters' positions in society and how the characters see themselves through their successes and struggles. Characters with very strong identities often leave a lasting effect on the readers because of their memorable actions, distinct personalities, and moral convictions.
Just remember the sharp intellect, observation skills, and logical reasoning of Sherlock Holmes, who, with the catchphrase "Elementary, my dear Watson," made himself impossible to forget. Then, a bit on the weird and scary side, what about Hannibal Lecter with a taste for cannibalism and an intelligence and manipulative powers that make him a chilling and compelling villain! Yet, on the positive side, we have Jean Valjean from Victor Hugo's Les Misérables who has shown redemption, justice, and compassion with his convictions and actions.
I believe, to create strong characters with defining and distinct identities we writers need to use several techniques and tricks. These begin with their detailed, distinct physical descriptions, backgrounds, motivations, and especially backstories. Such characters also need a unique voice and dialogue to represent their backgrounds, emotional states, and personalities, which may be evident in their choice of words, rhythm of speech, and mannerisms. Also, objects in their lives that they treasure, their personal habits, or a few recurring images that may be associated with them can add to the strength of their identities.
Then, consistent behavior and personal growth add a lot to a character's uniqueness; although, it is okay for a character to show a different side of himself every once in a while. In addition, a few internal conflicts and flaws can make such characters more relatable, as well as their behaviors in relationships and in their interactions with other characters. For example, a character might be authoritative and confident in their professional life but tender and vulnerable with their loved ones.
May you always shine with your creations and may most of your characters show strong, distinct identities that resonate with readers and drive the dramatic tension in your stories.
Until next time! 
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 This Issue's Tip: For revelation of a secret, we can determine what event within the plot triggers the unveiling of the character's secret. This event could be part of the character's backstory or an essential plot point that propels the narrative forward. We might even determine when the secret will be revealed when we come up with it during the planning process.
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Thank you for reading our newsletters and for supplying the editors with feedback and encouragement.
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Feedback for "Social Issues in Dramatic Fiction"
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brom21 
As many people agree, the advancement of AI is a frightening prospect. As the common trope that goes along with this subject is robots turning against human creators. I'm going to be honest, some of the Ai related stuff is downright scary! This entails a serious moral dilemma for the future. It may come to the point where we will question if androids have consciousness and even go as far as asking "Do they have souls?" This all the tip of the iceberg. Who know how it will go. Thanks for the NL!
Thanks for the input. Yes, I agree. AI is scary but so helpful at the same time. Yes, Androids may also develop souls, especially in our stories, and why not! We writers can use anything.
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Beholden 
I'll be honest and admit that, when I saw the subject of this Newsletter, I thought it was going to be boring (it's that "societal" label that kills it for me). But I actually found it to be quite refreshing in that, once again, I realise that I've long ago entered this areana without being aware of it. In fact, my most recent favourite character, invented to explore my feelings on society, is an aristocratic lady named Her Grace. She's such a great way to put the virtually never-stated case for aristocracy for consideration.
Thank you! Yes, aristocracy for consideration is a great idea, especially because the definition and the idea of aristocracy may change with some new inventions and turns and twists of our societal makeup. 
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Drama: July 17, 2024 Issue [#12638]
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