How to Write a "Relatable" Character
- julian32019
- May 13
- 4 min read
By Jua Kim
Art by Julian Riccobon
Art by Julian Riccobon
Katniss Everdeen, Holden Caulfield, and Harry Potter are widely considered to be some of the most notable literary protagonists of all time. Readers worldwide have not only celebrated their stories, but also have formed deep emotional connections with them. Despite being completely different from their fans, these characters have never failed to resonate with readers.
In the fiction community, there’s an unspoken rule stating that one of the biggest qualities that readers seek in a main character is relatability. After all, identifying with the protagonist is the first step in understanding and appreciating fiction. By making your protagonist more relatable, readers might become more invested in the story and even find comfort in this fictional person. The best fictional characters often serve as mirrors that help us become more introspective and enlightened. But what is the secret of protagonists who can reflect the reader, and how can you craft such a mirror yourself?
The Relatability Model
A helpful thing to know about relatability is that you can visualize it in a physical chart. Imagine a coordinate plane with the axes labeled as such:
As pictured, relatable characters fall into one of the two quadrants on the right. Likable, relatable characters are placed in Quadrant I, while not-so-likable yet still relatable characters are categorized in Quadrant IV.
Quadrant I includes characters whom we look up to or find comfort in. Characters in this quadrant probably have admirable values that readers can agree with, and are the most sympathetic out of all the quadrants. Even though a few negative aspects may be present in their character, we can still understand their problems and walk with them through their emotional arc. While Quadrant I characters embody characteristics readers admire, Quadrant IV characters reflect what they struggle to accept in themselves. We usually relate to them against our own will. A good example of a Quadrant IV character would be the narrator of My Year of Rest and Relaxation by Ottessa Moshfegh; although she is a despicable person, we can’t help but agree with her comedic mission to take a break from society.
Already, crafting a relatable protagonist seems like a complicated task. Luckily, there are many tools and tips in a writer’s arsenal that can be a guide for creating such a character.
Flaws, Flaws, Flaws
Everyone has flaws, and fictional characters are no exception. Flaws are what tether a character to readers, and they are arguably the most crucial element of making a character relatable. Whether the reader themselves likes it or not, they might find their own issues and insecurities reflected in the character. And, as the character grows and changes through the story, the reader might learn a lesson or two about themselves as well.
Character flaws are essentially the cause of your protagonist’s internal conflict, which they must overcome throughout your story for it to have any substance. Just like in real life, “perfect” or “blank” characters are neither engaging nor believable. Readers are more likely to relate to characters who make mistakes, struggle through them, and change as a result.
The Good With the Bad
Even if your protagonist has an abundance of flaws, there still has to be a balance between their positive and negative traits; think of it as the yin and yang of their personality. Too many negative traits can make your character unsympathetic, much like how too many virtues can make a character unrealistic. Achieving this balance is key to having your reader root for the protagonist.
For example, Holden Caulfield, the protagonist of J.D. Salinger’s The Catcher in the Rye, makes a first impression as a cynic who despises the crudeness of the society he lives in. Though he is considered the most relatable character in literature, many readers have initially disliked him for this reason. However, the author later showcases his better qualities, such as his desire to preserve the innocence of children, which redeems him in the eyes of readers and makes him more three-dimensional.
TIP: As seen in Salinger’s example, a character’s positive traits work best if they complement their flaws; this can make their character development so much more satisfying to watch.
Situations: Character vs. Reader
Fiction is all about made-up events. When reading a novel, you’ll find that you’ve never experienced about 90% of what the plot contains, and that’s the joy of it. Sometimes, authors mistakenly think that the events of the plot are the source of a character’s relatability. At some point in your life, you might have read the point-of-view of a terribly written YA protagonist rambling on about their daily routine or their “average” appearance in an attempt to tell the reader, “Hey, look at me, we’re so alike!”
The truth is, relating to a character doesn’t necessarily mean that you have to be experiencing the same life events as them. Rather, the character itself should evoke a sense of empathy, no matter what they’re going through. Nobody can relate to spearheading a revolution against a corrupted government that pits its children against each other in death games. And yet, many readers see themselves in Katniss Everdeen, the protagonist of the Hunger Games trilogy, due to her resilience and loyalty to her loved ones despite her adversities.
In fiction, the emotional core of your story’s events should be universally understandable. Themes like grief, self-acceptance, love, and culture are umbrellas that encompass all stories, no matter the genre.
By using the relatability model and the above steps as a guide, you’ll be able to develop a three-dimensional, relatable character who can drive your narrative. Your protagonist will act as a mirror that can reflect aspects of your readers, from their strengths to their shortcomings. And that’s really what writing fiction is about—helping your readers find themselves.
About the Author
Jua Kim is a student at the Orange County School of the Arts. She has been recognized by the Alliance for Young Artists & Writers and has been featured in several other publications. When she’s not writing, you can find her grabbing a matcha latte or rewatching Yellowjackets.
