How do you write an engaging main character that makes you want to read the rest of his story?

[Lmae]

For me, I keep getting he is okay or not bad, but he needs more.
At worst I heard was that he was boring, or lacked aura.
If he already has the basic stuff: a goal, challenges, flaws, what is the missing piece?

How do you turn an okay or meh mc to one that the reader will get excited over?

 

[L1aei]

For me, I keep getting he is okay or not bad, but he needs more.
At worst I heard was that he was boring, or lacked aura.
If he already has the basic stuff: a goal, challenges, flaws, what is the missing piece?

How do you turn an okay or meh mc character to one that the reader will get excited over?

What about consequences?

So, I recently watched 28 Years Later: The Bone Temple. There's... well, it is more than a scene, it's practically the second or third plot of the whole film where a doctor treats one of the infected; an alpha no less. That's fucking dangerous as hell because anyone who's seen the previous films will know how quickly things can go wrong just by being in their proximity; just a drop of blood can cause an infection. Yet I was hooked because even though the danger felt real and was terrifying to witness, it felt like progress was being made. That's a hook; it's that sense of risk and potential payoff that makes a character compelling, even if they already have goals, challenges, and flaws.

 

[Omarfaruq]

For me, I keep getting he is okay or not bad, but he needs more.
At worst I heard was that he was boring, or lacked aura.
If he already has the basic stuff: a goal, challenges, flaws, what is the missing piece?

How do you turn an okay or meh mc character to one that the reader will get excited over?

I made my MC extremely ridiculous: he is super weak, but he has an intellect so sharp it could bore people to death. My story is comedy-oriented, which is why my MC is written this way. I think this keeps readers curious about what he will do next.

What about consequences?

So, I recently watched 28 Years Later: The Bone Temple. There's... well, it is more than a scene, it's practically the second or third plot of the whole film where a doctor treats one of the infected; an alpha no less. That's fucking dangerous as hell because anyone who's seen the previous films will know how quickly things can go wrong just by being in their proximity; just a drop of blood can cause an infection. Yet I was hooked because even though the danger felt real and was terrifying to witness, it felt like progress was being made. That's a hook; it's that sense of risk and potential payoff that makes a character compelling, even if they already have goals, challenges, and flaws.

We both posted our message at the same time

 

[L1aei]

We both posted our message at the same time

That's pretty radical.

 

[Omarfaruq]

That's pretty radical.

Yes, it is pretty radical.

 

[Eldoria]

How do you turn an okay or meh mc to one that the reader will get excited over?

Dude... "excited" is too relative and general.

An OP protagonist might excite readers who are bored with slow development.

Conversely, a weak to strong protagonist might excite readers who like progression.

Finally, you can't please everyone.

Instead of worrying about how to please readers with your protagonist, it's better to write a protagonist that is relatable to certain readers.

For example, a poor protagonist caring for a sick younger sister might be relatable to readers who have younger siblings.

A mother protagonist who loves her daughter might be relatable to readers who are married or readers who long for a mother's love.

A wounded protagonist who never gives up might be relatable to readers who are struggling to survive.

An orphan protagonist might be relatable to readers who have lost their family.

These Protagonists can't please everyone, but they are more likely to inspire certain readers. Therefore, I prefer to write relatable, humane protagonists.

 

[L1aei]

Dude... "excited" is too relative and general.

An OP protagonist might excite readers who are bored with slow development.

Conversely, a weak to strong protagonist might excite readers who like progression.

Finally, you can't please everyone.

Instead of worrying about how to please readers with your protagonist, it's better to write a protagonist that is relatable to certain readers.

For example, a poor protagonist caring for a sick younger sister might be relatable to readers who have younger siblings.

A mother protagonist who loves her daughter might be relatable to readers who are married or readers who long for a mother's love.

A wounded protagonist who never gives up might be relatable to readers who are struggling to survive.

An orphan protagonist might be relatable to readers who have lost their family.

These Protagonists can't please everyone, but they are more likely to inspire certain readers. Therefore, I prefer to write relatable, humane protagonists.

After taking some time to think this out, I want to merge my points in reference to these good points for creating engaging characters without disregarding them. So relatability is huge, no doubt. But consequences are what make readers lean in, okay? Like, let's take the example of that mother and her daughter. That there is relatable on its own, but now throw in a conflict. Let's say she has an important work meeting scheduled at the same time as her daughter's school performance. Yeah, I know, that ain't a big deal for most of us if we can't relate, but it will for some because, suddenly, her ordinary life choices carry tension, and those readers who can relate will care about what she decides.

@Lmae See how that can be engaging? It doesn't have to be so extreme as a life or death scenario, but it is meaningful. We're talking about balancing a mother earning a higher household income against displaying the love and support for her child. I know which of those I'd choose, but the protagonist isn't me, so I'd like to root for her and see if she'd take the relatable path.

If not... well, guess what? I'd be interested in seeing that fallout. How would she make it up to her daughter? Or what happens if canceling the meeting creates a rift at her workplace? See, that is also where @Omarfaruq 's point also comes into play; that's where characters feel real: their decisions have cause and effect, and we get to follow them, seeing what happens next as they are navigating their own story.

 

[Bald-san]

Maybe scenes that gives him aura, since that's what he seem to be lacking... You know, establish a personality that would correlate his aura, example Escanor's Pride is coded to his 'Who Decided that?' or 'I do not Hate the Weak, I pity them' moment.

In my MC, there are only 3 instances I can remember that she showed her aura, and all of them is rooted on her being very very smart.

That being said, the commenters should specifically point out why do they think why he has no aura

 

[Eldoria]

After taking some time to think this out, I want to merge my points in reference to these good points for creating engaging characters without disregarding them. So relatability is huge, no doubt. But consequences are what make readers lean in, okay? Like, let's take the example of that mother and her daughter. That there is relatable on its own, but now throw in a conflict. Let's say she has an important work meeting scheduled at the same time as her daughter's school performance. Yeah, I know, that ain't a big deal for most of us if we can't relate, but it will for some because, suddenly, her ordinary life choices carry tension, and those readers who can relate will care about what she decides.

@Lmae See how that can be engaging? It doesn't have to be so extreme as a life or death scenario, but it is meaningful. We're talking about balancing a mother earning a higher household income against displaying the love and support for her child. I know which of those I'd choose, but the protagonist isn't me, so I'd like to root for her and see if she'd take the relatable path.

If not... well, guess what? I'd be interested in seeing that fallout. How would she make it up to her daughter? Or what happens if canceling the meeting creates a rift at her workplace? See, that is also where @Omarfaruq 's point also comes into play; that's where characters feel real: their decisions have cause and effect, and we get to follow them, seeing what happens next as they are navigating their own story.

Characters are plots. By narrating a protagonist who is relatable to the reader's life, the plot and conflict will follow the protagonist's journey.

If the protagonist is poor but caring for his sick sister, then the plot of finding a cure will be carried out organically. The author just adds worldbuilding and other characters (whether supporting characters or antagonists) to challenge the protagonist.

My point is that I won't dictate how the protagonist lives in her world. I won't create an OP and absurd protagonist just to please the readers... but I will narrate a protagonist who lives in her world with backgrounds, conditions and motivations that readers can understand and perhaps resonate with their lives.

 

[CountVanBadger]

Find the balance between wish fulfillment and...whatever the opposite of wish fulfillment is so that your readers can have some instant gratification while also leaving something for them to stick around for long term.

 

[L1aei]

Maybe scenes that gives him aura, since that's what he seem to be lacking... You know, establish a personality that would correlate his aura, example Escanor's Pride is coded to his 'Who Decided that?' or 'I do not Hate the Weak, I pity them' moment.

In my MC, there are only 3 instances I can remember that she showed her aura, and all of them is rooted on her being very very smart.

That being said, the commenters should specifically point out why do they think why he has no aura

Oh! Gravitas, yes.

So, I'm gonna make an example out of this one... hope you don't mind, @Bald-san ?

So, let's go ahead and imagine a character who has that presence. Like, let's go with a quiet, confident librarian? That's rather ordinary, but give that booky some character such as every time they walk into a room, people notice. Okay, so what are they noticing about them? Maybe they have witty comebacks and an uncanny calm under pressure. That right there? That's their aura and you remember them. Maybe you like them, maybe not, but you will know who they are now.

But, still, why would you want to know more about them? Alright, let's get into that now; what makes them engaging.

Here, some random student is in the library, working on an important assignment due in the morning, and they can't afford a poor grade. After some explanation, the librarian sees that the library is about to close, and they have to make a decision. They can either enforce the rules and send the student away or stay late to help, risking their own schedule and obligations.

The aura made us aware of the librarian, but it's the point of placing those sort of stakes against either of them and those consequences between rules, personal time, and helping someone in need. See, that make readers care about what they choose and what happens next. Aura alone grabs attention; meaningful choices keeps the readers turning the next page because, honestly, I'd personally love to hear how this witty librarian explains to the director why the library remained open past closing hours. Or, hey, she is calm in a heated moment, but how does she handled the incident if she kicked that student out and things did go sideways.

@Lmae You starting to get it?

Find the balance between wish fulfillment and...whatever the opposite of wish fulfillment is so that your readers can have some instant gratification while also leaving something for them to stick around for long term.

Ah, gratification. Yeah, that'll nab readers too.

 

[CountVanBadger]

Ah, gratification. Yeah, that'll nab readers too.

Who would've thought giving the readers what they want would result in a story they'd want to read?

 

[L1aei]

Who would've thought giving the readers what they want would result in a story they'd want to read?

Yeah. I mean, how many times have I stated that sex sells? Not what you meant with your point, but that is another form of gratification.

 

[SirContro]

Action and reaction.

I personally prefer the former. My MC has been written to be an utterly deranged narcissist, pettier than Satan himself, so the audience knows that they're in for a treat when he gets an idea. If you don't like looking through the eyes of a madman, though that's when you make your MC react. Write the surroundings of the MC to be a lot more engaging with political dramas, insane adversaries, and monstrous trials, pop your MC in the middle of all of it and really work on having them express their thoughts while being forced to deal with the plot and that way you can trick the audience into thinking your MC is interesting by making everything else interesting.

 

[K_Nishi]

For me, I keep getting he is okay or not bad, but he needs more.
At worst I heard was that he was boring, or lacked aura.
If he already has the basic stuff: a goal, challenges, flaws, what is the missing piece?

How do you turn an okay or meh mc to one that the reader will get excited over?

For example, it would be helpful if you could share which specific work that was said about, and provide an example.

 

[MFontana]

For me, I keep getting he is okay or not bad, but he needs more.
At worst I heard was that he was boring, or lacked aura.
If he already has the basic stuff: a goal, challenges, flaws, what is the missing piece?

How do you turn an okay or meh mc to one that the reader will get excited over?

It's a matter of reader preference.
Personally, I'd say you achieve that by not trying to please everyone first.
There's always going to be people who like, and not like, anything you do for your story.
Know your target audience and write for that audience. [This is the not-so-secret way to have your readers excited over your work].

Also, vague comments like "boring" or "lacked aura" aren't really worth taking seriously. They're personal opinions, sure, and they're fine for those readers to have, but they don't really do much to help hone your craft, or your story, and may not match with your vision for your narrative.
I'd personally start by asking the people leaving those comments to explain why they think so.
Not that they're wrong, but the comments as they are, don't actually offer anything for you to work from.

Since they don't offer anything substantial, it's likely best to consider them part of a vocal minority rather than representative of the general reader perspective of your story. If they refuse to engage further or elaborate on why they think so when asked, then it is safe to simply ignore those comments and keep doing what you're doing.

 

[TinaMigarlo]

people kill me.

I caught hell for "slow starts" and "slow buildups".
but people read "slice of life" where basically nothing happens.

everybody claims they want something "new" or "original"
then you hear things under review that are basically "you should just do this, that's the right way to do that"

the ongoing dichotomy leaves me scratching my head.

 

[Toshiyuki]

In my experience I find the most interesting protagonists to be the ones that are unapologetically themselves. What I mean by this is don’t try to appeal to readers or a mold that you feel you need to fit. Create a character that makes YOU excited to write. You do need to be careful to not make it a self insert or power fantasy, but for me the most interesting characters are ones that are inherently dislikeable with relatable and a few likeable qualities that gives the idea that theres more to the character than you first see

 

[melchi]

Carefully

 

[rainchip]

That's a tough one LOL. Engaging is a wide umbrella. An MC can have a goal and flaws and challenges and still feel boring. Usually what’s missing isn’t backstory it’s presence.

Hype protagonists change the nature of every scene they enter. They make decisions that shift the plot instead of reacting to it. They hold beliefs that create tension, and those beliefs cost them something. Depth matters ut depth alone doesn’t create excitement. What makes readers lean forward is agency and consequences. Build the character first, yeah, but then let them make dangerous choices. Let them be wrong. Let them change the emotional landscape.
Also I typed this on mobile sorry if it's scatter brained.

people kill me.

I caught hell for "slow starts" and "slow buildups".
but people read "slice of life" where basically nothing happens.

everybody claims they want something "new" or "original"
then you hear things under review that are basically "you should just do this, that's the right way to do that"

the ongoing dichotomy leaves me scratching my head.

As slower starter myself, I felt this. Will we ever win?