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Portrait

Name

Elizabeth Bennet

PronunciationHow to say this character’s name. Use readable phonetics (for example, KAY-lin or kah-REE) or a familiar rhyming word.

LabelA single word or short phrase description to help quickly label this character. This input is used to help sort characters in the main Character Portfolio. Inputs that you might have otherwise used in the Status, Species, or Classification fields below might be just as helpful here.

Story RoleThis indicates the role the character plays in the story.

Protagonist

Other NamesA space to note any full names, nicknames, aliases, titles, secondary names, and/or name changes.

Lizzy, Eliza, Miss Elizabeth, Miss Eliza Bennet

StatusThis is a flexible prompt. It can be used to note whether characters are alive or dead, whether they are on the protagonist's side or the antagonist's side, or if they have transitioned into a noteworthy status. This could also be used in genre-specific ways such as: to designate suspects/victims/detectives in mysteries, or to indicate fictionalized characters vs. ones based on real people in historical novels.

Alive

ColorThe color of the character's tag.

SummaryAfter you have gone through all prompts to thoroughly flesh out your character, this space is for a quick summary of the most noteworthy details.

Elizabeth is the second daughter of Mr. and Mrs. Bennet. Known for her keen wit, playful disposition, and 'liveliness of mind,' she prides herself on her discernment of character. Her journey involves overcoming her initial prejudice against Mr. Darcy and her misplaced trust in Mr. Wickham. She values emotional connection and respect in marriage over social status or financial security, leading her to reject advantageous but loveless proposals before ultimately marrying Mr. Darcy.

AgeThis could be the age of the character at the start of the story, the age of the character during the majority of the story, or could be an age range to cover the entirety of the story.

20 years old

GenderMale, female, transgender, agender, etc. This is different from sexuality.

Female

Birthdate

Birthplace

ResidenceWherever this character currently lives. Can be a general city/town/area, or a specific building/address if that information will be mentioned in the manuscript.

Longbourn, Hertfordshire

EducationThis could be specific (examples: fourth-grade education, high school diploma, Ph.D. in ____, third year at Hogwarts, etc) or could be a phrase to indicate generalities (such as: illiterate, natural savant, street-smarts, highly trained and educated, etc)

Educated at home

OccupationTheir career, job, vocation, or societal role.

Gentlewoman

IncomeThis prompt doesn't need to be specific unless actually noted in the novel manuscript. Otherwise, general terms work well (comfortable, rich, poverty, minimum wage, billionaire, etc.)

Small personal fortune (one thousand pounds in the 4 per cents); eventually very rich as mistress of Pemberley (ten thousand a year).

AncestryEither their genetic/biological ethnicity, or their notable family line or clan.

English

Social ClassSuch as upper class, middle class, and lower class, or designations of a caste system. Could also be used to indicate social class within a micro-society, such as high school cliques.

Landed Gentry

ReligionTo indicate what religion(s) they are members of, they practice, or they believe in (whether in secret or openly). Can also note if they are agnostic, atheist, non-religious, etc.

Church of England

SexualityHeterosexual (straight), homosexual (gay/lesbian), bisexual, asexual, pansexual, etc.

SpeciesFor fantasy writers to indicate vampires, shifters, elves, mermaids, alien species, etc. Also for writers who have communicating, plot-developing animal characters (such as in Charlotte's Web, Peter Rabbit, or A Bug's Life).

Human

ClassificationAnother flexible prompt. Could be used for military classification, magic classification, RPG class, etc. Might also use to indicate membership in a subsection of society. For instance, if you are writing a fantasy with varying types of magic, you can indicate what type of magic this character has. If you are writing a war story, you can indicate what side this character was on. If you are writing a story about celebrities, you can indicate actors vs musicians vs socialites vs sports stars vs not-famous, etc.

The Why

Significant PastWhat past events influence the way this character views the world and reacts in it? Were they raised in any particular way that makes them see things differently than those around them? Any traumas or memorable events that have changed their perspective? Knowing their significant past helps you understand your character better and build a compelling emotional arc for them.

Elizabeth grew up as the favorite of her father, a man of quick parts and sarcastic humor, while often being embarrassed by her mother's lack of propriety and single-minded focus on marriage. Her upbringing in a household with such contrasting parental figures fostered her reliance on her own judgment and a tendency to use wit as a defense mechanism against social absurdity.

Core WoundSometimes called “the Ghost”, the **Core Wound** is the inner vulnerability that resulted from a past event, history, trauma. Not sure where to start? Think of something that this character might be defensive about or triggered by. Ask yourself 'why' and then ask 'why' again. Keep asking until you get to the root of their fears and vulnerabilities, their **Core Wound**. This Wound stems from their past, usually gives rise to their **Misbelief,** and might be linked to their motivator. This character will also try to shield this **Wound** from other people using one or more of the shields below.

Her core wound stems from the public slight by Mr. Darcy at the Meryton assembly, where he declared her 'tolerable, but not handsome enough to tempt' him. This insult to her vanity, coupled with the embarrassment caused by her family's behavior, makes her fiercely defensive of her own dignity and quick to judge those she perceives as arrogant.

The Internal Gap

The MisbeliefWhat do they assume about themselves that is not true? What lie(s) do they believe? A **Misbelief** usually grows out of the **Core Wound**, and the **Core Need** is the truth that replaces it. Will they realize the truth? Confront their misbelief? Does someone else force them to confront it? The narrator and/or reader might know the truth near the beginning, or might discover the truth along with the character. This is an important part of their emotional arc.

She believes her first impressions are unerring and that she can see through people's motives with objective clarity. This 'prejudice' blinds her to Mr. Darcy's true character and makes her an easy mark for Mr. Wickham's deception.

Core NeedThis is a deep internal need or psychological lesson the character must learn in order to achieve wholeness: the truth that heals their **Core Wound** and replaces their **Misbelief**. They are unaware of this **Need** during most of the story. This is not an outward **Want** or external **Goal**, in fact, it might directly conflict with their Wants and/or Goal.

Elizabeth needs to learn humility and acknowledge that her discernment is flawed by personal vanity and emotional reactivity. She must learn to look beyond surface appearances and social standing to recognize genuine virtue and integrity.

The Expression

Motivators & WantsFrom the opening page and through the inciting incident & rising action, what pushes your character to keep moving forward? These are not subconscious things; these are the desires and priorities the character is actively leaning into during the first part of the story. When the main **Goal** is revealed, these are the reasons why the character cares about the goal, even if they're hesitant to admit it to others. This motivator/want is most effective when it contradicts their true **Core Need**. Think of it like a desire or priority that they *think* they need, even if it won't actually soothe their **Wound** and give them a sense of wholeness.

Initially, she wants to ensure the happiness of her sister Jane and to amuse herself with the follies of others. She desires a marriage based on mutual affection and respect, leading her to reject security without love.

Vulnerability ShieldsVulnerability shields are the ways a character protects or hides their inner **Wound** from the rest of the world. These behaviors often develop as coping mechanisms: strategies that help them feel safe, but ultimately prevent true connection and growth. A character may rely on multiple **Shields** at once, depending on the situation. As the story progresses, these shields may crack, evolve, or fall away entirely, revealing the vulnerability beneath. Major life events can shift or break these shields, such as falling in love and opening up to another person, experiencing profound loss or trauma, or having a **Shield** backfire in a painful, destabilizing way. Tracking how a character's **Shields** change is one of the clearest ways to show meaningful character development, especially through the middle of the story, where trials test the **Misbelief**.

Cool Detachment / CrueltyIntellectualismSelf-RelianceMoral SuperiorityEdit shields

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Vulnerability Shields

Avoidance

Avoiding discomfort, pain, or vulnerability altogether. Escaping the feeling. "I won't face it."

• Numbing

  Embracing anything that dulls emotional discomfort, as an escape. This can include substances (alcohol, drugs, sex), but also subtler habits like over-eating, over-scrolling, over-spending, or constant distraction.

• Workaholism

  Also Busyness. Staying constantly occupied to avoid slowing down enough to feel, reflect, or confront deeper issues. Productivity becomes part of their identity; a shield against vulnerability.

• Serpentining

  Backing out, pretending not to care, or living in denial. Avoidance, procrastination, rationalizing, blaming, and lying—often requiring more energy than simply facing the problem.

• Minimizing

  Downplaying pain, needs, or experiences to avoid appearing vulnerable or burdensome. "It's not a big deal" becomes a protective reflex.

• Rehearsing Tragedy

  Foreboding Joy. Anticipating loss or disaster whenever something good happens. They mentally prepare for the worst to avoid fully feeling joy, hope, or vulnerability—preferring to brace for pain rather than risk optimism.

• Nostalgia

  Retreating into the past—idealizing or fixating on "better times"—to avoid dealing with present pain, change, or uncertainty.

Control

Prevent vulnerability through control. Manage, contain, or regulate uncertainty. "I'll reshape reality so it's safer."

• Micro-management

  Controlling details, people, or environments to reduce uncertainty. If everything is controlled, nothing can expose their vulnerability.

• Overanalyzing

  Overthinking situations, conversations, or decisions to avoid taking emotional risks. They stay stuck in analysis instead of engaging vulnerably.

• Perfectionism

  Pretending and performing perfection to avoid shame and judgment. This is not true self-improvement—it is driven by fear of failure and the need for approval.

• Rigidity

  Control Through Order. Creating strict rules, routines, or structures to feel safe. Predictability becomes a way to avoid emotional uncertainty.

• Idealism

  Constructing and clinging to overly optimistic or unrealistic beliefs to maintain a sense of safety or meaning. They focus on how things should be rather than confronting painful truths.

• Floodlighting

  Let It All Hang Out. Oversharing too quickly as a way to test others. It appears vulnerable, but is actually a defense used to control and manage connection. Overwhelming the moment allows them to avoid deeper, mutual vulnerability.

• Stoicism

  Suppressing or hiding emotions to appear strong, unaffected, or in control. They avoid expressing pain or vulnerability, often believing emotions are a liability.

Deflection

Redirecting attention away from vulnerability. "I'll make you look somewhere else."

• Clowning

  Deflecting with humor. Using humor, performance, or distraction to avoid seriousness or emotional exposure. They keep things light to avoid being seen deeply.

• Cool Detachment / Cruelty

  Cynicism. Deflecting with attitude. Using sarcasm, criticism, or detachment to avoid vulnerability. They position themselves as unimpressed, superior, or "above it" to deflect attention from deeper feelings.

• Intellectualism

  Expertism. Deflecting with logic. Using knowledge, logic, or expertise to avoid emotional exposure. They stay in analysis mode—explaining, correcting, or "teaching"—instead of engaging vulnerably.

Relational Strategies

Managing vulnerability through how they relate to others through distance or closeness. "I decide what our relationship looks like."

• Emotional Withdrawal

  Pulling away, shutting down, or going silent to avoid conflict, intimacy, or emotional exposure to others. Distance feels safer than engagement.

• People-Pleasing

  Prioritizing others' needs, approval, or comfort over their own truth to avoid conflict, rejection, or disapproval.

• Self-Reliance

  Refusing to depend on others to avoid being hurt, disappointed, or seen as weak. They equate needing help with vulnerability.

• The Helper

  Gaining a sense of worth and safety by being needed. They focus on fixing others to avoid confronting their own vulnerability or asking for help.

Power & Protection

Using power dynamics to avoid feeling vulnerable or powerless. "The hierarchy will protect me."

• Bullying

  Using intimidation, aggression, or dominance to stay in control. They attack first so they cannot be hurt.

• Victim-Viking

  Swinging between fearing victimization and asserting superiority. They elevate themselves to avoid ever being seen as weak or vulnerable.

• Victimhood

  Positioning themselves as powerless or wronged to avoid responsibility, risk, or change. It protects them from failure but keeps them stuck.

• Moral Superiority

  Positioning themselves as more ethical or righteous to avoid confronting their own flaws or vulnerabilities.

Other

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The Pressure

The GoalTheir external plot goal. For the protagonist, this is usually associated with the main story conflict, and it works best in direct tension with their **Core Need**. For the Antagonist, this goal probably directly challenges or contradicts the protagonist's **Goal.** For all other characters, describe either their personal goal, or how they contribute to the protagonist's big goal or character development.

Understand Darcy’s character and her own feelings.

The StakesWhat happens if they do not meet their big external **Goal**? What happens if they do not change or grow or learn? If they do not confront their misbeliefs, wounds, flaws, and shortcomings?

Her happiness, her family’s reputation, and a marriage founded on respect.

The Transformation

The ChangeA protagonist and all major characters should (usually) change as a result of the plot. They learn, they grow, they face their **Misbeliefs** or **Wounds**. Or, they regress, revert to a former self, or refuse to change (which is a regression itself). How will this character be different from who they were at the beginning of the story? In Static Arcs, the protagonist does not have significant emotional change/growth, but rather is the reason the other characters around them change. This is not the norm, but can work when done well.

Elizabeth undergoes a profound transformation from a woman who prides herself on her prejudice to one who realizes her own blindness. After reading Darcy’s letter and seeing his actions, she admits, 'Till this moment, I never knew myself.' She lets go of her vanity to acknowledge Darcy’s goodness, and moves from sarcastic detachment to deep, vulnerable affection.

The CostGrowth rarely comes free. What did this character have to lose, give up, or leave behind in order to change? This might include letting go of an identity; losing a relationship, belief, or safety net; giving up the comfort of the **Misbelief**; or otherwise paying an emotional or external price for growth. The cost is often paid at the climax, in the **Hard Choice**. If the character refuses to change, what does that refusal cost them?

She must surrender the comfort of being certain she is right, acknowledge her unfair judgment of Darcy, and risk the vulnerability of loving him.

Myers-Briggs Personality TypeClick the prompt title for descriptions of the personality types. If you are having a hard time determining a type for this character, consider taking an online Myers-Briggs personality test from the perspective of the character. There is a wealth of information online pertaining to these types and how they react to change and the world around them. Knowing their personality type will aid in fully developing a character.

ENFP · The Champion / CampaignerEdit Type

Individualistic. Creators of their own methods, looks, actions, and ideas. Does not like cookie cutter people and hates when forced inside a box. Strong intuition, operates from their feelings. Highly perceptive and thoughtful. Social, supportive, playful, and sees potential in others. Enjoys new projects.

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Myers-Briggs Personality Type

• INTJ · The Mastermind / Architect

  Comfortable alone. Self-sufficient. Needs to recharge after socializing. Interested in ideas and theories. Innovative. Questions why things happen the way they do. Excels at developing strategies. Doesn't like uncertainty.

• INFJ · The Counselor / Advocate

  Visionary, idealistic, insightful, dependable, gentle, creative. They have a different, profound way of looking at the world. Substance and depth, never accepting things the way they are. Perceived as weird or amusing. Seeks harmony, cooperation.

• INTP · The Thinker / Logician

  Most logical minded and precise of all. Loves patterns, keen eye for discrepancies, and a good ability to read people. Can catch liars easily. Not interested in day-to-day activities. Spends their time and energy on creative genius pursuits to reach their unbiased, problem solving potential.

• INFP · The Idealist / Mediator

  Quiet, reserved, sensitive, perceptive, loyal, caring, poetic, dreamy, altruistic, poetic. Prefers not to talk about themselves. Prefers time alone in quiet places where they can make sense of what is happening around them. Analyzes symbols as metaphors. Often lost in dreams and possibilities. Values inner harmony and growth.

• ENTJ · The Commander

  Uses a rational, logical approach on external aspects. Uses intuition and reasoning on internal aspects. Natural born leader. Strategic, efficient, ambitious. Long-range planner. Lives in a world of possibilities. Sees challenges as opportunities to push themselves. Makes decisions quickly yet carefully. Does not like to sit still.

• ENFJ · The Giver / Protagonist

  People-focused. Skilled communicator. Idealistic, charismatic, outspoken, diplomatic, highly principled and ethical. Understands how to connect with all types, values connection. Relies on intuition and feelings. Tends to live in the abstract or their imagination rather than in the real world. Thinks of possible futures.

• ENTP · The Visionary / Defender

  Rare. Extroverted, but does not enjoy small talk. Intelligent and knowledgeable, needs to be constantly mentally stimulated. Discusses theories and facts in extensive detail. Logical, rational, and objective in their approach to information and arguments. Inventive, strategic, versatile, enterprising, inquisitive. Values inspiration.

• ENFP · The Champion / Campaigner

  Individualistic. Creators of their own methods, looks, actions, and ideas. Does not like cookie cutter people and hates when forced inside a box. Strong intuition, operates from their feelings. Highly perceptive and thoughtful. Social, supportive, playful, and sees potential in others. Enjoys new projects.

• ISTJ · The Inspector

  Serious, quiet, thorough, responsible, sincere, analytical, dependable, systematic, trustworthy, hardworking, with sound, practical judgement. Interested in security and peaceful living. Well-developed powers of concentration. Promotes tradition and cultural responsibility.

• ISTP · The Craftsman / Virtuoso

  Mysterious, rational, analytical. Also quite spontaneous, enthusiastic, and unpredictable, though they hide those traits from the outside world, often very successfully. They enjoy adventure, and are action-oriented, independent, reserved. Understands tools and the mechanics of things.

• ISFJ · The Nurturer / Defender

  Philanthropist. Returns generosity with even more generosity. Devoted, unselfish caretaker and friend. Warm, kind-hearted. Values harmony and cooperation, and likely sensitive to other people’s feelings. People value them for their consideration and awareness, and their ability to bring out the best in others.

• ISFP · The Composer / Adventurer

  Introvert that sees value in meeting new people. Difficulty connecting at first, but eventually becomes warm, approachable, and friendly. Fun, spontaneous. Tags along in whatever activity. Lives life to the fullest, embraces the present. Always exploring and discovering. They find wisdom in experiences.

• ESTJ · The Supervisor / Executive

  Organized, honest, dedicated, dignified, traditional, and a great believer of doing what they believe is right and correct. A Leader, even on hard paths. Epitome of good citizenry. Happy when approached for help. People look to them for guidance and counsel.

• ESTP · The Doer / Entrepreneur

  Outgoing, realistic, curious, versatile. Governed by a need for social interaction. Emotional, logical. Has a need for freedom. Uninterested in theories and abstracts. Leaps before they look, fixing their mistakes as they go. Pragmatic problem solver and skillful negotiator.

• ESFJ · The Provider / Consul

  Social butterfly. Their need to interact with others and make people happy usually ends up making them popular. Friendly, reliable, conscientious, outgoing. Seeks to be helpful. Revels in the spotlight and organizing social events. Enjoys being active and productive.

• ESFP · The Performer / Entertainer

  Observant, enthusiastic, fun, friendly, tactful, flexible. Feels and perceives personalities. Strong common sense. Enjoys spotlight. Loves learning and sharing what they learn with others. Strong interpersonal skills. Warm, generous, sympathetic, and concerned for other people’s well-being.

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Enneagram Personality TypeClick the prompt title for descriptions of the personality types. If you are having a harder time determining a type for this character, consider taking an Enneagram personality test from the perspective of the character. There is a wealth of information online specific to these types and how they handle various emotions. Knowing a personality type will help in fully-developing this character.

Type 4 - IndividualistEdit Type

Expressive, dramatic, introspective, and sensitive. They are motivated by a need to understand themselves and find their unique identity. Individualists often feel different from others and seek to express their authenticity through creativity and deep emotional experiences. They are empathetic and intuitive, often drawn to artistic pursuits. However, their focus on their inner world can lead to feelings of envy and melancholy, and they may struggle with a sense of inadequacy and longing.

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Enneagram Personality Type

• Type 1 - Reformer

  Principled, purposeful, and self-controlled. They strive for perfection and have a strong sense of right and wrong. Reformers are motivated by a desire to improve the world and themselves, often setting high standards and being critical of anything they see as flawed. Their idealism and discipline make them reliable and ethical, but they can also be overly critical and perfectionistic, struggling with anger and resentment when things don't meet their expectations.

• Type 2 - Helper

  Generous, caring, and people-pleasing. They are motivated by a need to be loved and needed, often going out of their way to help others and gain approval. Helpers are empathetic and nurturing, building strong connections with those around them. However, their desire to feel indispensable can lead to over-involvement in others' lives and neglect of their own needs. They may struggle with feelings of rejection and resentment when their efforts are not reciprocated.

• Type 3 - Achiever

  Success-oriented, adaptable, and driven. They are motivated by a need to achieve and be recognized for their accomplishments. Achievers are ambitious and efficient, often excelling in competitive environments. Their ability to present themselves well and achieve their goals makes them charismatic and influential. However, they can become overly focused on image and external validation, risking burnout and losing touch with their true selves in their pursuit of success.

• Type 4 - Individualist

  Expressive, dramatic, introspective, and sensitive. They are motivated by a need to understand themselves and find their unique identity. Individualists often feel different from others and seek to express their authenticity through creativity and deep emotional experiences. They are empathetic and intuitive, often drawn to artistic pursuits. However, their focus on their inner world can lead to feelings of envy and melancholy, and they may struggle with a sense of inadequacy and longing.

• Type 5 - Investigator

  Perceptive, innovative, and detached. They are motivated by a need to understand the world and conserve their energy and resources. Investigators are curious and analytical, often immersing themselves in complex subjects and developing expertise. Their independence and intellectual depth make them insightful and inventive. However, they can become isolated and overly detached, struggling with feelings of inadequacy and a fear of being overwhelmed by their environment.

• Type 6 - Loyalist

  Engaging, responsible, anxious, and security-seeking. They are motivated by a need for safety and support, often looking to others for guidance and reassurance. Loyalists are trustworthy and hardworking, valuing loyalty and community. Their ability to anticipate problems makes them excellent planners and protectors. However, their tendency towards anxiety, and self-doubt can lead to indecisiveness and suspicion, causing them to question their own judgments and those of others.

• Type 7 - Enthusiast

  Spontaneous, versatile, acquisitive, and scattered. They are motivated by a desire for new experiences and to avoid pain and boredom. Enthusiasts are optimistic and adventurous, often seeking out exciting activities and ideas. Their enthusiasm and flexibility make them fun and engaging companions. However, their fear of missing out can lead to impulsiveness and a lack of follow-through, and they may struggle with staying focused and dealing with difficult emotions.

• Type 8 - Challenger

  Assertive, confident, and confrontational. They are motivated by a need for control and self-reliance, often taking charge and challenging injustice. Challengers are decisive and protective, using their strength to support and defend others. Their boldness and resilience make them natural leaders. However, their intensity and desire for control can lead to aggression and insensitivity, and they may struggle with vulnerability and allowing others to take the lead.

• Type 9 - Peacemaker

  Easygoing, accepting, and complacent. They are motivated by a desire for peace and harmony, often avoiding conflict and accommodating others. Peacemakers are supportive and patient, creating a calming presence in their relationships. Their ability to see multiple perspectives makes them excellent mediators. However, their desire for comfort can lead to passivity and avoidance of important issues, and they may struggle with asserting themselves and pursuing their own goals.

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TraitsSpecific tendencies. Can add more of your own at the bottom of this list.

ExtrovertConfidentConstantFriendlyChallengingThinkerFeelerJudgementalBook SmartForgivingCuriousEdit

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Traits

• Extrovert

• Confident

• Constant

• Friendly

• Challenging

• Thinker

• Feeler

• Judgemental

• Book Smart

• Forgiving

• Curious

• Introvert

• Nervous

• Organized

• Careless

• Optimist

• Pessimist

• Fickle

• Tolerant

• Street Smart

• Frugal

• Lavish

• Unforgiving

• Cautious

• High Energy

• Low Energy

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Love LanguagesLove languages (as coined by author and pastor Gary Chapman) are ways in which people prefer to show and/or receive love. Characters might have more than one love language. Your characters will likely show care, affection, and/or love for other people in different ways, and they can best recognize love from another person in different ways. This difference in love languages between characters could be a great source of tension or conflict in your story. Using these ideas as inspiration could also help you show-and-not-tell the reader unique differences between characters. Keep in mind, that characters who struggle to understand a different love language than their own could show growth in your story by attempting to give love to another using the love language preferred by that other person. It's a great tool in your author toolkit to show turning points in relationship development. Not just between love interests, but also between siblings, parent/child, mentor/apprentice, and other types of relationships.

Acts of ServiceWords of AffirmationQuality TimeEdit

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Love Languages

• Acts of Service

  Doing things for others that help ease their load, or otherwise provide a kindness/service. Doing chores for someone, fixing a problem, going out of your way to help another in both small and large ways. People who prefer to be shown love through acts of service feel that actions speak louder than words, louder than gifts.

• Words of Affirmation

  Saying aloud how you feel about another person, or through written words. This is important to some people because it clarifies feelings, expresses emotions, and can be quite endearing, poetic, and intimate.

• Quality Time

  Prioritizing your time to be able to spend it in a meaningful way with another person. Intentionally sharing experiences with each other. Building memories. Being present.

• Physical Touch

  Close contact or proximity, holding hands, hugs, fist bumps, cuddling, small touches that acknowledge your proximity, kissing, initiating sexual intimacy, gentle touches to the face, etc.

• Receiving Gifts

  Being thoughtful in gift giving, whether small or large, expensive or free. The thought that one person was thinking about another person and went through the sacrifice or effort of buying/making/sourcing a gift means a lot to people with this love language.

• Emotional Support

  This is not one of the original Five Love Languages, but consider adding this option for your character if it makes sense for them. This includes genuine concern expressed for another's feelings, being there as a source of comfort, or even as a metaphorical shoulder to lean on. This love language can include aspects of quality time, words of affirmation, and even physical touch, but people with this love language might not identify totally with the complete definitions of those love languages.

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Other personality types, notes, informationUse this space to make notes not included in the personality type description summaries, or to describe other personality-typing results (such has Hogwarts Houses, ColorCode personality, DISC assessment, and the Big Five Personality Test).

Her confidence in reading others is both a strength and a blind spot.

Body TypePhrases or stats to indicate height, weight, proportions. Tall, short, lean, muscular, obese, stocky, chubby, thin, barrel-chested, pear-shaped, hourglass, athletic, etc.

EyesColor, shape, and any features that will be noted in the manuscript.

Fine eyes, with an intelligent expression.

HairHair color, length, texture, style, and health. Also, facial hair.

SkinSkin color and any noted information, such as freckles, wrinkles, porcelain skin, acne, tanned, jaundiced, albino, softness, or any phrase used by other characters or the narrator to describe their skin.

Distinctive featuresScars, burns, birthmarks, tattoos, body modifications, noted tan lines, body parts that are often noted by other characters, and/or fantasy features such as wings, pointy ears, fangs, etc.

Posture / GaitNotable information on the way they stand, sit, walk, run, etc. Do they have a limp? Do they slouch? Do they have impeccable posture like a queen or ballerina? Do they bounce, thud, glide, or stumble when they walk? Do they cross their legs when they sit? Do they man-spread?

GroomingNoted information on how they take care of their body and appearance. Teeth health, body odor, effort in hair styling and grooming, nails, facial hair upkeep, etc.

Style / ClothesCan be both generalities (such as fashionable, frumpy, etc) and specifics (such as describing specific uniforms or notable clothing.)

Regency dresses and walking clothes.

AccessoriesGlasses, notable clothing accessories, wearable technology, important jewelry, weapons, gear, hats, etc.

HealthNotes on their overall health. Can include symptoms, diseases, wounds, mental health information, abilities attributed to health bonuses/abnormalities, nourishment levels, etc.

Enjoys long walks in the countryside.

LanguagesAny languages or dialects, spoken or read.

English

AccentAccents can be regional and/or a result of social class.

VoiceIf notable, then indicate the timbre or quality of their voice. Raspy, gravelly, piercing, sing-song, nasal, dry, soft-spoken, rich, bass, etc.

Literacy levelUsing general terms, how well can they read and write?

HandwritingIf their handwriting is of importance or noted in the manuscript, include the description of it here.

Slang / phrasesList their oft-used phrases, slang, choice of swear words/replacements, or other such word choices. These phrases contribute to a character's unique voice and can set the tone for the cultures and social statuses in the story.

“I dearly love a laugh.”

Vocal tics / mannerismsList any notable vocal mannerisms of the character, such as throat clearing, hissing, lisps, stutters, frequent uhms, etc.

Eye contactIf notable, and/or different than other characters, list eye-contact mannerisms here. This is mostly for characters that are neurologically a-typical/diverse, or to highlight a social class disparity in a strict caste-type society.

GesturesPhysical mannerisms noted in the manuscript, such as nervous fiddling, flexing when being scrutinized, hand gestures, etc.

Sense of humorWhat type of humor does this character have? Dry? 12-year-old boy humor? Almost non-existent?

Playful irony; quick to notice the ridiculous.

Show or hide emotions?Does this character wear their emotions on their sleeve (so to speak) on display for others, or do they hide their emotions from those around them? What does that look like when they are hiding their feelings?

What are their lying “tells”?What indications are there that this character is lying? Do they avoid eye-contact? Do they glance to the left? Do they swallow before speaking, or stumble through incomplete sentences, or fiddle with a piece of jewelry? There are many ways in which humans unconsciously move when they are lying.

SkillsPhysical, mental, emotional, and/or social skills that add to the uniqueness of this character.

Conversation, observation, and playing the pianoforte.

StrengthsSimilar to skills, though skills are specific things that have been taught, trained, or improved. Strengths are more generalized, encompassing, and usually naturally or biologically acquired.

Independence, wit, loyalty to Jane.

WeaknessesPhysical, emotional, mental, and social weaknesses. These are often even more important than their strengths. This can be a great source of conflict in both their emotional arc and in the plot arc.

Wounded pride can harden into prejudice.

Magical GiftsFor fantasy writers: the gifts and abilities of this character as it pertains to magic, superhuman powers, or other fantastical aspects.

Specialized TrainingAny training they received to improve a skillset. Could be both formal (schools, apprenticeships, military training, etc) or informal (secret training, informal coaching, etc.)

Current Associations, Clubs or GroupsIf notable or pertinent to who they are, who they are becoming, how they spend their time, or their relationships.

Current Hobbies, Vocations, ExperienceAny jobs, vocations, experiences, or hobbies that they are currently involved in that are pertinent to who they are.

Past Hobbies, Vocations, Experience, GroupsAny notable experiences of their past with hobbies, associations, roles, careers, etc that have influenced who they are now, or are pertinent to any plot threads or relationships.

What experiences of their past still influence how they view the world?And how does this manifest in their reactions? This is a crossover question from the Significant Past prompt at the top of the profile.

What do others assume about this character that is not true?Similar to The Misbelief, though now about what mistruths or lies that other characters, society, or the reader believes. This character might believe the lie or know the truth, despite what others believe. Might coincide with a stereotype that the character defies.

Darcy initially mistakes her family’s lack of standing for a lack of worth.

What is their stereotype, and how do they break it / defy it?Characters that break or defy the expectations of the reader and the society of the story are much more interesting! Play into a stereotype or expectation, and then surprise the reader with a twist or other facet of this character that defies that stereotype.

What is the foundation of their moral compass? Under what circumstances would they compromise it?This could be very useful in story conflict and plot twists. What guides their ethical compass, and what curveball or crossed line would make this character deviate from that moral standard?

Regrets / things they'd go back & changeIf important to their character development, list any regrets that this character wishes could change, or moments in time they desperately wish would have turned out differently.

Biggest fears? (Temporal and inner)Temporal fears are more physical or visceral phobias, such as fear of injury, fears of specific physical situations, fears of animals/creatures, etc. Inner fears are often more powerful, such as fear of failure, anxiety in social situations, fear of losing love, etc. This might be the same as the vulnerability(s) listed above.

Secret(s) they carryWhat secrets are they holding onto? What information are they protecting or withholding from others?

Lessons learnedAny hard life lessons that they will learn throughout this story?

Hopes and dreamsHopes that they wish for themselves and/or for others.

A marriage chosen freely, rather than for security alone.

Biggest accomplishment(s)Either measurable accomplishments, or inner sources of pride that feel like significant personal accomplishments.

Duties and obligationsWhat duties or obligations take up time, mental load, finances, or physical energy? Do any of these duties affect their decision making or create conflict with other characters or obligations?

Loyalty to her sisters and concern for her family’s future.

How do they react to change?This is very important in creating genuine characters. How does this character react, both outward and inward, when faced with change, conflict, surprises, decisions they were not expecting to have to make, or other such obstacles? This often ties into their vulnerability shields as listed above.

What do they desire in an ideal partner?Traits, circumstances, and/or the absence of certain traits or circumstances. These can be either what they think they want, what they really want, or what they really want and don't realize they want.

Affection, mutual respect, and an equal mind.

Who would come to their funeral?What other characters or relationships would come to this person's funeral? Would it be a lot of people? Very few? No one?

Favorite secret spot/place to beWhere would this character go if they needed to think through a problem, to celebrate, to escape turmoil, to meditate, or for another type of moment you might utilize for a character's inner monologue or think-through?

What they'd rescue from a burning homeWhat tangible things are most important to this character? What would they grab from their own home vs. another character's or a stranger's home?

Important possessionsSimilar to the above questions, but not necessarily items inside of a home. Could be land, their freedoms, items they've hidden elsewhere, items they carry on their person, etc.

Pet peevesWhat behaviors of others annoy this character?

Earliest MemoryIf pertinent to the story, what's the earliest memory they have? Is their memory accurate to what was really happening?

Saddest MemoryKnowing their saddest memory acts as a baseline for creating sad moments in this character's arc, or for sourcing their fears/motivations.

Happiest MemoryAnother baseline memory. Have they known real happiness? What does that look like to them? Did their happiest memory involve family, friends, etc?

Scariest MemoryAnother memory that you as the writer can use to source a character's fears, vulnerabilities, or motivations. Can build tension for the reader as well, as if they're dreading something equally or more scary to happen to this character in the future, or hope that the scary fears of the past can be avoided during this story arc.

FlashbacksAny notable flashbacks written out or mentioned in the manuscript to help you keep your details straight.

Darcy’s letter sends her back through her memories of him and Wickham.

Visions, Premonitions, etcAny notable visions, prophecies, premonitions, ominous visual fears of the future, or hopeful daydreams of a future to come.

FamilyTo indicate family members. Click +Add below to add a relationship field, then select a dependency type from the dropdown menu that appears. You can list multiple characters for each relationship type, if needed. If you have previously created profiles for any character you list here, then those names will appear as linkable buttons. If you input a profile-less character, and then later add a separate profile for that character, you can come back here and re-enter their name to generate that clickable link button.

Jane BennetCharacter(s)

Sibling

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Mr. BennetMrs. BennetCharacter(s)

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Mr. BennetCharacter(s)

Mr. BennetMrs. BennetCharacter(s)

Mr. Bennet

Jane Bennet

Mrs. Bennet

Fitzwilliam Darcy

Charles Bingley

Mrs. Long

Mary Bennet

Catherine Bennet

Lydia Bennet

Mrs. Bennet

Jane Bennet

Mr. Bennet

Fitzwilliam Darcy

Charles Bingley

Mrs. Long

Mary Bennet

Catherine Bennet

Lydia Bennet

Parent

Spouse

Parent

Child

Parent In-Law

Child In-Law

Sibling

Grandparent

Grandchild

Cousin

Aunt/Uncle

Niece/Nephew

Significant Other

Foster family

Step family

Other

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OthersTo indicate any other types of relationships. Click +Add below to add a relationship name and its corresponding relationship type. You can list multiple characters for each relationship type, if needed. If you have previously created profiles for any character you list here, then those names will appear as linkable buttons. If you input a profile-less character, and then later add a separate profile for that character, you can come back here and re-enter their name to generate that clickable link button.

Fitzwilliam DarcyCharacter(s)

Love Interest

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Fitzwilliam DarcyCharacter(s)

Fitzwilliam Darcy

Jane Bennet

Mr. Bennet

Mrs. Bennet

Charles Bingley

Mrs. Long

Mary Bennet

Catherine Bennet

Lydia Bennet

Love Interest

Love Interest

Best Friends

Friends

Antagonistic/Enemies

Professional Relationship

Economic Relationship

Mentoring Relationship

Educational Relationship

Attacked/Abused

Murdered

Linked by Magic

Other

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Groups

The Bennet familyGroups

Groups

• The Bennet family

Images & references

NEW

Scenes

• 1.1 News from Netherfield
• 1.2 Mrs. Bennet’s hopes
• 2.1 A visit kept secret
• 2.2 Mr. Bennet’s surprise
• 3.1 The Meryton assembly
• 3.2 Darcy’s slight
• 4.1 Jane confides in Elizabeth
• 4.2 First impressions of Bingley
• 5.1 Charlotte’s morning visit
• 5.2 Pride and wounded vanity

Portrait

Name

Jane Bennet

PronunciationHow to say this character’s name. Use readable phonetics (for example, KAY-lin or kah-REE) or a familiar rhyming word.

LabelA single word or short phrase description to help quickly label this character. This input is used to help sort characters in the main Character Portfolio. Inputs that you might have otherwise used in the Status, Species, or Classification fields below might be just as helpful here.

Story RoleThis indicates the role the character plays in the story.

DeuteragonistLove InterestConfidant

Other NamesA space to note any full names, nicknames, aliases, titles, secondary names, and/or name changes.

Miss Bennet

StatusThis is a flexible prompt. It can be used to note whether characters are alive or dead, whether they are on the protagonist's side or the antagonist's side, or if they have transitioned into a noteworthy status. This could also be used in genre-specific ways such as: to designate suspects/victims/detectives in mysteries, or to indicate fictionalized characters vs. ones based on real people in historical novels.

Alive

ColorThe color of the character's tag.

SummaryAfter you have gone through all prompts to thoroughly flesh out your character, this space is for a quick summary of the most noteworthy details.

The eldest Bennet sister, Jane is renowned for her exceptional beauty and boundless benevolence. Unlike her more skeptical sister Elizabeth, Jane habitually interprets everyone's actions in the most favorable light possible. This inherent goodness initially leaves her vulnerable to the manipulations of social rivals, but her constancy and sweet temper eventually secure her a happy marriage to Charles Bingley.

AgeThis could be the age of the character at the start of the story, the age of the character during the majority of the story, or could be an age range to cover the entirety of the story.

Twenty-two (turning twenty-three during the story).

GenderMale, female, transgender, agender, etc. This is different from sexuality.

Female

SpeciesFor fantasy writers to indicate vampires, shifters, elves, mermaids, alien species, etc. Also for writers who have communicating, plot-developing animal characters (such as in Charlotte's Web, Peter Rabbit, or A Bug's Life).

Human

ClassificationAnother flexible prompt. Could be used for military classification, magic classification, RPG class, etc. Might also use to indicate membership in a subsection of society. For instance, if you are writing a fantasy with varying types of magic, you can indicate what type of magic this character has. If you are writing a war story, you can indicate what side this character was on. If you are writing a story about celebrities, you can indicate actors vs musicians vs socialites vs sports stars vs not-famous, etc.

Gentry

The Why

Significant PastWhat past events influence the way this character views the world and reacts in it? Were they raised in any particular way that makes them see things differently than those around them? Any traumas or memorable events that have changed their perspective? Knowing their significant past helps you understand your character better and build a compelling emotional arc for them.

As the eldest daughter of a family with five girls and no male heir, Jane has been raised as the primary hope for an advantageous marriage. Her role in the family is to be the peacemaker and the standard-bearer of beauty, which has conditioned her to suppress negative emotions and prioritize the feelings of others over her own.

Core WoundSometimes called “the Ghost”, the **Core Wound** is the inner vulnerability that resulted from a past event, history, trauma. Not sure where to start? Think of something that this character might be defensive about or triggered by. Ask yourself 'why' and then ask 'why' again. Keep asking until you get to the root of their fears and vulnerabilities, their **Core Wound**. This Wound stems from their past, usually gives rise to their **Misbelief,** and might be linked to their motivator. This character will also try to shield this **Wound** from other people using one or more of the shields below.

A deep-seated fear of causing or acknowledging emotional pain, which manifests as an extreme aversion to seeing fault in others, even at her own expense.

The Internal Gap

The MisbeliefWhat do they assume about themselves that is not true? What lie(s) do they believe? A **Misbelief** usually grows out of the **Core Wound**, and the **Core Need** is the truth that replaces it. Will they realize the truth? Confront their misbelief? Does someone else force them to confront it? The narrator and/or reader might know the truth near the beginning, or might discover the truth along with the character. This is an important part of their emotional arc.

The belief that if she remains perfectly agreeable and assumes the best of everyone, she can protect herself and her loved ones from the bitterness and conflict of the world.

Core NeedThis is a deep internal need or psychological lesson the character must learn in order to achieve wholeness: the truth that heals their **Core Wound** and replaces their **Misbelief**. They are unaware of this **Need** during most of the story. This is not an outward **Want** or external **Goal**, in fact, it might directly conflict with their Wants and/or Goal.

Jane needs to learn that recognizing human flaws and practicing discernment is not an act of unkindness, but a necessary part of navigating relationships and protecting her own heart.

The Expression

Motivators & WantsFrom the opening page and through the inciting incident & rising action, what pushes your character to keep moving forward? These are not subconscious things; these are the desires and priorities the character is actively leaning into during the first part of the story. When the main **Goal** is revealed, these are the reasons why the character cares about the goal, even if they're hesitant to admit it to others. This motivator/want is most effective when it contradicts their true **Core Need**. Think of it like a desire or priority that they *think* they need, even if it won't actually soothe their **Wound** and give them a sense of wholeness.

She is driven by a desire for a happy, stable marriage based on genuine affection and a wish to maintain domestic harmony despite her mother's volatility and her sisters' various indiscretions.

Vulnerability ShieldsVulnerability shields are the ways a character protects or hides their inner **Wound** from the rest of the world. These behaviors often develop as coping mechanisms: strategies that help them feel safe, but ultimately prevent true connection and growth. A character may rely on multiple **Shields** at once, depending on the situation. As the story progresses, these shields may crack, evolve, or fall away entirely, revealing the vulnerability beneath. Major life events can shift or break these shields, such as falling in love and opening up to another person, experiencing profound loss or trauma, or having a **Shield** backfire in a painful, destabilizing way. Tracking how a character's **Shields** change is one of the clearest ways to show meaningful character development, especially through the middle of the story, where trials test the **Misbelief**.

IdealismEmotional WithdrawalPeople-PleasingEdit shields

+ Add shields

Vulnerability Shields

Avoidance

Avoiding discomfort, pain, or vulnerability altogether. Escaping the feeling. "I won't face it."

• Numbing

  Embracing anything that dulls emotional discomfort, as an escape. This can include substances (alcohol, drugs, sex), but also subtler habits like over-eating, over-scrolling, over-spending, or constant distraction.

• Workaholism

  Also Busyness. Staying constantly occupied to avoid slowing down enough to feel, reflect, or confront deeper issues. Productivity becomes part of their identity; a shield against vulnerability.

• Serpentining

  Backing out, pretending not to care, or living in denial. Avoidance, procrastination, rationalizing, blaming, and lying—often requiring more energy than simply facing the problem.

• Minimizing

  Downplaying pain, needs, or experiences to avoid appearing vulnerable or burdensome. "It's not a big deal" becomes a protective reflex.

• Rehearsing Tragedy

  Foreboding Joy. Anticipating loss or disaster whenever something good happens. They mentally prepare for the worst to avoid fully feeling joy, hope, or vulnerability—preferring to brace for pain rather than risk optimism.

• Nostalgia

  Retreating into the past—idealizing or fixating on "better times"—to avoid dealing with present pain, change, or uncertainty.

Control

Prevent vulnerability through control. Manage, contain, or regulate uncertainty. "I'll reshape reality so it's safer."

• Micro-management

  Controlling details, people, or environments to reduce uncertainty. If everything is controlled, nothing can expose their vulnerability.

• Overanalyzing

  Overthinking situations, conversations, or decisions to avoid taking emotional risks. They stay stuck in analysis instead of engaging vulnerably.

• Perfectionism

  Pretending and performing perfection to avoid shame and judgment. This is not true self-improvement—it is driven by fear of failure and the need for approval.

• Rigidity

  Control Through Order. Creating strict rules, routines, or structures to feel safe. Predictability becomes a way to avoid emotional uncertainty.

• Idealism

  Constructing and clinging to overly optimistic or unrealistic beliefs to maintain a sense of safety or meaning. They focus on how things should be rather than confronting painful truths.

• Floodlighting

  Let It All Hang Out. Oversharing too quickly as a way to test others. It appears vulnerable, but is actually a defense used to control and manage connection. Overwhelming the moment allows them to avoid deeper, mutual vulnerability.

• Stoicism

  Suppressing or hiding emotions to appear strong, unaffected, or in control. They avoid expressing pain or vulnerability, often believing emotions are a liability.

Deflection

Redirecting attention away from vulnerability. "I'll make you look somewhere else."

• Clowning

  Deflecting with humor. Using humor, performance, or distraction to avoid seriousness or emotional exposure. They keep things light to avoid being seen deeply.

• Cool Detachment / Cruelty

  Cynicism. Deflecting with attitude. Using sarcasm, criticism, or detachment to avoid vulnerability. They position themselves as unimpressed, superior, or "above it" to deflect attention from deeper feelings.

• Intellectualism

  Expertism. Deflecting with logic. Using knowledge, logic, or expertise to avoid emotional exposure. They stay in analysis mode—explaining, correcting, or "teaching"—instead of engaging vulnerably.

Relational Strategies

Managing vulnerability through how they relate to others through distance or closeness. "I decide what our relationship looks like."

• Emotional Withdrawal

  Pulling away, shutting down, or going silent to avoid conflict, intimacy, or emotional exposure to others. Distance feels safer than engagement.

• People-Pleasing

  Prioritizing others' needs, approval, or comfort over their own truth to avoid conflict, rejection, or disapproval.

• Self-Reliance

  Refusing to depend on others to avoid being hurt, disappointed, or seen as weak. They equate needing help with vulnerability.

• The Helper

  Gaining a sense of worth and safety by being needed. They focus on fixing others to avoid confronting their own vulnerability or asking for help.

Power & Protection

Using power dynamics to avoid feeling vulnerable or powerless. "The hierarchy will protect me."

• Bullying

  Using intimidation, aggression, or dominance to stay in control. They attack first so they cannot be hurt.

• Victim-Viking

  Swinging between fearing victimization and asserting superiority. They elevate themselves to avoid ever being seen as weak or vulnerable.

• Victimhood

  Positioning themselves as powerless or wronged to avoid responsibility, risk, or change. It protects them from failure but keeps them stuck.

• Moral Superiority

  Positioning themselves as more ethical or righteous to avoid confronting their own flaws or vulnerabilities.

Other

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The Pressure

The GoalTheir external plot goal. For the protagonist, this is usually associated with the main story conflict, and it works best in direct tension with their **Core Need**. For the Antagonist, this goal probably directly challenges or contradicts the protagonist's **Goal.** For all other characters, describe either their personal goal, or how they contribute to the protagonist's big goal or character development.

A marriage founded on mutual affection.

The StakesWhat happens if they do not meet their big external **Goal**? What happens if they do not change or grow or learn? If they do not confront their misbeliefs, wounds, flaws, and shortcomings?

The Transformation

The ChangeA protagonist and all major characters should (usually) change as a result of the plot. They learn, they grow, they face their **Misbeliefs** or **Wounds**. Or, they regress, revert to a former self, or refuse to change (which is a regression itself). How will this character be different from who they were at the beginning of the story? In Static Arcs, the protagonist does not have significant emotional change/growth, but rather is the reason the other characters around them change. This is not the norm, but can work when done well.

She and Bingley are reunited and marry.

The CostGrowth rarely comes free. What did this character have to lose, give up, or leave behind in order to change? This might include letting go of an identity; losing a relationship, belief, or safety net; giving up the comfort of the **Misbelief**; or otherwise paying an emotional or external price for growth. The cost is often paid at the climax, in the **Hard Choice**. If the character refuses to change, what does that refusal cost them?

Jane gives up her unquestioning trust in the Bingley sisters and the comfort of believing everyone acts with good intentions.

TraitsSpecific tendencies. Can add more of your own at the bottom of this list.

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+ Add

Traits

• Introvert

• Extrovert

• Nervous

• Confident

• Organized

• Careless

• Optimist

• Pessimist

• Fickle

• Constant

• Friendly

• Challenging

• Thinker

• Feeler

• Judgemental

• Tolerant

• Street Smart

• Book Smart

• Frugal

• Lavish

• Forgiving

• Unforgiving

• Curious

• Cautious

• High Energy

• Low Energy

+Add

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Other personality types, notes, informationUse this space to make notes not included in the personality type description summaries, or to describe other personality-typing results (such has Hogwarts Houses, ColorCode personality, DISC assessment, and the Big Five Personality Test).

Her readiness to think well of others contrasts with Elizabeth’s suspicion.

Body TypePhrases or stats to indicate height, weight, proportions. Tall, short, lean, muscular, obese, stocky, chubby, thin, barrel-chested, pear-shaped, hourglass, athletic, etc.

HairHair color, length, texture, style, and health. Also, facial hair.

Distinctive featuresScars, burns, birthmarks, tattoos, body modifications, noted tan lines, body parts that are often noted by other characters, and/or fantasy features such as wings, pointy ears, fangs, etc.

EyesColor, shape, and any features that will be noted in the manuscript.

SkinSkin color and any noted information, such as freckles, wrinkles, porcelain skin, acne, tanned, jaundiced, albino, softness, or any phrase used by other characters or the narrator to describe their skin.

Style / ClothesCan be both generalities (such as fashionable, frumpy, etc) and specifics (such as describing specific uniforms or notable clothing.)

AccentAccents can be regional and/or a result of social class.

Slang / phrasesList their oft-used phrases, slang, choice of swear words/replacements, or other such word choices. These phrases contribute to a character's unique voice and can set the tone for the cultures and social statuses in the story.

Vocal tics / mannerismsList any notable vocal mannerisms of the character, such as throat clearing, hissing, lisps, stutters, frequent uhms, etc.

What are their lying “tells”?What indications are there that this character is lying? Do they avoid eye-contact? Do they glance to the left? Do they swallow before speaking, or stumble through incomplete sentences, or fiddle with a piece of jewelry? There are many ways in which humans unconsciously move when they are lying.

StrengthsSimilar to skills, though skills are specific things that have been taught, trained, or improved. Strengths are more generalized, encompassing, and usually naturally or biologically acquired.

Kindness and loyalty to her sisters.

WeaknessesPhysical, emotional, mental, and social weaknesses. These are often even more important than their strengths. This can be a great source of conflict in both their emotional arc and in the plot arc.

Reluctance to believe ill of others.

SkillsPhysical, mental, emotional, and/or social skills that add to the uniqueness of this character.

Magical GiftsFor fantasy writers: the gifts and abilities of this character as it pertains to magic, superhuman powers, or other fantastical aspects.

Specialized TrainingAny training they received to improve a skillset. Could be both formal (schools, apprenticeships, military training, etc) or informal (secret training, informal coaching, etc.)

Current Associations, Clubs or GroupsIf notable or pertinent to who they are, who they are becoming, how they spend their time, or their relationships.

Current Hobbies, Vocations, ExperienceAny jobs, vocations, experiences, or hobbies that they are currently involved in that are pertinent to who they are.

Past Hobbies, Vocations, Experience, GroupsAny notable experiences of their past with hobbies, associations, roles, careers, etc that have influenced who they are now, or are pertinent to any plot threads or relationships.

What do others assume about this character that is not true?Similar to The Misbelief, though now about what mistruths or lies that other characters, society, or the reader believes. This character might believe the lie or know the truth, despite what others believe. Might coincide with a stereotype that the character defies.

Biggest fears? (Temporal and inner)Temporal fears are more physical or visceral phobias, such as fear of injury, fears of specific physical situations, fears of animals/creatures, etc. Inner fears are often more powerful, such as fear of failure, anxiety in social situations, fear of losing love, etc. This might be the same as the vulnerability(s) listed above.

Secret(s) they carryWhat secrets are they holding onto? What information are they protecting or withholding from others?

Hopes and dreamsHopes that they wish for themselves and/or for others.

Duties and obligationsWhat duties or obligations take up time, mental load, finances, or physical energy? Do any of these duties affect their decision making or create conflict with other characters or obligations?

How do they react to change?This is very important in creating genuine characters. How does this character react, both outward and inward, when faced with change, conflict, surprises, decisions they were not expecting to have to make, or other such obstacles? This often ties into their vulnerability sheilds as listed above.

FlashbacksAny notable flashbacks written out or mentioned in the manuscript to help you keep your details straight.

Visions, Premonitions, etcAny notable visions, prophecies, premonitions, ominous visual fears of the future, or hopeful daydreams of a future to come.

FamilyTo indicate family members. Click +Add below to add a relationship field, then select a dependency type from the dropdown menu that appears. You can list multiple characters for each relationship type, if needed. If you have previously created profiles for any character you list here, then those names will appear as linkable buttons. If you input a profile-less character, and then later add a separate profile for that character, you can come back here and re-enter their name to generate that clickable link button.

Elizabeth BennetCharacter(s)

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Elizabeth BennetCharacter(s)

Elizabeth Bennet

Mr. Bennet

Mrs. Bennet

Fitzwilliam Darcy

Charles Bingley

Mrs. Long

Mary Bennet

Catherine Bennet

Lydia Bennet

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Spouse

Parent

Child

Parent In-Law

Child In-Law

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Grandchild

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Aunt/Uncle

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Foster family

Step family

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OthersTo indicate any other types of relationships. Click +Add below to add a relationship name and its corresponding relationship type. You can list multiple characters for each relationship type, if needed. If you have previously created profiles for any character you list here, then those names will appear as linkable buttons. If you input a profile-less character, and then later add a separate profile for that character, you can come back here and re-enter their name to generate that clickable link button.

Charles BingleyCharacter(s)

Love Interest

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Charles BingleyCharacter(s)

Charles Bingley

Elizabeth Bennet

Mr. Bennet

Mrs. Bennet

Fitzwilliam Darcy

Mrs. Long

Mary Bennet

Catherine Bennet

Lydia Bennet

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Love Interest

Best Friends

Friends

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Professional Relationship

Economic Relationship

Mentoring Relationship

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The Bennet familyGroups

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• 3.1 Meryton assembly

Portrait

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Name

Mrs. Long

PronunciationHow to say this character’s name. Use readable phonetics (for example, KAY-lin or kah-REE) or a familiar rhyming word.

LabelA single word or short phrase description to help quickly label this character. This input is used to help sort characters in the main Character Portfolio. Inputs that you might have otherwise used in the Status, Species, or Classification fields below might be just as helpful here.

ColorThe color of the character's tag.

SummaryAfter you have gone through all prompts to thoroughly flesh out your character, this space is for a quick summary of the most noteworthy details.

A neighbor of the Bennets. News of Netherfield’s new tenant reaches Mrs. Bennet through her.

Images & references

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Body TypePhrases or stats to indicate height, weight, proportions. Tall, short, lean, muscular, obese, stocky, chubby, thin, barrel-chested, pear-shaped, hourglass, athletic, etc.

HairHair color, length, texture, style, and health. Also, facial hair.

Distinctive featuresScars, burns, birthmarks, tattoos, body modifications, noted tan lines, body parts that are often noted by other characters, and/or fantasy features such as wings, pointy ears, fangs, etc.

EyesColor, shape, and any features that will be noted in the manuscript.

SkinSkin color and any noted information, such as freckles, wrinkles, porcelain skin, acne, tanned, jaundiced, albino, softness, or any phrase used by other characters or the narrator to describe their skin.

FamilyTo indicate family members. Click +Add below to add a relationship field, then select a dependency type from the dropdown menu that appears. You can list multiple characters for each relationship type, if needed. If you have previously created profiles for any character you list here, then those names will appear as linkable buttons. If you input a profile-less character, and then later add a separate profile for that character, you can come back here and re-enter their name to generate that clickable link button.

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OthersTo indicate any other types of relationships. Click +Add below to add a relationship name and its corresponding relationship type. You can list multiple characters for each relationship type, if needed. If you have previously created profiles for any character you list here, then those names will appear as linkable buttons. If you input a profile-less character, and then later add a separate profile for that character, you can come back here and re-enter their name to generate that clickable link button.

Mrs. BennetCharacter(s)

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Neighbor and social acquaintance

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Mrs. BennetCharacter(s)

Mrs. Bennet

Elizabeth Bennet

Jane Bennet

Mr. Bennet

Fitzwilliam Darcy

Charles Bingley

Mary Bennet

Catherine Bennet

Lydia Bennet

Other

Love Interest

Best Friends

Friends

Antagonistic/Enemies

Professional Relationship

Economic Relationship

Mentoring Relationship

Educational Relationship

Attacked/Abused

Murdered

Linked by Magic

Other

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Mrs. BennetCharacter(s)

Other

Neighbor and social acquaintance

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Portrait

Name

The Bennet family

PronunciationHow to say this character’s name. Use readable phonetics (for example, KAY-lin or kah-REE) or a familiar rhyming word.

Alignment

GoodNeutralSelectedBad

DescriptionThis is the purpose for the group. The reason it was founded.

Mr. and Mrs. Bennet and their five daughters: Jane, Elizabeth, Mary, Kitty, and Lydia.

Location & Time FrameWhere is this group located? Do they have a set jurisdiction? Do they have a home base / headquarters? Also, if notable to your story, mention the time frame for this group (when it was founded, when it was disbanded or no longer needed, what point in time it changed into something else, etc.)

Longbourn, Hertfordshire.

RequirementsAre there requirements in order to be a member of this group? What are they? Are they difficult?

Members of the Bennet family by birth or marriage.

Story Arc / Plot PurposeWhat is the overall story arc of this group? How does this group further your plot? Does it contribute to the journey, trials, conflict, or growth of your characters in a specific way?

The daughters’ futures, the entail on Longbourn, and the family’s reputation connect their individual stories.

HistoryIs there any backstory or history that is relevant to your story?

Longbourn is entailed away from the daughters to Mr. Collins.

Members

Members of The Bennet family

Name	Label	Status	Description	Actions
Mr. Bennet	Father/Head of Household	Alive	A man of intellectual parts and sarcastic humor who uses detachment as a coping mechanism for his disappointing marriage.
Mrs. Bennet	Mother	Alive	A woman of mean understanding and uncertain temper whose primary focus is the marriage of her daughters.
Jane Bennet	Eldest Daughter	Alive	The most beautiful and kind-hearted daughter, whose courtship with Mr. Bingley is a primary plot thread.
Elizabeth Bennet	Second Daughter	Alive	The witty and observant protagonist who eventually marries Mr. Darcy.
Mary Bennet	Third Daughter	Alive	The plainest sister who seeks distinction through moralizing and accomplishments.
Catherine Bennet	Fourth Daughter	Alive	An easily led younger sister who improves in temperament after being removed from Lydia’s influence.
Lydia BennetAdd CharacterLydia Bennet Lydia BennetFitzwilliam DarcyCharles BingleyMrs. Long	Youngest Daughter LabelYoungest Daughter	Alive StatusAlive	An impulsive and untamed fifteen-year-old whose elopement with George Wickham nearly ruins the family. DescriptionAn impulsive and untamed fifteen-year-old whose elopement with George Wickham nearly ruins the family.
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