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Character Questionnaire

120 questions to help you get to know your character. Answer 20, 50 or all of them in your browser, then download your answers. Free, no sign-up.

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Filled-in examples from real story ideas. Drag to see the rest.

  1. 1Choose 20, 50 or all 120 questions
  2. 2Type your answers. They save as you go
  3. 3Download them, or take them into DreamPress
What went in
20All eight groups
Identity

Who they are before the plot gets hold of them.

What do they do for money, and how do they feel about it?

I run a sea-fed pool that loses money for nine months of the year. I call it a living. It is closer to a tenancy agreement with the sea.

Which part of their reputation is earned, and which part is a misunderstanding they stopped correcting?

Earned: I will get anybody into cold water safely. Not earned: that I am calm. I am organized, which from a distance looks the same.

What do they believe makes them different from everyone around them?

I am the only person here who knows what the wall costs, in pounds, to the year. Everybody else gets to call it bad luck.

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Childhood

The house they came out of, and what it taught them.

What was the rule of the house that was never said out loud?

We did not ask the council for anything. Not a grant, not a bin, not a word.

What was money like in the house they grew up in?

Seasonal. Wonderful in August, silent by November, and nobody was allowed to say out loud which one we were in.

What did they learn to do too young?

How to take money at the gate and count it in front of the person, so they knew it had been counted.

Beliefs

The lines they hold, and the ones they only claim to.

What do they think a decent person owes other people?

To tell somebody the thing that will cost you, before they find it out cheaply from someone else.

What would make them change their mind about something that matters?

Being shown the working. I have never once changed my mind because a person was upset with me.

Relationships

How they hold on to people, and how they let go.

Who are they jealous of, and would they admit it?

Sam, who gets liked without having to do anything for anyone. No, I would not admit it.

What does love look like to them in actions rather than words?

Turning up before it is light to crank a gate open for somebody else's swim, and never mentioning that you did.

Who do they protect, whether or not that person wants protecting?

My aunt, two years dead, whose handwriting I am still keeping out of the record.

Fears

What they rehearse in the dark, and what actually threatens them.

What are they afraid of wanting?

Him staying. I can argue for the lido all day. I cannot argue for that.

What would they do to stop it happening again?

Read every file in the building before anybody else does. Which is precisely how I got here.

What is the gap between what they fear and what is actually coming for them in this story?

I am braced for somebody to find the letter. What is actually coming is that they will find it and be kind, and I will have to live here afterwards.

Habits

The small repeated things that make a person legible on the page.

What do they do with their hands when they are nervous?

I flatten the log book with both hands. Twice. Sam says you can hear it from the changing rooms.

What do they spend money on that they cannot justify?

Thermometers. I own nine. Two of them are calibrated and I know exactly which two.

Under pressure

Character is what is left when the plot squeezes.

What is the first thing they sacrifice?

Sleep, then the morning swim, then the part of the day where I speak to anybody at all.

Which decision do they make badly when they are tired?

I answer letters at four in the morning, in full sentences, with figures — and then I am the unreasonable one.

The story's question

The eight that decide whether this character can carry a book.

What is the cost of getting what they want?

The license only comes if the wall is rebuilt, and the wall is only rebuilt if somebody says out loud why it failed.

What is the last thing they say in this story, and who hears it?

"Nine point one. Get in." Ovide hears it, on the top step, in June, with the gate already open.

What went in
20Fears
Childhood

The house they came out of, and what it taught them.

Which adult believed in them, and what did that cost?

Master Ivorn put me on the colour bench at fourteen and told nobody why I was slow at it. It cost him a year of checking my work after hours.

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Beliefs

The lines they hold, and the ones they only claim to.

Which rule do they break without counting it as breaking a rule?

I have the apprentices call the colours out to each other across the bench. It is not cheating if nobody is asked directly.

Fears

What they rehearse in the dark, and what actually threatens them.

What outcome do they rehearse in the dark?

A pane in my hands, the whole Row watching, and the color meaning nothing at all.

What are they afraid people will find out?

That the license on my wall is for a sense I have never had.

Which kind of failure would end them, and which would they shrug off?

Being wrong in public would finish me. Being poor I have already done twice, cheerfully.

What physical thing frightens them out of all proportion?

Cold kilns. An unlit furnace mouth is the one thing in Orhalla I will not put my arm into.

Who are they afraid of becoming?

Pell. Careful, correct, and quietly replacing things so that nobody ever has to be told.

What do they avoid, and what excuse do they give for avoiding it?

Private commissions. I say the money is poor. The truth is there is no crowd in a drawing room to agree with me.

What would they lose that they could not replace?

Yeva's good opinion, which she has never once given me and which I have been earning for nine years.

What do they do to make the fear smaller, and does it work?

I make it louder. I call the reading before I am certain, in front of forty people, and the noise finishes the job. It works until it does not.

What are they afraid of wanting?

The board seat. Wanting it would mean admitting I want them to be right about me.

What happened the last time they were properly frightened?

The salt-bond hearing, when a clerk held up two panes and asked which was the warmer. I chose by weight, correctly, and had to sit down afterwards.

Do they fear being alone or being known, and which more?

Known. Alone I can work.

Which thought stops them sleeping?

That the Sequestered House holds one pane I cannot weigh, because it was fired thin on purpose.

What would they do to stop it happening again?

Keep the notes. Eleven years of weights, every pane I have handled, in my own hand, in a drawer nobody has ever asked about.

What do they pretend not to care about?

What the Assize register says under my name.

What is the gap between what they fear and what is actually coming for them in this story?

I am braced to be exposed as a fraud. What is coming is a man who has known since my assay and has been saving it.

Habits

The small repeated things that make a person legible on the page.

What is the first thing they do when they get home?

Put the day's samples on the north sill and leave them there until morning.

The story's question

The eight that decide whether this character can carry a book.

Which belief will this story take away from them?

That a thing made well enough cannot be undone by how it was made.

What are they wrong about on page one?

That nobody on the Row has worked it out. Two of them have, and they have been kind about it for years.

What went in
20The story's question
Childhood

The house they came out of, and what it taught them.

Which adult believed in them, and what did that cost?

Mrs Aldis kept me back to do the register. It cost her a term of being asked why the quiet one had a key.

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Beliefs

The lines they hold, and the ones they only claim to.

Which rule do they break without counting it as breaking a rule?

I read the files I am moving. It is not prying if the box is already open in front of you.

Fears

What they rehearse in the dark, and what actually threatens them.

What is the gap between what they fear and what is actually coming for them in this story?

I am braced for the sack. What is coming is being asked to say out loud what I have known for four years.

Under pressure

Character is what is left when the plot squeezes.

Which decision do they make badly when they are tired?

I agree to things. Anything that ends the conversation before six.

Do they ask for help, and from whom?

No. I leave the right paper where a particular person will find it, and call that asking.

The story's question

The eight that decide whether this character can carry a book.

What does this character want in the first scene, in one sentence?

The day shift, signed, before the automation date makes the whole argument academic.

What do they need that they cannot name yet?

Somebody to ask me a direct question, so that I am not the one who has to volunteer it.

What stands in the way that is not a person?

Nine weeks. After the automation goes live there is no log, no keeper, and nothing to have been silent about.

What is the cost of getting what they want?

The flat. Prue's last school year. Eleven years of clean record, and the only reference I have.

Which belief will this story take away from them?

That doing the job exactly as written is the same thing as being a decent person.

What are they wrong about on page one?

That the office is losing my transfers. One man is losing them, on purpose, and he is fond of me.

What can they do at the end that they could not do at the start?

Say the thing out loud first, before anybody can use it, without working out what it costs.

At which moment would they have refused all of this in chapter one?

The night Kit offered to swap the shift. I could have said no and been safe until March.

Whose story is this if it isn't theirs?

Kit's. They take the photograph and lose a career for it, and nobody will ever write that part down.

What would a satisfying ending look like if they failed?

The log survives. Somebody finds it in ten years, and every entry is there in my hand with the column left blank.

What does the antagonist understand about them that they don't?

That I will keep taking the shift as long as the flat holds. He has never once had to threaten me.

What promise does their first scene make to the reader?

That somebody has been counting, in a place where nobody was supposed to be.

What would break if they got everything they wanted in chapter three?

If Renner had signed the transfer in March I would have gone to days, said nothing, and slept perfectly well.

What is the last thing they say in this story, and who hears it?

"Twelve. Fourth Tuesday. Manifest blank." Said to a recorder, with the book open, for the record.

If they get one scene to be entirely themselves, which scene is it?

Locking a barge through alone at four in the morning. Water level, gates clear, number in the book.

What went in
20Childhood
Childhood

The house they came out of, and what it taught them.

Who raised them, and who actually looked after them?

My mother raised us. Peg Naylor next door fed us, and taught me to drive a van round a field at fifteen.

What was the rule of the house that was never said out loud?

You do not sit down in somebody else's house until you have offered to do something in it.

What is their earliest clear memory, and why that one?

Fog on the brick works road and my father's bike lamp inside it. That one, because I was allowed to hold the lamp.

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Childhood (continued)

The house they came out of, and what it taught them.

What were they punished for most often?

Answering. Never for the thing itself, only for having an answer ready.

What did their family do when somebody cried?

Made tea and turned the radio up. Nobody left the room and nobody mentioned it.

What was money like in the house they grew up in?

Weekly. Thursday was fine and Wednesday was careful, and we all knew which day it was without being told.

Which adult believed in them, and what did that cost?

Peg, who signed my provisional at seventeen and fell out with my mother for a year over it.

What did they learn to do too young?

How to hold a timetable in my head. I still know the 1974 late runs and there is nothing left to do with them.

Where did they hide?

The coal shed, until I got too big for it. After that, the number 12 at the depot once the last run was in.

What story does their family tell about them that they resent?

That I was the sensible one. I was the one who did not get caught.

What did they break, steal or lie about, and were they caught?

Took a shilling off the mantel for the fair. Put it back the next day and was never asked about it, which was worse.

Which friendship from before they were sixteen still shapes them?

Peg's son Ray, who went into the brick works at sixteen and was still there the night it burned.

What smell or sound takes them straight back?

Wet clay and diesel together. The works had a smell you could find in the dark.

What did they promise themselves they would never do?

Be in anybody's house on a Sunday because they felt sorry for me.

When did they first understand that adults could be wrong?

The year before the fire, when they shut the works for a fortnight to save money and every grown-up said it was fine.

Beliefs

The lines they hold, and the ones they only claim to.

What do they consider a wasted life?

Spending forty years being owed something and never once saying so.

Relationships

How they hold on to people, and how they let go.

What do they do when somebody else is upset?

Find a job that needs two people and start it. The talking comes later or it does not.

Habits

The small repeated things that make a person legible on the page.

What is the first thing they do when they get home?

Take my boots off outside the door, whatever the weather. Peg's rule, not my mother's.

The story's question

The eight that decide whether this character can carry a book.

Which belief will this story take away from them?

That being useful to people is the same as being close to them.

What are they wrong about on page one?

That my mother did not know about the van. She signed for it.

What you get

Identity
Questions about who the character is.
Childhood
Questions about where they grew up.
Beliefs
Questions about what they believe.
Relationships
Questions about the people in their life.
Fears
Questions about what they are afraid of.
Habits
Questions about the things they do every day.
Under pressure
Questions about how they behave in a crisis.
The story's question
Questions about the story you are writing.

Try it with your own idea

Character questionnaire guide

Which questions to start with, how to answer them, and what to do with the answers.

What it makes

This character questionnaire is a bank of about 120 questions, sorted into eight groups, that you answer in the page and download when you are done. There is no account, no email capture and no cap: it runs in your browser.

The eight groups are chosen to cover the parts of a person that change how a scene plays, rather than the parts that fill a form:

  • Identity — what they call themselves, what other people call them, which of the two they answer to.
  • Childhood — the house, the rules, who was in charge and who actually was.
  • Beliefs — what they think is true about how the world works, including the belief the story is going to test.
  • Relationships — who they owe, who they perform for, who has seen them at their worst.
  • Fears — the stated one and the real one.
  • Habits — what they do with their hands, their money and their free evening.
  • Under pressure — what they reach for when tired, cornered, or given power.
  • The story's question — the handful of questions that only make sense for the book you are actually writing.

Pick a set size of twenty, fifty, or the full bank. Twenty is a good first pass for a supporting character; fifty is a working session on a protagonist; the full bank is for a character you will live with for a long series. The set is shuffled within the groups, so two sessions on two characters do not produce identical-shaped profiles.

Answers save to your browser as you type, so you can come back tomorrow. When you are finished, download the whole thing as Markdown with the questions and your answers paired, ready to paste into whatever you keep your notes in.

How to use it

There is no correct way to answer a questionnaire, but there is a faster one.

  1. Answer in the character's voice where you can. Not "he is defensive about money" but "I don't discuss it." An interview answered in first person produces dialogue you can steal later; a questionnaire answered in third person produces a summary you will never reread.
  2. Skip freely. A question you cannot answer is information. Note which ones stall you: those are usually the parts of the character you have not built yet.
  3. Answer fast on the first pass. Twenty questions in fifteen minutes, whatever comes. Instinct produces better first drafts of a person than deliberation does.
  4. Go back for the three that surprised you. Somewhere in the set there will be an answer you did not expect to write. Spend real time on that one; it is usually the character's actual center.
  5. Contradict yourself on purpose once. Give an answer in Beliefs that the Under Pressure group flatly disproves. People are like that, and the gap is a scene.
  6. Download and keep it beside the draft. Reread it after every few chapters. When an answer stops being true, that is character development, and it is worth knowing you did it deliberately.
  7. Take the character into a story. Once the answers feel like a person, the filled questionnaire is a premise you can write from, and in DreamPress it goes into the story's memory so the answers still hold thirty chapters later. Fifteen free credits daily, no card.

Craft tips

A questionnaire is a tool for finding the two facts you needed, not for filling a document. Most of your answers will never appear in the book, and that is fine. You are paying for the two that change a scene.

Answer the pressure questions before the identity questions. People define themselves by their stated values and reveal themselves by what they do when tired. If you answer Identity first you will write the character's press release and then be loyal to it.

Write one answer you would not want the character to read. The questionnaire is private. Use that. The unflattering answer is frequently the true one, and it is the one that gives an actor something to play.

Use the "stated fear" and "real fear" pair deliberately. They should not be the same, and the character should not know the difference. Most character arcs are the distance between those two answers closing.

Interview the character at the wrong moment. Answer the same twenty questions as they would on their best day and their worst day. The differences are your character's range, and range is what stops a cast reading as one voice in different hats.

Do minor characters in five questions. Name, what they want from the protagonist, what they will not do, a physical habit, and how they speak. That is enough for a person who appears in three scenes, and doing more is usually procrastination.

Stop when you start answering to be interesting. There is a point in every long questionnaire where the answers become auditions. When you notice it, stop, download what you have, and go write a scene. You can come back.

Reread it before revision, not during drafting. During a draft, the questionnaire is a distraction from momentum. Before a revision pass it is the fastest way to find the chapter where the character stopped being themselves.

Use the contradictions as scene prompts. Any two answers that cannot both be true are a scene waiting to happen: the moment the character has to pick one. Mark those pairs when you find them; they are worth more than the answers individually.

Character questionnaire FAQ

Is this character questionnaire free?

Yes. It is free, unlimited and needs no account. There is nothing to sign up for on this page.

Do I need an account or an email address?

No. The questionnaire runs entirely in your browser, and there is no email capture anywhere on it.

How many questions are there?

About 120, across eight groups. You can answer a shuffled set of twenty, fifty, or the whole bank.

Will my answers be saved?

Yes, in your own browser's local storage, so you can close the tab and come back. They are not uploaded to an account, which also means they will not follow you to another device and will be lost if you clear your browser data. Download anything you want to keep.

Can I download or print the answers?

Yes, as Markdown with each question and answer paired. That pastes cleanly into most note-taking apps and prints legibly from any browser.

Should I answer as the character or about the character?

Either works, but answering as the character in first person tends to produce more usable material, because you end up with lines of dialogue rather than summaries. Mixing the two across a set is perfectly normal.

How long should this take?

Twenty questions in fifteen minutes is a good first pass. Fifty is an hour if you are being honest. The full bank is a project, and most writers spread it over several sessions.

What is the difference between this and a character profile?

A profile is the conclusion; a questionnaire is how you reach it. Many writers run the questionnaire first, then write a short profile from the answers that mattered, and keep only the profile beside the draft.

Are these good character interview questions for a workshop?

Yes. The Identity, Beliefs and Under Pressure groups work well read aloud in a group, with the writer answering in character and everyone else allowed one follow-up question. The follow-ups are usually where the useful material appears.

Is anything I type sent anywhere?

No. This tool is deterministic and runs locally, so your answers stay in your browser.

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