It's another illustrated guide I made in between all of my classes (if my laptop screen had a higher resolution, I would be making DitR at school, but I don't, so I can't).
Also check out ~Kigurou-Enkou's follow-up guide regarding proper use of backstory: [link]
And check out this awesome guide by ~Rumiflan regarding relatives of characters: [link]
OC concepts not addressed in the comic (more added based on your comments):
-Once you understand the logic behind these principles, you are clear to bend/break them. For example, once you understand the difficulty of writing a relative of a canon character and how storytelling applies to the concept, you are clear to write a relative for a canon character.
-Don't give your characters inappropriate names like Sara Hakurei or Smith Morichika. Look up Japanese naming conventions here: [link]
-Don't be afraid to make Western-style youkai. Rumia, Letty (despite being a traditional snow woman youkai), and much of the SDM crew are good examples.
-Develop different characters for different types of series. The traits that go into an episodic character are different than that which go into a gag series character.
-You can be a half-whatever if you can give a logical explanation. The examples in Trap 2 are just to show multiple incarnations of the same person.
-It's acceptable to make a character similar to you, and you can even make a version of yourself that could survive in Gensokyo (a slightly more badass version of yourself), but you eventually reach a line between minor tweaking and pure wish fulfillment. Finding this balance depends on your storytelling abilities.
Although I do have a question: What are the possible effects of your OC's gender on interaction? I'm kinda having a hard time picking out a gender (and I managed to write a chapter already...)
The theory runs like this: the biochemistry of a masculine brain runs on linear logic, breaks things into small steps, and says exactly what it means. The biochemistry of the feminine brain runs on holistic, intuitive, big-picture thinking, and communicates with subtext and emotion rather than raw words. Relationship counselor Dr. John Gray wrote a classic book, Men are from Mars, Women are from Venus, covering this idea extensively.
I read in another guide about OC's not stealing the spotlight. Would a story told from OC's perspective (in first person) violate that guideline?
First person is usually difficult for beginners because they tend to focus more of the perspective character than the others. The mark of somebody who's mastered first person is their ability to write for all characters equally.
2. Pare de lutar pessoas.
3. Eu não apoio rancores. Eu não participar de rancores. Não me incluir nisso.
1. Please get a human translator. Google translate is terrible.
2. Stop fighting people.
3. I do not support or join grudges, so leave me out of this.
A little worried about them being overpowered since there's a lot of cheap tricks they could pull off with that kind of power, too... Perhaps I'll have to think of some kind of nerf that limits their power.
If you'd be willing to help me work on them, send me a message. Thanks.
Besides, I've never seen nerfing work. Ever. All stories have a balance: the stronger the goodest good guy, the stronger the baddest bad guy must become. If the balance is off-kilter, like a character has too much ease in the story and the villains are too weak, it doesn't matter how much you nerf them if the storytelling is off: the weaker the overpowered hero, the weaker the underpowered villains become. I've seen situations where characters who had godlike powers were stripped of said godlike powers, yet was able to get away with anything they wanted without their powers because the writers didn't want them to lose/face conflict. I've also seen many great situations where characters were given cheat-like abilities, so the situations got worse to adapt to them, equaling the balance.
I'm thinking of maybe adding another principle: the principles are also useless if you do not practice. Test your character out in a few one-shots and get a feel for it. Naturally, you will receive criticism: use it. Nothing will give you experience more than using your bad reviews.
This is a matter of principle 11: storytelling is more important in this context. Pace out the level of conflict they must face, and their early victories will seem like a calm before the storm/preparation for upcoming conflicts.
As for making a living off this, currently editing Voidspawn for widescale publication. Showing previews of each chapter until it's done.
hey, is there already a spirit fox in the original tohou?
...This just saved my English project...
From what I have read based on your guide, it seems that I have broke a lot of the principles, especially principles 2, and a lot more. I currently have two fics, which I am having second thoughts if I should re-write or just make another one.
...Your guide is great! It actually does point out each flaw often encountered concerning OC's not only found in Touhou fanfics, but also on other series. Apparently, my OC's have these flaws...
I just hope that I won't end up with the same mistake again, now that I have some pointers to watch out for when making Touhou OC's as well as OC's from other series'.
Your guide really helped a lot!
... just as long as it follows Principle 11. Now that is a rule: storytelling abilities trump how well you design the characters that go into it.
How he/she interacts with society: Check