a kid at hogwarts who just wants to get a proper education but can’t focus because of all of the shit harry potter and his friends keep getting themselves into
Jenna B. Lacey, age eleven, knew exactly what she was going to do with her life.
She was going to go to Hogwarts, get top grades, and be the youngest female Minister of Magic by age 35.
It would have been a good plan, if she hadn’t been in the same year as Harry Potter.
* * *
Year one started out great. She was sorted into Hufflepuff, did well in all her classes, and aced the exams.
A troll smashed its way through the study room she was in on Halloween, but that wasn’t going to deter her.
* * *
Year two was a disaster. People were getting petrified, and worse—the teachers had to herd them from place to place, which severely cut down on her library time. She had to study in the common room, which meant instead of a nice, quiet atmosphere, she got a soundtrack of nervous Hufflepuffs.
And on top of that, exams were cancelled. It was a disaster.
* * *
Third year, she started to notice a trend.
First the troll, than the petrifications, and now dementor guards and escaped convicts. What did they all have in common? Potter.
After Black broke in and everyone had to spend the night in the Great Hall, interrupting Jenna’s last minute studying for a test the next day, she took to giving Potter angry looks in every class.
He did not notice.
* * *
They announced the Triwizard tournament at dinner the first night of fourth year, and Jenna almost started crying.
Potter was going to take this one over. She just knew it.
And she was right.
Voldemort rose at the end of the year. She honestly didn’t know what she had expected.
* * *
Fifth year brought Umbridge. She joined the DA because she was going to need a better background in defense, but that didn’t mean she was any happier about Potter.
She imagined it was him she was hexing instead of Zachariah Smith.
But, by the end of the year, focus on her studies was impossible. After Dumbledore left, it was complete anarchy.
Potter’s fault. Of course.
* * *
Sixth year she started volunteering in the hospital wing. She needed a backup plan in case Potter fucked it up.
All seemed quiet, until they brought Malfoy in. It was apparently Potter’s fault, which surprised everyone except Jenna.
Later, she was peacefully studying in a little nook on the third floor when some Death Eaters and some other adults started dueling right under her nose.
This was the worst fucking school, honestly.
* * *
They were calling it “The Final Battle.”
Jenna ran through the hall, dodging in and out of the children evacuating, until she saw him.
He turned, startled. “Um—Jenna, right? We’re sort of busy—”
She grabbed the front of his shirt and hauled him up until he was eye level with her. “If I’m not Minister of Magic by age 35, it is going to be entirely your fault and I’m going to hurt you.”
She dropped him and stormed away, leaving him to whatever he was doing. She had to fight this goddamn war so she could go back to her fucking studying.
* * *
She became Minister of Magic at age 36.
I think I just found the best Harry Potte
How to Improve Flat Characters
If you’re having trouble making your characters interesting or you feel like all your characters turn out the same, you’re probably creating flat characters. If your character hasn’t undergone a significant change during the course of your novel or your audience is having trouble relating to them, you need find ways to improve this. It’s important to remember that all your characters need to have goals, no matter how small, and they need to be actively working toward those goals to stay interesting.
Your protagonist should be relatable and realistic. Even if your readers don’t necessarily agree with what they’re doing, they should be able to feel what your protagonist is going through. This is your job as a writer. You need to get your readers to understand their thought process or what they’re going through, even if they’ve never experienced it themselves. This can be achieved by using real-life emotions in your story, so it’s important you don’t ignore the emotional aspects of storytelling. Most people will understand love, fear, sadness, happiness—EVEN if they’ve never been in the situation your protagonist is in.
One of the most important things to remember is that your character’s actions should remain realistic. And I don’t mean that they need to do things only we can do in our world, but their actions need to stay true to their world. Their actions should make sense in context to what they’re going through.
Your protagonist should also be a problem solver and proactive. A character with good morals will have integrity, but we all know not all main character have good intentions. However, all protagonists should be able to do things on their own, or else they’re going to be a weak protagonist. I’m not saying they don’t need help, but they need to overcome the big challenges on their own. They can’t just stand around waiting for everyone else to finish things. They need to take initiative at some point, and this should be due to their personal growth throughout the story.
Here are some tips on improving flat characters:
Focus on primary traits, complexity traits, and character flaws.
Primary traits: Every character you write should have primary traits. These are things like smart, funny, inquisitive, etc. These aren’t necessarily anything deep, but they give the reader enough to understand what sort of category or archetype that character fits in.
Complexity traits: Adding complexity traits will be what adds more depth to your characters, and will make your characters interesting. This is necessary if you are building lead characters/main characters. With complexity traits, you plan out the primary traits with more detail. For example, if your character is smart explain what he or she is smart in. Does he or she know a lot about history? Are they good at math?
Character Flaws: Finally, give that character flaws. These flaws humanize your characters and they generally stand in the way of your character’s success. It’s important that your characters fail sometimes and that these failures are a result of their personal flaws. No one wants to see a perfect character. We want to see someone who is able to pull themselves back together after experiencing failure. We want to see them earn their success.
Next, focus on character goals and motivations.
Character goals: Every single character your write needs to want something. They need to have a goal and those goals will drive your story forward. For example, your main character might want to run a marathon. It’s a big deal for them and they spend your entire novel training (and failing at training) until the end when they finally do it. Running that marathon is their goal throughout your novel and they won’t stop until they succeed. Remember, character goals are different from motivations.
Also, keep in mind that even secondary characters need to want something. Develop each character and make sure you understand why they want to do something. What do they get from helping out your main character? Why do they care so much? Think about what’s at stake for them.
Motivations: There are certain things that will push your characters forward. Expanding on the marathon scenario above, maybe your main character has to finish a marathon because they will win 1 million dollars if they do. Maybe their family is poor and this is the only way to help them. That’s your character motivation. It’s obvious they really care about their family and they need the money. It’s important to understand why your character is doing something and why they want something. What will accomplishing their goals do for them? Why do they need to do? Again, what’s at stake if they don’t?
Character development is a long, in-depth process, but hopefully following these steps will help you out. It’s important that you keep your characters proactive or else you run the risk of them becoming boring. Characters that work actively toward their goals are the most interesting.