[3] Aristotle promoted the primacy of plot over characters, that is, a plot-driven narrative, arguing in his Poetics that tragedy "is a representation, not of men, but of action and life."
This view was reversed in the 19th century, when the primacy of the character, that is, a character-driven narrative, was affirmed first with the realist novel, and increasingly later with the influential development of psychology.
Mythological characters have been depicted to be formulaic and are a part of a classification that consists of several differing, limited archetypes, which is type of component.
Multiple components, such as archetypes and other elements of a story, together form a type of configuration that results in fully realized myth.
The poet Platon Oyunsky draws heavily from the native mythology of his homeland, the Yakut region in Russia and the Sahka people.
[6] The use of mythology is used in Shakespeare's Hamlet as a device to parallel the characters and to reflect back on them their role in the story, such as the use of the Niobe myth and the twin sister of Gertrude.
Jung's twelve archetypes are: the Innocent, the Orphan, the Hero, the Caregiver, the Explorer, the Rebel, the Lover, the Creator, the Jester, the Sage, the Magician, and the Ruler.
[11] When a character voice has been created that is rich and distinctive, the writer can get away with omitting many speech attributions (tag lines).
The writer can make the characters' dialogue more realistic and interesting by considering several factors affecting how people speak: personality psychology,[9] age, culture, family background, region, gender, education, and circumstances.
[11] Tone of voice, volume, rate of delivery, vocabulary, inflection, emphasis, pitch, topics of conversation, idioms, colloquialisms, and figures of speech: all of these are expressions of who the character is on the inside.