How To Develop A Character In A Novel

I believe that to create a fictional character with power and authenticity, the author needs a basic understanding of psychology. That can of course come through the process of living, and through a long-established habit of observing people: and not necessarily through study. In this article, however, I suggest a knowledge of Jungian psychological concepts is useful; and to illustrate this, I’ll take the example of Complexes.
A complex, as developed in the writings of Carl Jung, may be defined as “a core pattern of emotions, memories, perceptions and wishes in the personal unconscious organised around a common theme such as power or status.” The notion of a “complex” may even be misused in common speech: we may too readily hear of someone described as having an inferiority / guilt / martyr complex. But this can be fruitful for a creative writer; though it has to be handled with care.
1. An inferiority complex may lead your character to interpret everything in the light of this set of notions: “I’m not good enough,” “my opinions don’t count”; “I’m afraid to put myself forward”. Take P.G.Wodehouse as an example; see Jeeves and The Inferiority Complex of Old Sippy among numerous other stories. Here we often meet shy young men attempting to battle those who are louder, bigger, better-looking, more powerful and more self-confident, to win the girl they love.
2. Often,whether a fictional character displays a certain complex can be a matter of interpretation by the reader. I suggest a martyr complex may be behind the outlook and actions of Thomas Hardy’s Tess of the D’Urbervilles. Tess behaves like a heroic martyr sacrificing herself. Many readers may feel Tess casts herself in the role of victim.
3. The guilt complex is used extensively in Dostoyevsky’s The Brothers Karamazov. Many characters experience intense guilt; but the exception to this is Smerdyakov who murders Fyodor yet does not blame himself; though he’s the only character technically guilty, he feels the least liability for it. Thus the author sheds light on some of his own religious questions and doubts.
4. The power complex may operate where someone is at the top of a hierarchical structure.Take, for example, pitiless schoolmaster Thomas Gradgrind in Dickens’ Hard Times; he uses his power over his young pupils to fill them with facts and to stamp out all colour,adventure and magic from their lives; or even Aunt Reed in Charlotte Bronte’s Jane Eyre, as she exercises what little power she finds in her life, over her vulnerable young niece.
So there’s plenty of inspiration here for you as you develop characters in your novel who will inspire love, pity, fury, fascinated horror, or even self-searching in your reader. But take care: not too many characters with complexes, please (unless you are a novelist of genius like Dostoyevsky). These characters must be balanced with at least one person who is calm and centred – in the interests of giving your novel authenticity!