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AI Character Generator Prompts: Ten Prompts for Characters With Wants, Wounds and a Voice

The character generator guide explains why generators return stock profiles and what to ask for instead. This is the prompt sheet: ten prompts, copy-ready, each producing one part of a character a writer can actually use. They run in any character generator's free-text field or in a chat model; the character sheet template is where the outputs go.

One example character throughout, so the outputs can be compared:

Role and genre used throughout: the protagonist of a legal thriller: Sun-hee, 34, a court interpreter.

1. The contradiction profile

The prompt that replaces the "appearance, personality, hobbies" template.

Role: [role]. Genre: [genre]. Age and situation: [details].
Give me: (1) what they want in this story, in one sentence with a verb;
(2) what they actually need, which they would deny; (3) one
contradiction between how they see themselves and how they behave;
(4) the mistake they are most likely to make under pressure; (5) one
physical habit that shows the contradiction. No backstory yet.

Expect: five lines that generate scenes. "She sees herself as neutral; she has been quietly correcting witnesses' grammar for years" is a contradiction a plot can use. Backstory is deferred on purpose: it is the part generators overwrite with cliché.

2. Want versus need, with the arc

Want: [from prompt 1]. Need: [from prompt 1].
Describe the arc in four beats: the scene where the want is stated,
the scene where the need is first visible to the reader but not to
them, the scene where want and need conflict directly, and the
scene where they choose. Concrete events, one line each.

Expect: the character's spine as four scenes, which slot into the plot skeleton from the plot prompts.

3. The wound, restricted

Backstory, with the generator's excesses forbidden.

Give me one past event that explains the contradiction in prompt 1.
Rules: it happened in adulthood, not childhood; nobody died; it
involves a choice they made, not something done to them; it can be
told in under sixty words; and it is never told in full in the book,
only referred to.

Expect: a wound that is a decision rather than a trauma, which is both fresher and more usable, because a character who chose something can choose again.

4. The villain's justification

For antagonists, and for any character whose motive the plot depends on.

Antagonist: [role]. Their goal: [goal].
Write their justification in their own voice, in first person, 150
words, as they would explain it to someone they respect. It must be
persuasive. Then, in one line, name the thing they cannot admit.

Expect: a monologue you could almost agree with, and a line that tells you where they break. A prosecutor who believes the defector is guilty and that one mistranslated word serves justice is a better antagonist than one who is corrupt.

5. The voice sheet

The prompt that matters most for dialogue and for keeping a character consistent across a book.

Character: [name, prompt 1 summary].
Give me a voice sheet: (1) sentence length and rhythm; (2) three words
or phrases they overuse; (3) three words they would never use; (4) how
they handle a question they do not want to answer; (5) how their speech
changes when angry, and when lying; (6) three sample lines in a neutral
situation, an argument, and a moment of kindness.

Expect: a sheet that lets you, or a model, write the character's line without a tag and have a reader know who spoke. Put it in the bible verbatim; the voice consistency guide covers how the sheet reaches later generations.

6. The supporting cast by function

Generate the cast as a set with jobs, not as individuals.

Protagonist: [summary]. Plot: [one-line plot].
Give me five supporting characters, each defined first by their
function in the story (ally who costs something, mirror who chose
differently, obstacle who is not the villain, source of pressure from
outside the plot, the one who tells the truth), then a name, one
contradiction, and how they speak differently from the protagonist.

Expect: a cast in which every member exists for a reason. A supporting character with no function is a cut; this prompt prevents generating them.

7. The relationship grid

Characters: [list]. For each pair: what each wants from the other,
what each is hiding from the other, and the scene where the hidden
thing surfaces. Table format. Leave a pair blank if they have no
relationship worth a scene.

Expect: a grid that finds scenes you had not planned. A large cast (web serials, ensemble dramas) needs this more than a novel with three characters.

8. The first appearance

Character: [summary and voice sheet]. Scene: [where they first appear].
Write their entrance in about 150 words from the point of view of
[other character]: one physical detail, one action that shows the
contradiction, one line of dialogue. Do not describe their appearance
head to toe. Do not state their personality.

Expect: an entrance rather than a description. This is also a test of the sheet: if the entrance is generic, the sheet is.

9. The pressure test

For a character you think is finished.

Character: [sheet]. Put them in three situations the plot does not
contain: they are given money they did not earn; someone they dislike
asks for help; they are caught in a small lie. For each, what do they
do in the first ten seconds, and what do they tell themselves after?

Expect: behaviour. If the three answers could belong to anyone, the character is not yet specific. If they surprise you and still feel right, the sheet is done.

10. The consistency check

Run on the manuscript, not the sheet.

Here is the character sheet for [name]. Here are chapters [n–m].
List every fact the chapters state or imply about [name]: physical,
biographical, relational, and any habit or speech pattern. Compare
each with the sheet. Flag contradictions with chapter numbers, and
flag facts the chapters establish that the sheet lacks.

Expect: a list of drift and a list of additions. The additions go into the sheet; the contradictions get fixed in the text or the sheet. This is the check that catches the eye colour that changed in chapter twelve; the drift guide explains why every tool needs it.

Order of use

1, 2, 3 for a lead; 4 for the antagonist; 5 for every character who speaks more than a page; 6 and 7 for the cast; 8 as a test; 9 before drafting; 10 during. A dedicated generator's fields map to prompt 1's inputs (role, genre, situation); its free-text instruction field takes the rest.

Try it in SparkLore

The free AI character generator returns prompt 1's sheet (want, lack, self-deception, voice, likely mistake) formatted for a story bible, three times a day without an account. Prompts 1, 4, 5, 2 and 6 are in the prompt library as forms with the fields filled in, and prompt 10 is the bible contradiction check. In the Studio the sheets live in the bible, attached to the scenes where the character appears. Sign up to build the cast in one place; the pricing page has the plans.

Frequently asked questions

What makes a character prompt produce a usable character?
Asking for the things prose actually uses: a want, a need the character does not see, a contradiction, a characteristic mistake, and how they speak. Prompts that ask for appearance, hobbies and a backstory paragraph return a stock profile.
Should I generate the whole cast at once?
Generate the protagonist and antagonist separately and in depth, then the supporting cast by function in one prompt so that each supporting character has a job in the story rather than a personality in isolation.
How do I keep an AI-generated character consistent across a book?
Put the sheet in a story bible the drafting tool reads, and run a consistency check prompt on the manuscript at intervals: list every fact stated about the character and compare with the sheet.
Do these prompts work for screenplays and web novels?
Yes. The voice sheet matters more for screenplays, where dialogue is everything, and the function prompt matters more for web serials with large casts.
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