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There has never been a single novel worth reading that didn't have fascinating characters in it . Having multi-dimensional characters is what makes them intriguing. From beginning to end, these characters grow and thrive; if they do not, a good writer re-invents them until they make sense. Till their personal goals are achieved, or brought to an end. If one of the characters is a bad guy, he had best fail at his goal, in order for a reader to cheer.

But all that aside, one of the aspects of allowing for change in a character is interacting with the other players on the page. Because characters interact with each other [even though it is more intense than real life], they are bound to change. Opinions of family, loved ones, co-workers and the like not only influence them, but story line as well.

If for example, a writer has a character's car stalled on train tracks, and the driver has always been obsessed with being right, the circumstances of the train coming at him had better have him change his mind, and move - real fast.

It's a weak example, but works nonetheless. The story point - an unavoidable circumstance - has forced change. Challenged the character to change his opinion, or die. If a writer had chosen to leave him there, that in itself says volumes. Again, it is a reaction to a story point. In order for it to make sense however, the story must involve either someone trying to kill him/herself; someone on drugs or otherwise impaired, or perhaps a helpless victim.

And, no matter what else the author portrays, [s]he had better have circumstances or interaction with other characters be believable. It is best to look at each scene logically: one may wish to write a scene that excites him/her in the moment, but if it's outrageous, readers will question it immediately.

For example, if the story was a murder mystery, and the "victim" in the car on the train tracks leapt out of the car window at the last second, and vaulted onto the top of the train, that would not make sense. In a fantasy tale, where she had super powers that might work, but not in a regular old murder mystery. So as far as reactions to other characters and circumstances are concerned, make both believable to keep readers from scoffing.

One other way personal growth is created is through reaching or suffering set backs of a character's goals. Maybe a writer's detective will prove who the bad guy is, and how he outsmarted the law; maybe the bad guy will live another day, to tangle with

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