I adapted this blog series from a section of an online workshop I conducted for Writers & Books in March 2020.

Deciding a character’s alignment helps determine how they act during their adventures. I find it helpful to think about how each alignment would behave in the same circumstances because it highlights the differences between each alignment.
​
Here’s the scene:
A character is in a market and encounters a thief who has stolen from them in a previous incident. The thief doesn’t see the character yet, so they have time to react. How will they act?

The neutral type would steal back precisely what the thief stole from her and continue on her way. She is not interested in payback, justice, or charity. She wants what the thief owes her, nothing more, and nothing less. That said, she will work hard to retrieve the stolen item and may not take responsibility for any mishaps caused by her pursuit.

However, she is singular, insular, and her allegiance never changes. What makes her neutral, despite having a cause, is the singularity of her chosen cause. She cares for literally nothing else. She practically sees nothing but herself and, perhaps, the subject of her devotion. 
​
Neutral characters, also known as True Neutral, are not blank slates. They have an allegiance to something, and they are neutral to everything but that allegiance. A truly neutral character only has loyalty to themselves. But there can be neutral characters with allegiances to kingdoms, jobs, religions, or even a person. 

​True neutral characters are few and far between. Subtypes of this character include all-knowing bystanders, hermits, self-absorbed cowards, and folks who just couldn’t be bothered.

True neutral characters are hard to write and, subsequently, are rare characters. Almost everyone has some motivation aside from preservation and a moral compass outside of observation. She is also a hard type to develop because her nature is static. She doesn’t care about you, and she never will.

On the other hand, she is adept at honing her skills in her area of interest, more so than different character types. If she’s interested in self-preservation via social climbing, she will eventually rise to the upper echelons of society. She has the potential to obsess her way into becoming a paragon. If she survives long enough, she could be the most peaceful monk, the world’s most powerful orator, the fastest swimmer, the highest-paid assassin, and so on. The important part is that her interest is all-encompassing.
​
I’ve seen writers hint at true neutral development with the “maybe she cares after all” plotlines usually involving a love interest or family ties. This situation reveals that the character is not truly neutral unless her attention is a minor diversion or ends up as part of a self-serving plot. 

Death in the Discworld series is just there to do his job. It doesn’t matter to DEATH if you’re rich or poor, good or evil, souls need reaping, and he’s the one who will do it.

Watchmen’s Doctor Manhattan is the “impartial observer” subtype of true neutral. His omniscient nature removed his humanity, and he can’t bring himself to do anything but watch from afar.
​
Dr. Smith, from Lost in Space, both the current and previous incarnations of the character, is the classic true neutral character. Dr. Smith will do anything to survive, including manipulation, identity theft, and murder. The modern Dr. Smith is an excellent example of a neutral character who occasionally seems to take an interest in other people. Still, her concern for others always ends up a matter of self-interest.

Can someone curse you without your knowledge? Literary convention argues that you cannot. In Terry Pratchett’s Equal Rights, master witch Granny Weatherwax subscribes to “Headology.” According to her, if you give the evil eye to someone, they’ll blame their next bit of bad luck on your curse. Soon enough, you’re the reason for their misery, and it didn’t take a trace of magic.
​
Curses are made of three components: the curse giver, the person being cursed, and the belief in such a thing as curses. In this way, being hexed is a kind of hypnosis where a person subconsciously acts out the suggestion of the curse giver. 

Is this how it works in life? Maybe. You might walk under a ladder and then spill your coffee. Common sense dictates the two events are unconnected. If you believe dropping your coffee results from walking under a ladder, you’re committing a logical fallacy called post hoc ergo propter hoc. Or maybe the ladder cursed you. Who am I to say?

Some magical curses in literature are not a result of Headology, though. Highly magical curses like that of the beast in Beauty and the Beast or the Unforgivable Curses in Harry Potter are so forceful they don’t require a shared belief in jinxes. In fact, fairytales are full of hexes with complex unraveling involving true love and kisses.
​
No, you cannot be unaware of a curse. Either your belief that someone cursed you is perpetuating your hardship, or the affliction is of a highly magical, unmistakable nature. So, go home, open your umbrella, snuggle your black cat, and ignore all those chain letters. 

Deciding a character’s alignment helps determine how’d they’d act during their adventures. I find it helpful to think about how each alignment would behave in the same circumstances because it highlights the differences between each alignment.
​
Here’s the scene:
A character is in a market and encounters a thief who has stolen from them in a previous incident. The thief doesn’t see the character yet, so they have time to react. How will they act?

​A lawful evil character would call his connections throughout the city to ensure they bring the thief to justice with the most severe punishment possible. If the character is in a foreign place away from the root of his influence, he will still call upon the law hoping law enforcement will jail her. He will always try a variety of means to sway the system in his favor.

​Lawful evil characters are often well-connected or wealthy individuals who exploit the system and use legal technicalities to their benefit. Lawful evil character subtypes include corrupt executives, dirty cops, and diabolical masterminds. He is quick, cruel, and hard to beat because the administration is on his side, or he is the administration, sometimes. Because of their insidious nature, many of the most heinous villains are lawful evil.

It’s important to note, he doesn’t always follow the law, unlike the other lawful types. He’s happy to toe the line or appear legitimate while doing just enough to avoid legal consequences. More powerful lawful evil characters can write the rules, bending the law in their favor. The law is his weapon and shield.

The government or organization must have complicit members for the lawful evil character to exploit and cajole, and these toadies will eventually work their way up, providing a clear path for development. However, there are other routes to prominence.
​
A young lawful evil character might be a lackey for a more powerful character, waiting in the wings to take over when his leader fails or dies. Lawful evil characters are often wealthy, enjoying generations of esteem and political influence or a sudden influx of money and the power that comes with it. 

Dolores Umbridge from The Harry Potter franchise insists that everyone follows the rules, which she enforces in cruel ways. A corrupt system installed her in a position of power, and she gained prominence by aligning with influential villains.

The Stephen King master of evil Randall Flagg, also known as “The Walking Man” from The Stand, is the malevolent lord subtype of lawful evil. He’s the guy in charge, he makes the rules, and everyone must follow them or face horrific consequences.

Ebenezer Scrooge from A Christmas Carol is lawful evil before his transformation. He does nothing to break the law, technically, but according to Charles Dickens, he’s a “squeezing, wrenching, grasping, scraping, clutching, covetous old sinner!”