Important part of characterization is dialogue, for it is both spokenĪnd inward dialogue that afford us the opportunity to see into the characters' Us a sense of verisimilitude, or the semblance of living reality. People in the story is vicariously happening to us and it also gives 35-42.Do for a story? In a nutshell, it allows us to empathize with the protagonistĪnd secondary characters, and thus feel that what is happening to these ![]() “Flat and Round Characters.” Essentials of the Theory of Fiction, edited by Michael J. Her characters are highly organized and are ready for an extended life beyond the plot of the novel. – if a character does not convince, it is flat pretending to be roundĮxample: Austen’s characters are all round or are capable of rotundity. – if a character never surprises, it is flat – see whether a character is capable of surprising in a convincing way – roundness can also happen for a single sentence only – round characters are modified by experiences – only round characters can perform tragically and move the reader beyond humor & appropriatenessĮxample: Dickens’ characters are almost all flat, still, they don’t appear shallow (there are only few exceptions). – flat characters are best when they are comic serious or tragic ones would be a bore (they remain unalterable in readers’ minds because they are not changed by circumstances) – they are easily remembered by the reader. (they do not need to be reintroduced, they don’t run away, they aren’t watched for development, they provide their own atmosphere) – they are useful for writers because of their convenience. – constructed around a single idea or quality ![]() Complex novels require both – flat and round characters.
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