It requires skill, practice and patience to develop existing characters. It is equally difficult or almost impossible to create a story without a living being, even if it is a man-made animal, as happened to Richard Bach’s “Jonathan Livingston Seagull.”

DESCRIPTION:

“Stories often come up with a look at how a character is constructed and how it is categorized,” says Mark Baechtel in “Shaping the Story: A Step-by-Step Guide to Writing Short Fiction” like kobold fight club.

Personality comes from the elements of a person’s mind and personality, both of which make him or her what he or she is and therefore motivates him or her to do what he or she does in the story or in the novel, whether good or bad.

It’s not just what a person looks like. Instead, this reflection is most effectively achieved through a show or proverb “show, don’t tell” philosophical literature.

HUMANITY:

From a psychological point of view, personality is the state of being consistent or continuous in one’s actions, ways, thoughts, and emotions. Everything he does, hears, or thinks comes from him.

It becomes a reliable way to predict performance. “The best prediction for future behavior is past behavior.” Personality also implies that a few common traits serve as an overview of the personality.

“Defining one’s personality attempts to capture the essence of one’s personality,” according to “Perspectives on Personality” ((Allyn and Bacon, 1992, p. 3). ” many aspects of morality and reduce them into very limited attributes or attributes.

Evidence of personality comes in part from what people do and say at different times, but it is also a matter of how people do what they do — a style that brings unique and independent impact to their actions. ”

“Personality has been the subject of theologians, philosophers, musicians, poets, writers, and songwriters, and many of these people have acquired important insights into humanity,” continues the textbook. Also Read- Kobold Names

TYPES OF ORGANIZATIONS:

There are several categories of characters, next.

1). The protagonist: The protagonist is a central or main character. It is where the plan is centered and directed to every action and difficulty. It is a person who faces challenges and conflicts that he must overcome in order to achieve his goal.

Ideally, the story should have one protagonist. He may always be skeptical — for example, he may be an anti-hero; however, he or she must direct involvement on the part of the learner, or better yet, his or her sympathy.

He is a person in a story or book that the reader sympathizes with or leaves from. The protagonists have to be complex and flawed. They do not have to, by definition, be lovable, but they must be repeated and believed. The student should understand their choice.

Opponent

2). Opponent: The opponent acts as the protagonist’s opponent and can be considered a “bad” person in the story, his action stemming from an argument between the two.

The opponent does not have to be human at all, but he can be an animal, an inanimate object, or nature itself. For example, the protagonist of Tom Godwin’s story, “The Cold Equations,” is outer space.

The opponent must also be a “round character.” Simply making a bad impression is not as appealing. Pure evil is hard to believe in myth, because people are more guilty and motivated by their circumstances and background stories.

Therefore, setting aside time to define an opponent and point out his or her own issues will create a rich and complex narrative. Just as the main character is not only good, the opponent is not only bad.

3). Rounded character: A round character is one who is difficult and perhaps hostile. “The test of the round character is whether it is able to surprise in a convincing way,” according to E. M. Forster. If a flat character can be summarized in a sentence or two, a round character can probably take an essay.

Some More Points

4). Stable character: A dry character is one who does not develop. Most of the characters in the story should stand still, so that the reader is not distracted by the important changes the writer has to show and show himself or herself in relation to his or her main or intermediate character. Static says so, without change. It doesn’t look boring.

5). A stockbroker: A stockbroker is a different and different type of flat character that is immediately apparent to most readers, such as the Brave Starship Captain or Troubled Teen or a ruthless businessman.

In the hands of a mysterious author, the stock character never rises above the cardboard myth, which is unfortunate. Just as clichés comprise the true kernel, so the stock letters reflect the characteristics of real people. For example, courage is needed on the part of soldiers in the military, and business people sometimes resort to violence in order to survive in Darwin’s world.

6). Cardboard Character: A cardboard character can be considered as a stereotype, mannequin, drone, or any other non-interesting character of a real character.

7). Developing character: A character can be considered “progressive” if he or she changes the course of the story, an excellent example of the protagonist, who must always deal with this long novel twist.

8). Flat character: A flat character is one who is portrayed with only two or two features. In fact, they can be summarized in one sentence.

Compassionate Character

9). Compassionate character: A sympathetic character is one whose students can understand and whose feelings they can freely share. This is the kind of character that inexperienced students will say about him “I was pointing at him.”

The protagonist is usually, but not always, sensitive. Note that a sympathetic character does not always have to be a good person. Unless Winston Smith betrays Julia and her values ​​by accepting Big Brother in 1984’s George Orwell, for example, she remains a compassionate person.

10). An insensitive character: An unsympathetic character is one who has reason to be suspicious and whose emotions make the reader uncomfortable. The boundary between empathy and empathy is not well defined, however.

SCHEDULE REVELATION:

“In fairy tale writing, the character emerges from the author’s clever presentation of the emotional meaning that exists in what the character is doing, saying, and seeing or responding to situations, events, and other characters in the story,” said Beachtel.

TYPES OF TECHNIQUES:

While the characters, as real people who have to suggest to the reader, have to be different people, there are many stereotypical characters, which rob the story of its integrity and authenticity.

It includes an angry neighbor, a drunken Irishman, a dumb blonde, an irrational professor, and a mad scientist, among others. Avoid using them in any way.

TYPE VERSUS character:

No one is stoned and can be considered black or white, all-or-nothing – in all people. When you create a person like this, you only create the type in your paper. The very word “man” means a combination of all things, feelings, and emotions, good or bad.

A “bad” character who abuses others, for example, can express “beauty” by constantly walking older ladies across the street.

You can include this dichotomy at the end of your story by pointing out that her action stemmed from her attempt to understand contact with her abusive mother and this is her last attempt to gain the acceptance of her peers later in life.

As in real life, all the characters exist and should be less complex and your students, like you, should eventually come to some kind of understanding what motivates them, whether it’s a positive or a negative situation or, in fact, a complex combination of both.

If you become proficient in shaping characters, they will take their lives. Carly Phillips once wrote, “The author begins by inspiring life for his characters. But if you are very lucky, they inspire life.”

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