Some agreed with our point, others expressed anger and still others came back with substantive replies. Our hope from the beginning was to inspire debate, and so we invited one our evangelical critics, Dr.
Now, on to the feature article: Ten Elements of Bad Storytelling we all use 5: Flat characters is a great example of something we all tell new authors to avoid using, then go ahead and put into our books anyway.
We all want one thing: We want to write stories that people will enjoy, and that they will therefore pay money for.
True, most of us authors also have a strong artistic drive—a desire to get the ideas in our heads out, expressed for the world to see.
However, we also want to get paid to do it—for, only by getting paid can we have the time we need to get MORE of those stories out of our heads. I think doing so undermines the quality of the story—and therefore undermine its emotional impact on readers. However, that may not actually lessen its sales in the short run.
Take, for instance, the Da Vinci Code. Heck, the entire thriller genre in general. Here, flat characters are the norm. So, number five is flat characters. When we write characters in popular fiction, our first concern is usually to make them sympathetic.
Once we have considered that, we tend to create conflict for those characters, since this not only enhances sympathy, but also creates tension and adds hopefully to the plot. Next, we tend to consider the individuality of that character though this is often connected to the other two and come up with ways they are distinctive.
Powers, quirks, abilities, philosophies. Therefore, giving that character an actually character arc—letting them grow and progress in a natural way, and then making their opinions and views rounded—actually comes fourth on the list.
Or, at least, my list. Others may do it differently. We often talk about the importance of rounded characters. Like most of the others in my list, this is something to be aware of, but not necessarily something to let you stop writing.
I think I did a much better job of it in Mistborn, but my side characters there are still pretty flat. By necessity—I find that I have a lot of trouble rounding a character unless I give them a viewpoint. Anyway, those are my thoughts on characters. Again, forgive the rough-draft nature of this essay.Apr 9, Blog.
First off, new Annotation: Mistborn Chapter Thirty Three Part Two Now, on to the feature article: Ten Elements of Bad Storytelling (we all use) #5: Flat Characters.
I’ve tried to get across in these essays that a lot of these things are tools that authors, even the professional ones, use in .
The author of the short story Only Ten hooks the reader in on the first couple sentences because of the mystery of The Shah and the way he describes him. The 10 Best Short Stories You've Never Read. By Arna here are ten short stories you might've missed that ambushed me with their odd wonder: While this very short, very tricky story.
sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant--a combined gardener and cook--had seen in . Kate Messner, author of Breakout and the Ranger in Time series. I look for small things when I write.
Often, the tiniest detail is the best detail when it comes to grounding a scene in a particular time and place or bringing a huge, sweeping moment back to the personal.
Gilad Pellaeon, nicknamed Gil, was a dedicated Human male naval officer, serving for seven decades in the fleets of the Galactic Republic, Galactic Empire, Imperial Remnant, and Galactic Alliance, and rose to the position of supreme commander for the latter two governments.
He began his career.