In simple terms, the antagonist is the character in a story, a novel or in a literary work that creates resistance or hostility – often towards your main character (protagonist). He or she is usually adversarial (but not necessarily) or is competing or struggling with another character. It ...
This main character mustexperiencea life arc — in other words, be a different, better or worse, stronger or weaker person by the end. (I use “he” inclusively to mean hero or heroine) For most novels, that means he must bear potentially heroic qualities that emerge in the climax. For...
“You don’t want to risk making them more interesting than your own hero and heroine,” she says. Series potential? Having a solid secondary character presence is especially important if you want to turn your novel into a series. There are a few ways to create a series from a stand...
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Over to you: How do you build your characters? PRACTICE For fifteen minutes write about a character of your choosing. Build a character profile by answering questions like: who is he/she, where does he/she live, their past, secret desires, small habits, future ambitions, lifestyle, dreams...
In a way, that goes all the way to the heart of creating a compelling character – that little spark that makes them tick. “One way to think about it is to consider it in terms of how some people compartmentalise – they’re a different person at home to how they are at work, fo...
who take action in a novel. Most novels have a protagonist, also known as the main character. This is the character who experiences some type of personal change through the novel’s conflict. Opposing your novel’s protagonist is its antagonist, which could be another person, the protagonist...
Direct characterization refers to the way a writerexplicitly describes a character’s traitsin the narration of a novel or story, e.g.He had green eyesorShe was quick with a joke. This technique is most often used the first time each character appears on the page, but small amounts of ...
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It’s challenging to figure out how to move characters from one scene to the next. But readers don’t need to see every step a character makes. It’s good to leave some things to the imagination, and the reader in their own mind can fill in the blanks between scene cuts.”— Kelly...