![]() They have to like listening to the radio or not, talk to strangers or not, they have to be great singers, mediocre singers or have the voice of a hoarse crow, they have to like to eat a lot, or they will eat just to survive, etc. They must have hobbies, customs, affiliations or phobias. They have to have a story and a life behind, even though it is not shown to the reader in all its expression. The tyrant can give donations because his only daughter, not recognized, was confined in that monastery after the death of her mother.īut it has to be an explanation that is consistent with everything that character does in the story. The good son could laugh in despair because his father had always said to him that he would die before him if he did not leave his bad life. We can and sometimes must use them as a tool to create intrigue, but the reader will feel disappointed if we do not give a satisfactory explanation about them before turning the last page. But we must have explained the reason for each of these contradictions before ending our story. In fact, these contradictions can be very useful for enriching our main characters. These are episodes that we can tell about in our novel, of course. ![]() Not with a tyrant who disguises himself every night to glide through the dark streets and leave a generous donation in the nearest monastery. No one can identify with someone who laughs out loud at the time of his father’s death after being shown as a good son. This will be the first of the necessary qualities of our main characters: the reason. The Round Characters SHOULD BE the protagonists of our story, those who SHOULD hook our readers because there is NOTHING MORE HORRIBLE than a novel with a FLAT MAIN CHARACTER.Īnd for the characters to fulfill their role, they only have to do one thing: get the reader to identify with them, not so much in the sense of sharing their desires but in understanding the origin of their strengths and weaknesses.
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