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Essay II—Short Fiction/Reader Response
Stereotypical, I don’t know, but every long fictional work has flat characters along with round ones. The tag of ugliness stuck to flat characters is totally unjustified.
There are a number of ways you can go about creating characters. When writing fiction, you can often use a real-life person as a basis for a character, then change and adapt the person’s characteristics for the story you’re writing.
How to Write Authentic Dialogue for Fictional Characters
Literary fiction demands extraordinary skills for character development. But two erroneous attitudes suppress authors achieving the memorable characters required for great stories: 1) that character development is an inherent trait and that author learning and experience provide little improvement; 2) that characters take over the author’s stories when authors are in their best writing trances, and the character carries the story to successful completion — a common but surefire limitation on developing the best fictional character. Characters are imagined and created — not discovered and described — for maximum story effectiveness.
The goal of character creation in fiction is complex, but creating a unique character — one that is not stereotypical — is the essence of great fictional stories. The character will be adopted by the reader, and the characters will drive the momentum of the plot. At the start of character development, there are no restrictions. A character emerges unencumbered. Then that character must be perfected for the plot. The character must be unique, but remain believable and within the boundaries set by the suspension of disbelief all fiction requires. The character must not be stereotypical, yet must feel comfortable to the reader in a familiar way. As a memorable character develops, the reader becomes attached — and admires the character in the same way they would begin to like a new acquaintance as a friend. This reader attachment is often associated with liking the character, but affinity is not absolutely necessary. Respect and/or admiration are also strong attachments for a reader to a character. As the author creates an emerging character, subtle choices and imaginative attributes given to the character must keep within the overall story guidelines set in the contract between author and reader. Subsequently, in revision, scenes, thoughts, actions, conflicts and motivations that do not contribute maximally to the character engaging the reader and driving the plot forward are eliminated, or at least changed.
College essay about an influential person College Admissions Essays
However in Haroun and the Sea of Stories by Salman Rushdie If there are no stories then many of the characters lives would be changed drastically Fictional stories are important to the Khalifa family since they rely on them for a career and emotions to their lives.
Here is the official prompt: ?Describe a character in fiction that has had an influence on you, and explain that influence? I am more interested in what led to choosing this character than the character himself. Here is the situation I am trying to write about: 1) When they released a new Harry Potter book, the book store held a pre-release party where kids came dressed in costumes of Harry Potter characters 2) My mother spent many hours make Harry Potter Gryffindor robes. As I was getting dressed, my father mentioned he would go as Dobby the House Elf. Dobby wears only a cut up pillow case 3) Need something on the silent exchange between my mother and father as they both realize that I will wear a pillow case now that it has been mentioned instead of the robes that my mother worked on for hours. Parents do not argue but laugh at the fathers stupidity. 4) Maybe something about the excitement of going as this character 5) Not necessary but I actually won the costume contest because I was the only one not wear a Hogwarts robe. . I need between 250 and 500 words. Do you think you could write something like that? An example that was started is follows: I was almost eight when the new Harry Potter book; the Order of the Phoenix came out. My family and I were going to the pre-release party at the book store. I was putting on the Hogwarts robes that my mother spent I was eight when the new Harry Potter book; the Order of The Phoenix came out. My family and I were going to the prerelease party at the book store. I was putting on the Hogwarts robes that my mother spent many hours making when my father said he would like to go as Dobby the House Elf. My mother?s eyes grew narrow and mean like Bellatrix Lestrange while my eyes grew wide at the thought of going to the book store dressed as Dobby rather than Harry Potter. You see, Dobby wears only a cut up pillow case, not an elaborate robe like my mother made. My father laughed nervously and said like Hagrid ?I probably shouldn?t have said that? and then he commented on how nice the robes looked. I am sure my father wished he had magical powers like Dobby and could disappear at that instant. My parents began looking for a pillow case knowing full well that I would be insisting on going as Dobby. Thus began my fascination with Dobby. Dobby is intensely loyal to his masters even though they treat him poorly. I work at Culver?s and even though it is not part of my long range career plan, I work hard and have a positive attitude while I am working just like Dobby. Dobby is a loyal friend. I am also a loyal friend. I think of this day often, mainly because my mother will not let my father forget about it.
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Turpin, A Fictional Character and a Personal Revelation
It might also help to repeatedly ask, what do I want the reader to experience and discover, and how does it relate (always directly) to the story? This will begin to help you develop the characters and point out the the best use of your craft skills to please the reader. You might also think in the creation and writing that you want to avoid telling the reader about your very interesting story premise, but that you want to let them discover, through dramatic scenes, your characters and your plot–and how the two interact. It may seem obtuse, but this is the way to present your ideas in engaging and entertaining ways that will result in powerful revelations about your idea discovered by the reader. If you pull it off, the reader will love your story, and remember it forever.
Model College Application Essay: Fictional Character
Thanks for your question and your confidence in the site. I am impressed with your thought process. You are thinking about writing in admirable ways, ways that many even very successful writers never seem to achieve. Here are some suggestions to achieve what you want, a character-drive plot. This is important in literary fiction because your purpose is to provide new awareness or reawakening in the reader about what it means to be human–i.e. meaning. And, of course, as you’ve already discovered, to nurture significance in a story that is character-driven, you must build the character through action and description so the story plot takes its interesting turns from the character’s strengths and weakness. In the great story, the character is changing. Something is happening that will never allow them to be as they were before. (An enlightenment.) To effect this, authors must be careful not to depend on real happenings (autobiographical material which is often presented in description), which are fatalistic because they are events that have already happened (even in the imagined story). Authors must find what drives the character and then present to the reader in action scenes and objective active prose (Tears ran down her cheeks), rather than subjective abstract prose (She was so sad! She cried.) Characters built with the imagination-stimulating action scenes rich with conflict and resolution that illuminates the character and will engage the reader, and entertain and enlighten the reader. And these characters will also now be capable of integrating into the story so the plot results from their actions, rather than their acting in the story like actors on the stage. This is the gift story telling in prose gives to writers and readers. So as you learn to know your character (and respect or even love the character) you can restructure your story, using the plot stimulated by the autobiographical material, so the the plot results from character action scenes. Choice of POV will be important. Single, multiple. !st or 3rd. Each will have advantages and disadvantages. You will need to identify narrator and character purpose (and function) in your story. Try different POVs (and the voices that are associated with story information delivered through these POV’s) to find what best provides the maximum impact for you story (being true to your story) and for your reader (engaging and pleasing). Now, as you create your story, you will restructure in a series of action-conflict scenes and carefully constructed narrative transitions, a story with a vibrant character that affects the plot action that is the skeleton for your story. Note that you are not slotting the character into the plot maze. The plot maze is moving because of what the character is doing in action scenes. You, as author, are thinking of how character desires and traits are making changes that result in plot progressions. (You have not abandoned your original plot idea, however, you have just restructured to make the character the essential force in plot movement.) All this is not easy, but to achieve it puts you on the path to being a writer with a significant chance of pleasing the targeted group of readers you seek to please. Best wishes for every success. WHC
My Favourite Fictional Character Free Essays - StudyMode
Very interesting. The premise for story and character change is sound. A couple of thoughts and suggestions I hope might help. First, you might consider thinking about this as two main characters each with emotional complexities that seem opposite and where one is dominating the other. Both characters have emotional arcs that progress through the story. Change occurs in both so that the nondominate one becomes dominate. This is already what you have set up and I don’t think equating the importance of the two would change your allegorical concept too much, but it would give momentum to the emotional changes occurring in the story (i.e. expansion of the reversal). I would try to solidify the emotional arcs with credible and realistic action, and maybe avoid being too ethereal. You want the reader to care, and they might not care if they don’t think the character could actutally exist.
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