CHARACTERS:
"The folks who populate your plot and launch your plan ahead are (of course) your people," based on Brooks (bid, p. 21). "Without them, there's really number fiction. A story exists since anything happens to somebody that allows him or her to improve and grow. The protagonist is the main character about whom the majority of the action is centered."
Based upon early plan conceptualization, the author must determine the functions he'll engage in and experience. Consequently, his age, character, skills, functions, and deficiencies should be created based upon them. To be able to endow him with one or two distinguishing features, the writer should moreover contemplate probable habits, interests, passions, worried tics, ambitions, and motivations.
The latter, especially, determine his choices and measures and, to a qualification, how and why he interacts with others.
Unlike the protagonist in person fiction, that in small person literature can also base his tendencies upon his look group-that is, what he thinks and thinks as an expansion of it therefore that he can feel an integral part of it and remain in it.
Most important, however, is reader look after and problem about him, because he'll invest both time and feeling in him. Đam mỹ
"You need your reader to experience concern, understand, and look after your protagonist as he becomes more finely nuanced," suggests Brooks (ibid, p. 28). "And the easiest way to get these features across is throughout your principal character's connections with other characters."
"Young adult is not about the consequence of the novel's realization," advises Angelella (op. cit.). "It's concerning the journey, about locating the middle of your character's mental reality presenting an extremely real, very reliable individual who's presently in flux and figuring things out,. Small adult visitors deserve your psychological honesty. They deserve authentic, psychologically resonant people that function to show them they aren't alone... "
POINT-OF-VIEW:
The protagonist's voice, which can be regarded his character in some recoverable format, is indicated through author-chosen terminology, word period and complexity, syntax, punctuation, and cadence. While he and the people he interacts with should take the teenage-year course, he needs to have this point-of-view-that is, he must see, see, conceptualize, and understand the planet from his developing perspective, not that of a grown-up looking straight back and writing with the understanding and wisdom he has almost certainly periodically gained.
"The essential thing... isn't with an person perception, never to 'look back' and reflect on the feeling of the situation," based on Nora Raleigh Baskin in her article, "Six Techniques for Writing Young Person Novels" (The Author magazine). "Your figure needs to understand, developed, and modify during the course of the novel from the activities she is experiencing in the book."
DIALOGUE:
"Talk is the celebrity of a young adult book," stresses Brooks (op. cit., p. 89). "It stands middle stage in the focus and brings people to life. It's the language of an account spoken by the people together, but overheard by the reader. A character's debate must build a picture in a reader's mind therefore that he can watch the activity of the history unfold."
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