Creating potential for connection is one of the most essential aspects of the writer’s job. Whether you’re writing a hero, a villain, or a character somewhere in between, there should be at least one element that allows the reader to connect with that character. Sometimes, this comes easily. Your characters are likeable, and you don’t
You’ve done everything you can with a piece, but now you’re running up against your biases. You need fresh eyes, professional insight, and a sustained dialogue to show you new paths. You need all that, but you’re still hesitating to involve an editor. Why? Probably because you’re not sure what working with an editor is
Melodrama tends to get a bad rep these days, and not without good reason. Certainly, melodrama – that is, sensational drama; exaggerated, flat characters; farcically exciting events; and extreme responses and actions – can often come at the expense of those other aspects of fiction that make your book worth reading: deep characters, subtext, complex
Most of us are familiar with the idea that characters need to be multidimensional to be believable. E.M. Forster gave us terms for this discussion, ‘flat’ and ‘round’ characters, but the term ‘well-rounded’ predates Forster by at least a century, and the discussion of emotional complexity is as old as history. People simply aren’t simple,
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