In literature, as in life, people often see growth, change, and internal conflicts in a character. The term “one-dimensional person” in a book review or story refers to a person who lacks depth and seems to never learn or grow. When the character is one-dimensional, he or she does not show a feeling of learning in the process of the story. Authors can use such a character to highlight a feature, which is usually an unwelcome feature. One-dimensional characters are also known as flat characters or characters in fictional stories, and there is not much change from the beginning to the end of the story. People think that these types of characters have almost no emotional depth. Their role is often to highlight the protagonist, who usually has a simple and compact view of the situation in life or in the story. Their character is often a stereotype, perhaps just as a literary means to keep the narrative moving. One-dimensional features can be summarized by certain features or features. For example, in all the quiet of the Western Front, Paul Bäumer’s high school teacher Kantorek maintained a one-dimensional role, because despite the war atrocities, he still maintained an idealistic patriotism. Other one-dimensional characters from famous books and plays include: roles that lack internal conflicts or multiple aspects of personality are often referred to as flat or one-dimensional characters. This is often seen as a bad thing in a story, especially for the first time when all characters are one-dimensional. However, if for some reason one or two characters that are essentially too simple, they may not be considered negative features. As long as the author correctly uses one-dimensional characters and deliberately uses them, there is no problem. Often, the most successful narrative is the combination of plane and rounded characters. Speaking of this, it is important to have a strong character to develop the whole to create rounded characters with a certain depth. This helps the character imitate to become a real human. Being able to connect with characters in this way, as readers, makes them more interesting and realistic. In addition, the complexity of the characters reveals the challenges they have experienced and demonstrates many aspects of them, revealing the true preferences of their lives for the reader. Writing better characters for novel readers helps to immerse them in narratives. Here are a few tips for developing multifaceted characters: Allow characters to hold strong opinions. Relevant features that give the character a mix, such as positive features, and character deficiencies, such as errors and fears, will keep them comprehensive. Share their motivations and desires through their thoughts, actions and obstacles, such as other characters. Give the character some mystery. It is unrealistic to throw too many things at the reader once. Treat people like the first time a reader meets and let them develop in the process of the story.