在文学中，就像在生活中一样，人们经常看到在一个角色中进行的成长，变化和内部冲突。书评或故事中的一维人物一词指的是缺乏深度且似乎永远不会学习或成长的人物。当角色是一维的时，他或她在故事的过程中没有表现出学习的感觉。作者可以使用这样的角色突出某个特征，通常，这是一个不受欢迎的特征。一维人物也被称为虚构故事中的扁平人物或人物角色，从故事开始到结尾都没有太大变化。人们认为这些类型的人物几乎没有情感深度。他们的角色往往是突出主角，他们通常对生活或故事中的情况持有简单而小巧的视角。他们的性格往往是一种刻板印象，可能只是作为一种文学手段来保持叙事的移动。一维特征可以用某种特征或特征来概括。例如，在西部战线的所有安静中，PaulBäumer的高中教师Kantorek保持着一个一维角色的角色，因为尽管遇到了战争暴行，他仍保持着理想主义的爱国主义感。来自着名书籍和戏剧的其他一维角色包括：缺乏内部冲突或个性的多个方面的角色通常被称为平面或一维角色。这通常被视为一个故事中的坏事，特别是对于第一次作家来说，当所有角色都是一维的时候。但是，如果出于某种原因存在一个或两个本质上过于简单的字符，则可能不会将其视为负面特征。只要作者正确使用一维字符，并且故意使用，就没有任何问题。通常情况下，叙事最成功的是平面和圆角字符的组合。说到这一点，重要的是要有一个强大的角色发展整体来创建具有一定深度的圆角字符。这有助于角色模仿成为真正的人类。能够以这种方式与角色联系，作为读者，使他们更有趣和现实。此外，角色所拥有的复杂性揭示了他们所经历的挑战并展示了他们的许多方面，这揭示了他们的生活对读者来说真正的喜好。为小说读者写出更好的角色有助于让他们沉浸在叙事中。以下是开发多面角色的几个技巧：允许角色持有强烈意见。赋予角色混合的相关特征，例如积极的特征，以及角色缺陷，如错误和恐惧，将使他们保持全面。通过他们的思想，行动和障碍，例如其他角色，分享角色的动机和欲望。给角色一些神秘感。一次向读者扔太多东西是不现实的。像读者第一次见面的人一样对待人物，让他们在故事的过程中发展。
加拿大麦吉尔大学文学Essay代写:刻板印象
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.