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4

First of all, your protagonist almost must change, or there's not much point to your book. If s/he does not at some point stop running and pull him/herself together, your reader will feel like the book is a waste of time. To make it seem not rushed or fake, you need two things: sufficient buildup before the epiphany to give enough space to the epiphany ...


4

Write it as data inputs and responses. INPUT: USER 1 enters room RESPOND Y/N? Y OUTPUT_$content: {greeting}; {Salutation: 'Good'} {TOD: 1415, 'afteroon'}; INPUT: USER 1 response {"Good afternoon yourself. Did you finish compiling that report?"} SEARCH_DB6b.46: report {SMITH, CHARLES: activities prior 72 hours}; LOCATED COMPLETE Y/N? N ET COMPLETION: 4.7 ...


4

A few possibile viewpoints: An omniscient narrator who describes what the machine does and says. One of the nearby sentient beings, when any are available to observe the machine's important actions or communications. Reports from someone who pieces together the machine's communications and actions from available evidence after the fact.


3

Create a turning point, a defining event for this character, with elements of trauma. Here's an example: John is as stable as a rock, he's very trustworthy and everyone at work depends on him. Nothing seems to scare him. Until, one evening, on his way home, he witnesses a young boy mugged by gangsters. This triggers a memory that was buried in his ...


3

You don't need to overthink this. Readers will accept whatever reality you present to them so long as it is consistent. Just create a set of rules for the robot's AI then write the character as you would for a human. For example: It can only use 100 basic words and key phrases. It will only process the world as raw data. It doesn't see colors or humans; ...


2

The answer to this and your other similar question is the same: Your Mileage May Vary. If you can get it to work, go for it. There's no rule about it one way or the other. In Susanna Clarke's Jonathan Strange & Mr. Norrell, the main villain is always referred to as "the gentleman with the thistledown hair." He's never given a name at all. The book has ...


2

Generally people read for details. On 12 December 2014, Captain James D. Arkey sat in front of his computer and typed furiously. His mind began calculating and he squinted at the response code that appeared on his screen and slammed a fist down on his desk. "They couldn't have," Arkey yelled at empty office. "Those dirty rotten..." A thought ...


2

I think you are oversimplifying a complex issue. And it is complex because humans are complex beings. You can't compare two human beings in a general way, and therefore you can't make the claim that a MC is similar/better/worse than the intended reader - another assumption: is the intended reader a single person? At best, what you can do is present a ...


1

sure, why not? I think as long as there is some coherent structure behind the character so that you can establish that this person would behave in thus-and-such a way, and it's consistent and credible, the nature of that structure is up to you. MBTI, Jungian, RPG alignment, personality quizzes — use whatever tool or combination of tools works for you. ...


1

This is at least the third question you've posted about revealing the name of a character. I think you're obsessing over this tiny point way too much. Just give him a name and be done with it. Most stories start out identifying the main characters' names in the first few paragraph, usually in a totally nonchalant way. Often at least one main character is ...


1

Reading is an imaginative act on behalf of the reader which means two things: You need to give a reader all the information necessary to imagine whatever it is you want them to imagine. Readers will imagine whatever they want and you can only control them so much. Typically in more old fashioned writing you will see huge amounts of description telling ...


1

There are tons of beautiful stories out there with unnamed characters. Aimee Bender's collection The Girl in the Flammable Skirt is full of them. None of the characters in Hemingway's "Hills Like White Elephants," one of the best-known stories, are given names. In Aesop's Fables we don't learn the names of the hare or tortoise, or the ant or grasshopper. ...


1

There may be a good reason to do this. But in general I'd say, don't. We normally identify people by their names. Sometimes we use a title or capsule description, like "the mayor" or "Sally's brother", if we don't know the person's name or if the description is important or is how the person is addressed. Referring to a person regularly without using a name ...


1

To me, your question sounds, as if you have trouble showing the gradual development of your character. A good discussion of how to provide well-rounded characters arcs is provided, for example, in Chris Vogler's The Writer's Journey: This was the most helpful book I've ever read about storytelling. It adresses the very essence of what a story is and how ...


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What do you think the reader will expect? I don't think that when reading your novel, they will think: "Well, he is going to be scared the rest of the novel, he will never do anything, the end." I think, that by creating the conflict, and the scared protagonist, the readers will expect him to not be scared at some point, and do something about the conflict. ...


1

I would firstly like to say that the answer by @Jay is excellent, and provides some good pointers on which characters should be one-dimensional or three-dimensional. Like others here, I have never heard of two- or three-dimensional characters. I have heard of one-dimensional and multi-dimensional. One-dimensional This reflects a character that lacks ...



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