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1

Adding to the answers already given: 1) If your POV allows it, you can add humor or pathos (or both) by continually interrupting the blathering with the main character's thoughts. Those thoughts can be internal commentary on the inane blather, or juxtaposed seriousness. 2) When people rudely interrupt the blatherer it can be quite humorous. Think Archie ...


1

Remember the law of conservation of detail: When a detail isn't important, don't waste time describing it. When literal speech does not contain any information which is relevant for the plot, get rid of it. You can instead describe the conversation in an abstract summary to convey that the conversation did happen, but the content wasn't relevant. Switch ...


6

First, show the character - the introduction should present them in detail, following the inevitably boring blather. Once the reader knows the character and their vice, you can start skimming, letting the narrator replace the actual blather ("after ten minutes of introduction and catching up on recent gossip..."). Keep reminding the reader, exposing them ...


1

If you haven't done so already, get and read "One flew over the cuckoo's nest" from Ken Kesey. Don't bother with the movie. It misses the perspective of the book, sacrificing most of its power. The book is written from the perspective of Chief Bromden, a hallucinating shadow of a giant reduced into submission by drugs and psychological warfare. Reading ...


3

The key thing is not that they are everyman, it's that people can relate to them. If it's Dr Who or Gandalf, no - they're totally other. But if it's someone like Einstein or Alan Turing, it can work if they're also going through normal human life struggles that your audience can relate to. The difference with using a non-traditional narrator, is that now ...


4

Relateable Characters My favorite childhood character growing up was Bilbo Baggins. He was a single-living half-sized creature with a magical ring who was cowardly but clever, and had a great reluctance to try to go on any sort of adventure. I'm nothing like Bilbo Baggins, yet I can relate to dreams of adventure and wanting to be a quick-witted hero. ...


4

"Glennkill" is written from a sheep's point of view. Which is one of its main points of attraction. I remember a story from the perspective of a cup (Böll maybe?). "The Remarkable Rocket" from Wilde's "The Happy Prince and Other Stories" has fireworks as protagonists. Of course, the Happy Prince himself is a statue. Many fairy tales have things as ...


1

Your protagonist must be like your readers. At least in those aspects that are relevant for your story. People cannot relate to characters that are too much unlike them. So you need to define your target audience, and then make your protagonist "ordinary" for those readers. If you write for children, you protagonist must be childlike (no matter his age or ...


7

I think you've gotten some bad advice. Lead characters do not need to be "ordinary", they need to be realistic. You could easily write a book from Luna Lovegood's point of view, provided you could make her actions relatable, which is to say, logical and reasonable. That's not the same as "ordinary", that just means we can understand why she's doing things. ...


7

It gives the most room to expand. As the story progresses, we observe the change of the protagonist, be it growth in strength or fall to corruption, or getting tangled with powers, or struggling to retain virtues against onslaught of temptations. By starting with someone "generic" you give yourself the most room to expand, to make the change more drastic ...


2

You practically answered your own question. In these two cases, you should probably use a third party narrator. "very intelligent, like Sherlock Holmes (In the books, Dr. Watson is the point of view) very limited, some say stupid or mentally handicapped, like Hodor from A Song of Ice and Fire" The first person shouldn't narrate, and the second person ...


5

You can certainly write a successful story or novel with a non-traditional POV --I'm thinking of Room, and The Curious Incident of the Dog in the Night Time --it will just be a different kind of narrative. The main thing is that a neutral POV acts like a window onto the wider world of your story --which you can then populate with many strange and ...


13

I don't think your protagonist has to be ordinary to be relatable. While I haven't read the series, isn't the point of The Diary of a Wimpy Kid that the protagonist isn't the "healthy good guy hero" type? Writer Graham Moore just won an Oscar for his screenplay adapting The Imitation Game, a biography of codebreaker Alan Turing, and said that Turing was ...


0

Like Jay, I think that it is unimportant what this might be called. I agree with him that the reader should understand what is going on. But to me, much more important is the question wether your readers will want to follow you along that detour. Every reader loves a straight story (if it is well told). I have never read a review that complained that there ...


3

I think the important question is not whether this qualifies as a "flashback" by some technical definition, but rather whether you make it clear to the reader what is going on. I've occasionally read books where there was a flashback and I was well into it before I realized it was a flashback. I started getting confused, saying to myself, "Wait, I thought ...



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