While some stories center exclusively on one or two people, most contain many characters that appear throughout the plot. The primary figure is, of course, the center of attention. They are not flat characters. Knowing how to create a novel requires being acquainted with the workings of a flat character. Sometimes they play an important role in the narrative; sometimes not. Their actions affect the story in only one way: directly or indirectly through other characters.
The secondary characters are often described as flat because they don't possess any distinctive traits other than those implied by their roles in the narrative. However, some secondary characters may have interesting aspects that make them more complex than "mere" characters. For example, Mr. Knightley from Jane Austen's Pride and Prejudice is usually regarded as a flat character because he does nothing but love Elizabeth Bennett and hate her father. But some readers have argued that he is three-dimensional because he is witty and charming in his own right. Similarly, Mrs. Bennet is said to be flat because she reacts to all that happens around her, but some readers believe she has color enough for four characters.
Even minor characters exhibit something of interest about them.
A flat character is not always a poor one. A character who is purposefully flat, on the other hand, might play an important role in a plot. Knowing how to create a novel entails knowing exactly what type of characters you will employ. They are not complicated individuals. Readers should have a clear understanding of their position. It is also important to understand that some characters will be more appealing than others.
There are two types of characters: three-dimensional and two-dimensional. A three-dimensional character has depth; she has traits that make her unique. For example, Luke Skywalker is a three-dimensional character because he has courage, compassion, and honor. He is not perfect, however, so he makes mistakes. Two-dimensional characters are simple: they have good or bad qualities, but they are identical in every way except for those qualities. The only reason to include them in a story is if you want to show how different people view the same event. For example, Mr. Burns is a two-dimensional character from "The Simpsons"; everyone hates him, he is greedy, and he is responsible for Bart's bullying by telling others that he plays baseball with him.
Now, back to our topic at hand: it is acceptable to have flat characters as long as you do it intentionally. If you want to write about unsympathetic people, there are many ways you can go about it.
A flat character's duty is to assist the main character in achieving his aims and goals. Flat characters are frequently used as supporting characters in a tale, play, or novel. They are not significant characters, yet they are vital to the plot since they bring harmony, calm, and comedy. Without them, things would be too serious or too dull.
There are two types of flat characters: minor and secondary. Minor characters are those that contribute only slightly to the story line while secondary characters play an important role. Flat characters can be people or objects. For example, King Arthur is a major character in novels written about him; however, he is also a person who has feelings and thoughts like everyone else. Thus, he is a flat character. Objects are more common than people flat characters because objects do not have feelings. A chair will always be a chair whether someone is sitting in it or not. A knife can still cut you even if no one is holding it.
Minor and secondary flat characters are useful tools for writers to expand their stories. Using these characters, authors can add suspense, drama, and interest to their works.
If a character is one-dimensional or lacks complexity, it is considered to be "flat." However, any character in a tale, including the major characters, might be flat. Just because a character is flat doesn't imply they're boring or badly written. It just implies they are one-dimensional. A flat character might be interesting if they have some kind of limitation that makes them more real or human.
Flat characters are common in fiction, especially comics and manga. In these genres, writers and artists often use flat characters to highlight certain aspects of their story. For example, an author could make the main character completely flat by giving them no personality traits other than being male or female. This would make them easy to identify with but would also limit how much drama can happen between them and their obstacles.
Characters we feel connected to are known as "three-dimensional" characters. They exhibit traits that make them unique and interesting - sometimes even when they do something stupid! - which helps us connect with them on an emotional level. Writing characters who are not three dimensional tends to result in audiences feeling detached from them; this is why it's important to give all characters depth regardless of what role they play in the story.
Flat characters—minor persons that play a supporting role in the story—are utilized to propel the action forward and provide subtle exposition. Such characters do not alter or grow much during the course of a novel. They are sometimes known as "static characters" or "two-dimensional characters."
The usefulness of such characters is that they can be introduced early on in the story without overwhelming it with extraneous details. For example, if we were to describe each character in Harry Potter in detail right now, this article would be endless because there are so many of them! However, we only need to know a few things about each one to understand their roles within the story.
This means that flat characters are an excellent choice for writers who don't have time to develop fully realized characters but still want to include some depth in their stories.
Minor characters come in many forms. Some examples are servants, police officers, waiters, soldiers, parents, friends, etc. The key thing to remember is that although these people may seem important, you should never feel compelled to explain their actions or fill in any major plot holes through expositional dialogue. Leave that for the major characters and allow the reader to make their own conclusions.
Now, here's where it gets interesting: sometimes authors will create flat characters who have secret depths.