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This is because, for a story or fiction to be fascinating, there is always a personality where the story revolves around. These characters’ fundamental attribute is that their story is told in sufficiency to allow people conclude that they are three-dimensional, genuine, rounded, innovative, outstanding, as well as true to life (“Character: The People of Fiction”, pp 9). This script will highlight the traits of a realistic, fully-round personality. It will also outline three examples of fully-round personage in different short stories.
Fully round characters have many more aspects in their personalities as compared to flat or any other character in a play. They are usually the core of people’s focus in most of the fictions or short stories, and are portrayed by creativity as well as personality. These characters also have intrinsic traits, akin to every human being, which are brought about by the events of a story; therefore, their complete portrayal as characters is straightforwardly linked to the narratives relating to the lives they had lived (“Character: The People of Fiction”, pp 10).
Hence, the fully-round character participates in the major part of a story, and they are the heroes in most of the times. However, some of these characters may not appear as heroic, but they are always the protagonists. They are essential to the accomplishment, progress in opposition to the antagonist, as well as display the capability to adjust to new circumstances. These characters are also most of the times dynamic since they identify and adapt to situations (“Character: The People of Fiction”, pp 11-14).
There are so many examples of plays that portray fully-round characters, such as in the various plays written in the Seagull reader. For example, in the play “Fences”, by August Wilson, the fully round character, Troy Maxon, is an agitated garbage collector as well as ex-baseball participant. This character
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