I hope you can forgive me guys but this Lecture 6 was poorly type there is actually no defining a major character from a minor character. Minor characters, Flat Characters and Round Characters are the only discussed. I will be looking into other writing guides to see if they have anything to define major characters. I did switch the lecture's order around because it jumped topics so much when it didn't need to. So I gave you have the end first and worked backwards from there so if you understand why it feels simple and thorough that because switching the order around writing it back to front and the back page of the last page to the front page and again back to the last two pages themselves.
This lecture whoever performed the typing didn't know what they were doing with the original order of this Lecture 6 and I apologize for that, Skylights. They made the lecture look sloppy and disorganized when it actually isn't. -Lumna10.
As for the distinction between round and flat, you may not notice which a character is until after you've created him or her, but at some point, you should think deliberate in about the function of each character-minor, flat or round in your narrative.
Whether you construct characters in advance or let them develop organically as you write the narrative, at some point, you will come to a visceral understanding of how your characters figure in the story and how simple or complex their desires are.
You may discover that a character you originally conceived of as round and complex actually functions only to move the plot along. In that case, you have a flat character, and you can draft or revise your story to ensure that he or she is memorable but without constructing a detailed backstory.
You may also discover that a character you meant to be minor turns out to be rounder and more important than you originally thought. If that's the case, you can make the introduction of that character a little fuller so that his or her reappearance in the story seems believable.
Suggested Reads below, Skylights.
Great Expectations by Dickens.
The Great Gatsby by Fitzgerald.
Aspects of the Novel by Forster
Field of Blood by Mina.
The Adventures of Huckleberry Finn by Mark Twain. -Professor James Hynes.
Finally a writing prompt for you to practice with a story you like or your first completed draft, Skylights, below.
Using a story you like or a completed draft of one of your own storis, list all the characters and describe what each character wants as briely as possible. Using only what the story itself says about the character, you should be able to determine quickly who is flat versus round and who is major versus minor. Sherlock Holmes's entry might say, "He wants to solve the crime and impress everyone with his brilliance." Anna Karenina's entry might say, "She wants the sort of passion from another man that she's never had from her husband, but in truth, she doesn't really know what she wants." If you find yourself pausing over one of your own characters and wondering what he or she wants to do, you may discover that you have some additional work to do in character development. -Professor James Hynes .
Anything involving the actual writing practice of a character I will put the writing prompt up at the end of each of their respective chapter discussions. After I find a chapter of the difference about a major main character I will discuss Lecture 3 from this book being How Are Characters Different From People, Lecture 4 Fictional Characters Imagined and Observed and Lecture 5 How To Properly Introduce A Character
Then I will move to Lecture 8 Integrating Dialogue within A Narrative.
Then we go back up to Lecture 7 The Mechanics of Dialogue and before we get to Lectures about World Building and tweaking plotting I will give their entire section of Punctation Editing hints from the very back of his course-book. And then I will compare and contrast his newer version of Point of View Lectures, and 1st, 2nd and 3rd Point of views lessons with the older book Writing for 100 Days.