在文学中，就像在生活中一样，人们经常看到在一个角色中进行的成长，变化和内部冲突。书评或故事中的一维人物一词指的是缺乏深度且似乎永远不会学习或成长的人物。当角色是一维的时，他或她在故事的过程中没有表现出学习的感觉。作者可以使用这样的角色突出某个特征，通常，这是一个不受欢迎的特征。一维人物也被称为虚构故事中的扁平人物或人物角色，从故事开始到结尾都没有太大变化。人们认为这些类型的人物几乎没有情感深度。他们的角色通常是突出主角，他们通常对生活或故事中的情况持有简单而小巧的视角。他们的性格往往是一种刻板印象，可能只是作为一种文学手段来保持叙事的移动。流行的一维字符的例子 一维特征可以用某种特征或特征来概括。例如，在西部战线的所有安静中，PaulBäumer的高中教师Kantorek保持着一个一维角色的角色，因为尽管遇到了战争暴行，他仍保持着理想主义的爱国主义感。来自着名书籍和戏剧的其他一维角色包括：来自罗密欧和朱丽叶的Benvolio（来自William Shakespeare）来自The Crucible的Elizabeth Proctor（来自Arthur Miller）来自To Kill a Mockingbird的Maudie小姐（来自Harper Lee）如何避免写作 – 维度中的维度字符。缺乏内部冲突或个性的多个方面的角色通常被称为平面或一维角色。这通常被视为一个故事中的坏事，特别是对于第一次作家来说，当所有角色都是一维的时候。但是，如果出于某种原因存在一个或两个本质上过于简单的字符，则可能不会将其视为负面特征。只要作者正确使用一维字符，并且故意使用，就没有任何问题。通常，叙事最成功的是平面和圆角字符的组合。话虽如此，重要的是要有强大的角色开发整体来创建具有一定深度的圆角字符。这有助于角色模仿成为真正的人类。能够以这种方式与角色联系，作为读者，使他们更有趣和现实。此外，角色所拥有的复杂性揭示了他们所经历的挑战并展示了他们的许多方面，这揭示了他们的生活对读者来说真正的喜好。
In literature, as in life, people often see growth, change, and internal conflict carried out in a single character. The term one-dimensional character in a book review or story refers to a character who lacks depth and who never seems to learn or grow. When a character is one-dimensional, he or she does not demonstrate a sense of learning in the course of a story. Authors may use such a character to highlight a certain trait, and usually, it is an undesirable one. One-dimensional characters are also known as flat characters or characters in fictional stories that do not change much from the start of the story to the end. It is thought that these type of characters have little to no emotional depth. Their role is often to highlight the main character, and they typically hold a simple and small perspective about life or the situation in the story. Their character is often a stereotype and may simply be used as a literary device to keep the narrative moving. Examples of Popular One-dimensional Characters. A one-dimensional character can be summed up in a certain trait or characteristic. In All Quiet on the Western Front, for example, Paul Bäumer’s high school teacher, Kantorek, maintains the role of a one-dimensional character, because he maintains a sense of idealistic patriotism despite his encounters with war atrocities. Additional one-dimension characters from famous books and plays include: Benvolio from Romeo and Juliet (By William Shakespeare) Elizabeth Proctor from The Crucible (By Arthur Miller) Miss Maudie from To Kill a Mockingbird (By Harper Lee) How to Avoid Writing One-dimension Characters in a Story. Characters that lack internal conflict or multiple facets to their personality are often dubbed as flat or one-dimensional characters. This is often seen as a bad thing in a story, especially for first-time writers, when all of the characters are one-dimensional. However, if there are one or two characters that are simplistic in nature for a reason, it may not be perceived as a negative trait. As long as an author uses one-dimensional characters correctly, and with deliberate intention, there is nothing wrong with it. Often, a narrative is most successful with a combination of flat and rounded characters. With that said, it’s important to have strong character development overall to create rounded characters that have some depth to them. This helps characters imitate being a real human being. Being able to relate to characters in this way, as a reader, makes them far more interesting and realistic. Furthermore, the complexity that a character holds reveals the challenges they go through and shows the many sides of them, which reveals what their life is truly like to readers.