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By Dwight V. Swain

A jargon-free guide at the fundamentals of constructing attention-grabbing fictional characters

Vibrant, plausible characters support force a fictional tale. in addition to a smart plot, well-drawn characters make us are looking to proceed interpreting a unique or end gazing a film. In developing Characters, Dwight V. Swain indicates how writers can invent fascinating characters and increase them in order that they movement a narrative along.

“The middle of character,” he says in bankruptcy 1, “lies in each one person tale person’s skill to care approximately anything; to believe implicitly or explicitly, that whatever is important.” construction on that foundation—the ability to care—Swain takes the would-be author step by step throughout the basics of discovering and constructing “characters who flip you on.” This uncomplicated yet thought-provoking how-to is a helpful device for either the beginner and the professional author.

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29 The right-facing Enki is thus perceived as being at ease and benevolent. In contrast, the petitioners’ apprehension at meeting Enki is hinted by their approach from the opposite direction, right to left. j. A gift stipulates reciprocity. The worshipper brings a lamb offering to Enki in an effort to propitiate the great god before presenting his petition. k. ) ‘‘floating’’ on either side of the worshipper remain ambiguous. Because they are unrelated to the ground line, it is unclear whether they are meant to identify or qualify the minor gods or the worshipper, or if they are mere aesthetic fillers.

Conclusion The evolution of glyptic art matches that of ceramic painting. The composition of seals enables a closer analysis of the genesis of narrative art in Mesopotamia, because unlike pottery painting, which was discontinued for several centuries during the proto-literate period, glyptic art experienced no interruption. The changes in both crafts illustrate writing’s profound impact on Mesopotamian culture. In fact, they demonstrate that literacy brought about fundamental conceptual transformations.

Poid associated with horned animals may have referred to a myth, in which case the composition evoked legendary figures but did not tell their stories. The Proto-literate Glyptic The proto-literate glyptic of Tepe Gawra preserved many of the preliterate characteristics. Fifty-six of the seals bore all-over geometric designs. Almost one-third of the 64 animal designs depicted a single beast drawn from the same menagerie as the preliterate. The anthropoid with pointed head and flexed legs continued to be mixed topsy-turvy with animals.

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