How Can Writers Make Round And Flat Characters Feel Real?

You think I care about titles?” he asked, stepping even closer until I could feel the heat radiating from him. “Do you think that matters to me?” “It should,” I said, my voice breaking slightly. “It matters to me.” He tilted his head slightly, studying me. "Why? Why does it matter so much to you?" “Because,” I said quickly, searching for the right words. “Because people like me... we don’t belong with people like you. You’re... you’re powerful, and I’m—” “Beautiful,” he cut me off, his voice firm. I froze, my words dying on my lips. “What?” I whispered. “You’re beautiful, Sophia,” he said again, his tone softer this time. “And I’m tired of pretending I don’t notice it. You think being a maid defines you, but it doesn’t. Not to me.”

I was nineteen the first time Cole Whitfield broke me. Not with cruelty. With a single word. Why. Not did you — why. Like the answer was already settled and he just wanted the story to make sense. I told him the truth anyway. He said nothing that mattered. So I picked up my bag, walked out of his apartment, and decided that a man who trusted a rumor over two years of me wasn’t worth a correction. I spent the next two years becoming someone I actually liked. New city. Graduate program. A published paper with my name on it. I was done with Cole Whitfield in every way a person can be done. Then I walked into Seminar Room 114 and he was sitting right there, gray eyes already on the door, like some part of him knew. I sat down. I opened my notebook. I did not look up. Here’s the thing about studying how people form beliefs: you understand exactly why he believed it. That doesn’t mean you forgive it. That doesn’t mean two years of silence disappear because he’s learned how to look at you like he’s sorry. He wants a conversation. I want my degree. But the campus is small, the seminar table is round, and the boy who broke my heart at nineteen is doing everything right at twenty-one — and I’m starting to understand that composed isn’t the same thing as healed. I hate that I still know the exact sound of his voice.

Her name was Cathedra. Leave her last name blank, if you will. Where normal people would read, "And they lived happily ever after," at the end of every fairy tale story, she could see something else. Three different things. Three words: Lies, lies, lies. A picture that moves. And a plea: Please tell them the truth. All her life she dedicated herself to becoming a writer and telling the world what was being shown in that moving picture. To expose the lies in the fairy tales everyone in the world has come to know. No one believed her. No one ever did. She was branded as a liar, a freak with too much imagination, and an orphan who only told tall tales to get attention. She was shunned away by society. Loveless. Friendless. As she wrote "The End" to her novels that contained all she knew about the truth inside the fairy tale novels she wrote, she also decided to end her pathetic life and be free from all the burdens she had to bear alone. Instead of dying, she found herself blessed with a second life inside the fairy tale novels she wrote, and living the life she wished she had with the characters she considered as the only friends she had in the world she left behind. Cathedra was happy until she realized that an ominous presence lurks within her stories. One that wanted to kill her to silence the only one who knew the truth.

My son, Archie Burton, has a bad habit of being painfully honest. I ask him, "Am I handsome?" "To be honest, Dad," he says, "you're the ugliest dad in the whole kindergarten." My mother-in-law tears into me for being a spendthrift after I buy Archie an expensive backpack, and I ask him how he feels about it. "Honestly," he says, "it makes me happy to watch you get chewed out." My wife asks him jokingly if he'll take care of me when I get old. "No way am I looking after him," he says. "When he gets old, he should just die." My heart sinks. But Archie just smiles. "I'm only telling the truth!" Then the police come by to conduct a census check and ask him a few simple questions. He is brutally honest as usual. Only this time, he regrets it for the rest of his life.

What happens when your life is just a lie? What happens when you finally find out that none of what you believe to be real is real? What if you met someone who made you question everything? And what happens when your life is nothing but a fiction carved by Mr. Fiction himself? "The truth is rarely pure and never simple." — Oscar Wilde. Disclaimer: this story touches on depression, losing someone, and facing reality instead of taking the easy way out. ( ( ( part of TBNB Series, this is the story of Clarabelle Summers's writers ))

Vera fought for her life in the apocalypse for ten years. Ten brutal years left her disfigured, hungry, and almost broken, but she still clawed her way through it. She killed zombies, ran from mutated animals, starved, bled, and learned humans were often more dangerous than monsters. Then her brother, the only family she had left, betrayed her. Vera thought death had finally come. Instead, she woke up inside a trashy book she once read to stay sane while the old world fell apart. A book with a twisted plot and too much drama. And because her luck had always been terrible, Vera did not wake up as the heroine. No, of course not. Her second chance was to become the hated second female lead, pregnant, unwanted, and written to die when the plot no longer needed her. Her babies were supposed to die too. Even the three men who got her pregnant were written as future corpses, all to push the story toward spoiled women and one psychotic male lead. But Vera was not the woman from the book. She had survived one ruined world. She had not walked through radioactive rain and eaten mutated food just to cry over fantasy characters or beg for love inside a stupid plot. So Vera adapted. She accepted her punishment, took her three unborn babies, and left for the garbage center without making a scene. Everyone thought she had been thrown away. Vera saw a chance to make money, protect her babies, and build something of her own. Now the woman meant to disappear is building a wasteland empire, breaking the plot, and driving three men insane because she no longer chases anyone. By every rule in that world, Vera should be dead. But dying a second time was never an option.