Is the Presence of Likeable Protagonists Significant in Female-Focused Literature?
In the vibrant world of literature, Kathryn Craft stands out as an author who delves deep into the complexities of human nature. With a background as a dance critic and a freelance developmental editor at Writing-Partner.com, Craft's keen eye for detail and understanding of character development shines through in her work.
Craft's novels, "The Art of Falling" and "The Far End of Happy," published by Sourcebooks, are testament to her dedication to crafting characters that are psychologically consistent and capable of navigating the most challenging of circumstances. In "The Far End of Happy," the three female protagonists are forced to make unwelcome choices, face shameful secrets, and endure a loved one's suicide standoff.
Craft's perspective on character likability is influenced by her former role as a dance critic. She believes that whether a character is liked is not the most interesting focus for discussion; the arts are subjective by nature. Instead, she values characters who are courageous, morally sensitive, and politically engaged, such as Frank Meier and Blanche Auzello from Philippe Collin's Der Barmann des Ritz. These characters exemplify loyalty, observation, and bravery under pressure, traits that allow for a profound connection and understanding of complex human experiences.
Interestingly, the question of the characters' likability did not enter Craft's mind when writing "The Far End of Happy." She seeks to develop her characters in a way that allows them to change and learn from their mistakes, rather than focusing on their likeability as a measure of their worth.
Craft is an active member of the Tall Poppy Writers and can be found on Facebook and Twitter, where she enjoys making friends through the writing community, online readers, book clubs, and discussions about characters' difficult journeys. She believes that her work focuses on expanding ways of thinking and feeling more fully alive through literature.
Despite the occasional reservations readers might have about a character, Craft maintains that reading to expand one's perceptions of what it means to be human is far more important than whether or not they like a character. A woman in one of her book clubs, for instance, did not read a certain book because she heard the protagonist was weird. Yet, it is these very complexities that make literature so valuable and thought-provoking.
In the end, Craft concludes that whether she likes a character is not relevant to her enjoyment of the story. She reads to be challenged, to empathise, and to gain new insights into the human condition. And in doing so, she invites her readers to do the same.
If you're intrigued by Craft's approach to literature and wish to reach out, her website is available for contact. She looks forward to connecting with fellow literature enthusiasts and exploring the depths of human experience together.
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