James Wood begins his 2008 craft book How Fiction Works with a discussion of free indirect discourse, thus framing his whole argument about good fiction with the idea of point of view, and then later dismisses postmodern fiction for flat and unrealistic characters. Scholars have long argued that the rise of the novel in Europe coincides with the rise of the individual, while contemporary critics often judge literary fiction in terms of how realistic its characters are and how well a reader will connect to them emotionally. It’s an almost universally accepted notion now that good literature comes down to character.
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