The phrase "a conventional character" is correct and usable in written English.
It can be used to describe a character that adheres to established norms or stereotypes in literature, film, or other forms of storytelling.
Example: "In many romantic comedies, the protagonist often falls in love with a conventional character who embodies traditional traits of charm and humor."
Alternatives: "a typical character" or "a standard character".
Brautigan's prose writing is notable for its terse epigrammatic style, juxtaposition of surreal images with mundane items or events, and dreamlike presentation that often relies upon the personal memories of the narrator or of a character while eschewing conventional character development.
Thus his position seems to represent the immoralist challenge in a fully developed but streamlined form, as reducible to a simple question: given the conventional character of justice and our own pleonectic nature, why should any one of us be just, in any context in which injustice would be profitable?
According to Saussure, the differential structure of language is a consequence of its purely conventional character.
And the more conventional character treatment is just that: disappointingly conventional.
In place of language and conventional character portrayal, which is also undermined, are other kinds of artifice.
The existence of similar figures of different size, or the conventional character of units of length, appeared self-evident to mathematicians of the period.
Both men were trying to develop a modern realistic drama, but neither had the power to break away from the type of artificial plots and conventional character types expected by theatregoers.
This fairly conventional character might have led to similar mainstream parts but, instead, further hysteria was called for in Madness of the Heart (1949) where her powerful co-star Margaret Lockwood – proving less supportive than Kerr had been – insisted that Byron's close-ups be confined to those that showed her angular features distorted by frustration and anger.
In the physical sciences proper, such as optics and electrodynamics, the scene changes entirely and principles seem no longer to share the conventional character of the geometrical postulates.
Classical serviceability criteria for wind-induced accelerations are discussed pointing out their conventional character and unreliability due to the uncertain knowledge of structural damping.
