Short Story and Novel Terms and Devices!

Total Page:16

File Type:pdf, Size:1020Kb

Short Story and Novel Terms and Devices! Short Story and Novel Terms and Devices! PLOT: *Antecedent Action: the actions taking place before a story begins. A story typically begins “in media res” which means “in the middle of things.” As readers, we often need to understand the action before the story takes place to derive deeper meaning from the text and understand character motivations. 1. Exposition: the presentation of background information on characters, establishing SETTING (time and place) 2. Inciting Incident: the establishing of CONFLICT in a story and is the event which sets the rising action in to motion 3. Rising Action: the series of events in a story leading to the climax 4. Climax: the highest point of action and the turning point of the story 5. Falling Action: the events that take place immediately after the climax leading to the resolution/denouement 6. Resolution: how the story in tied up and how the conflict is resolved *Red Herring: a clue to deliberately mislead the reader *Foreshadowing: a clue of hint as to what is to come later in the story *Flashback: a plot device used to show past events to provide further detail about plot or character *Suspense: the feeling of growing tension and excitement felt by the reader as the plot develops Mood/Atmosphere: the feeling that the story give to the reader Imagery: the use of descriptive language to appeal to the 5 senses CHARACTER: Protagonist: the main character in a story Antagonist: the oppositional force in a story (not always a villain) Types: Flat: an undeveloped character with few traits Round: a fully developed character whom we know much about Static: a character that does not change over the course of the story Dynamic: a character who changes in their thoughts and opinions over the course of the story Stock: a stereotypical character who is well recognized by specific character traits Foil: a character who is in contrast to another character (usually the protagonist) to enhance or emphasize character qualities Anti-Hero: protagonist who lacks conventional heroic qualities such as idealism, courage, and morality Motivations: a character may be driven by “Hubris” (pride), which may lead to the inevitable downfall of the character due to their “Hamartia” (tragic character flaw). Characters often encounter a DILEMMA (problem) in their journey, in which they must make a critical choice. This may lead to an EPIPHANY (sudden realization). Characterization: the method the writer uses to develop a character in a story Direct: what the author tells us directly about the character (physical attributes and character trait) Indirect: when we infer character traits due to the speech and actions of the character, or how others treat that character. NARRATIVE POINT OF VIEW: First Person: when the narrative is told from the character’s point of view. (Ex. “I” or “Me”) Third Person Omniscient (God-like-narrator): the narrator is telling the story from a third person perspective and can see the thoughts and feelings of all characters in the story (Ex. “he” and “she”) Third Person Limited: similar the third person omniscient narrator BUT this POV focuses on one character Objective: the narrator functions like a film camera, observing the people and environment in the story, simple revealing what is done and seen Tone: the way the writer’s choice of words reveals his/her attitude toward the subject *when describing tone use an appropriate word ex. Pessimistic, enthusiastic, sarcastic Colloquial (informal) Language vs. Formal Language CONFLICT: Internal: Person vs Self External: Person vs Person Person vs Society Person vs Nature/Environment Person vs Supernatural Person vs Technology IRONY 1) Situational Irony: when the outcome of a situation is in contrast to our expectations 2) Verbal Irony: when a character says something that they do not mean 3) Dramatic Irony: when we know what is going on in the story, but the characters don’t Symbolism: the use of an object (colour, or character) to represent or stand for an abstract thought or concept ex. Dove=peace, a heart = love Metaphor: an indirect comparison that does not use like or as (ex. “He was a storm of anger that day”) Allegory: is a form of extended metaphor, in which objects, persons, and actions in a narrative, are equated with the meanings that lie outside the narrative itself. Motif: a recurrent idea, image, symbol, theme, etc. (ex. Light and dark imagery, the conch in LOTF) Satire: is a genre of literature, and sometimes graphic and performing arts, in which vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, corporations, government or society itself, into improvement. Parody/Caricature/Irony/Hyperbole/Incongruity Allusion: a reference to a famous literary text, author, event in history, etc THEME: the overall message that the author is attempting to convey through the story. This is generally a comment on human nature. Common themes: o Be careful what you wish for o Absolute power corrupts absolutely o People learn from their mistakes o Sacrifices bring rewards o Loss of innocence .
Recommended publications
  • Blake Snyder's Beat Sheet
    NYC Screenwriters Collective Blake Snyder’s Beat Sheet - Explained The Blake Snyder Beat Sheet breaks down three-act screenplay structure into 15 bite-size, manageable sections called beats, each with a specific goal for your overall story. Below is an explanation of each beat. The page numbers are not strict, they are approximations of where the beats should occur in a 110 page screenplay. THE BLAKE SNYDER BEAT SHEET (aka BS2) Opening Image (1) – A visual that represents the central struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins. Often mirrors the Closing Image. Set-up (1-10) – Expand on the opening image. Present the main character’s world as it is, and what is missing in their life. Stasis = Death, the “before” life of the protagonist is such that if it stays the same, he or she will figuratively die. In addition, the main character’s flaw, his problem that needs fixing over the course of the story, is revealed. (In many stories, it is not the main character’s flaw, but another central character’s flaw that is presented for him to resolve over the course of the story – for the character to ‘arc’) Theme Stated (5) (during the Set-up) – The message, the truth you want to reveal by the end of your screenplay. What your story is about in a larger sense. Usually, it is spoken to the main character or in their presence, but they don’t understand this truth…not until they go on the journey to find it.
    [Show full text]
  • Short Stories
    Elements and Characteristics of Short Stories Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time. In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of the conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral. Because of their short length, short stories may or may not follow this pattern. Some do not follow patterns at all. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. Of course, as with any art form, the exact characteristics of a short story will vary by author. Length Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to be read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846).
    [Show full text]
  • Narrowing the Gap Between Imaginary and Real Artifacts: a Process for Making and Filming Diegetic Prototypes
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Narrowing the Gap Between Imaginary and Real Artifacts: A Process for Making and Filming Diegetic Prototypes Al Hussein Wanas Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Art and Design Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3142 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Al Hussein Wanas 2013 All Rights Reserved 2 Approval certificate for Al Hussein Wanas for the thesis project entitled Narrowing The Gap Between Imaginary And Real Artifacts: A Process For Making And Filming Diegetic Prototypes. Submitted to the faculty of the Master of Fine Arts in Design Studies of Virginia Commonwealth University in Qatar in partial fulfillment for the degree, Master of Fine Arts in Design Studies. Al Hussein Wanas, BFA In Graphic Design, Virginia Commonwealth University in Qatar, Doha Qatar, May 2011. Virginia Commonwealth University in Qatar, Doha Qatar, May 2013 Diane Derr ______________________ Primary Advisor, Assistant Professor Master of Fine Arts in Design Studies Patty Paine ______________________ Secondary Advisor, Reader, Assistant Professor Liberal Arts and Science Levi Hammett ______________________ Secondary
    [Show full text]
  • The Power of Short Stories, Novellas and Novels in Today's World
    International Journal of Language and Literature June 2016, Vol. 4, No. 1, pp. 21-35 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). 2015. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v4n1a3 URL: https://doi.org/10.15640/ijll.v4n1a3 The Power of Short Stories, Novellas and Novels in Today’s World Suhair Al Alami1 Abstract The current paper highlights the significant role literature can play within EFL contexts. Focusing mainly on short stories, novellas and novels, the paper seeks to discuss five points. These are: main elements of a short story/novella/novel, specifications of a short story/novella/novel-based course, points for instructors to consider whilst dealing with a short story/novella/novel within EFL contexts, recommended approaches which instructors may employ in the EFL classroom whilst discussing a short story/novella/novel, and language assessment of EFL learners using a short story/novella/novel-based course. Having discussed the aforementioned points, the current paper proceeds to present a number of recommendations for EFL teaching practitioners to consider. Keywords: Short Stories; Novellas; Novels Abbreviation: EFL (English as a Foreign Language) 1. Introduction In an increasingly demanding and competitive world, students need to embrace the four Cs: communication, collaboration, critical thinking, and creativity. Best practices in the twenty-first century education, therefore, require practical tools that facilitate student engagement, develop life skills, and build upon a solid foundation of research whilst supporting higher-level thinking. With the four Cs in mind, the current paper highlights the significant role literature can play within EFL contexts.
    [Show full text]
  • The Relationship Between Plot and Genre in Short Fiction ASHLEY R LISTER a Thesis Submitted in Partial Fulfilment
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Bolton Institutional Repository (UBIR) Five Plots: The Relationship Between Plot and Genre in Short Fiction ASHLEY R LISTER A thesis submitted in partial fulfilment of the requirements of the University of Bolton for the degree of Doctor of Philosophy. February 2018 Contents Acknowledgements ........................................................................................................................ iii Abstract .......................................................................................................................................... iv Introduction ..................................................................................................................................... 1 Chapter 1: Literature Review ...................................................................................................... 9 An Interpretation of Genre .......................................................................................................... 9 The Components of Plot ........................................................................................................... 21 Chapter 2: Methodology ............................................................................................................. 34 A Different Approach ................................................................................................................. 34 Chapter 3: The Horror Genre ...................................................................................................
    [Show full text]
  • AP English Literature and Composition 2008 - 2009 Analytic Reading Round Rock High School Page 7
    SUMMER WORK DO NOT GET OVERWHELMED. Breathe. Follow instructions and you’ll be fine. I. Join the AP Lit Remind101 group: a. Text the message @aplitwshs to the number 81010. b. If you’re having trouble with 81010, try texting @aplitwshs to (669) 200-6235. II. Review the attached AP Literature Survival packet. a. Your goal is to have a general understanding of the major topics below. The packet is a collection of terms, questions, and ideas that details each of these major topics. i. diction vii. structure, plot, and conflict ii. point of view viii. tone and tone shifts iii. setting ix. writing style and changes in writing style iv. literary devices x. common archetypes and symbols v. character and character development xi. patterns vi. syntax xii. theme and universal themes b. I recommend defining any unknown words and researching any alien topics. c. If you get stuck or need help: message me through Remind101, text me, or email me with any questions regarding concepts. (Note: Youtube is also a great resource.) (Phone 404 538 4379, Email [email protected]) III. Read and annotate the following books: a. The Elements of Style by Strunk and White (free copies can be found online) i. Annotate this for grammatical rules. Guaranteed: you will find many rules of usage you didn’t know. b. Crime and Punishment by Fyodor Doestoevsky c. Brave New World by Aldous Huxley d. ANNOTATION METHOD FOR NOVELS: Using your AP Literature survival packet for help, annotate your novel using the key terms and questions. This will help you with part IV.
    [Show full text]
  • Vicki Lewis Thompson Friend Or Foe?...P8 Congratulations on Receiving the Nora Roberts Lifetime Achievement the New RWA Award! the Ceremony Was Heaps of Fun
    Edition #191 April 2009 The official journal of Romance Writers of Australia Brisbane, Qld Craft: Creating Inner Hearts Talk chats to 8-time RITA nominee, RWAmerica’s 2008 Nora Rob- Conflict..............p4 erts Lifetime Achievement Award recipient, and author of more than 90 books... Vicki Lewis Thomp- son Interview (cont) ..................p6 Adverbs: Vicki Lewis Thompson Friend or Foe?...p8 Congratulations on receiving the Nora Roberts Lifetime Achievement The New RWA Award! The ceremony was heaps of fun. Can Website.............p9 you tell us about the night, your theory about authors with three names, and what Agent Profile: Kristen the award means to you? Nelson Agency .p10 It was truly a Cinderella experience, so much so that I have a little gold pumpkin carriage sitting Insights Gained After on the shelf beside my RITA. I knew there was Publication........p11 the potential for being nervous, so I just told myself that nervousness would spoil an amaz- Member ing experience, so I needed to get over myself! Spotlight ..........p12 Voilà , I wasn’t nervous! As for three names, after I got The Call that I was the award recipi- Member News & ent, I naturally went on the website to see the list of previous recipients, and that three-name Releases ...........p13 thing leaped out at me. You truly couldn’t miss it! It made me laugh, so I used it. The award Focus on: Erotic itself is priceless, a tangible representation of Romance ..........p14 25 successful years in the business. I will cher- ish it always, and bequeath it to my children, Events ...............p16 whether they want it or not.
    [Show full text]
  • THE SHORT STORY and NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr
    THE SHORT STORY AND NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr. Elizabeth Juckett Email: [email protected] Office: 339 Colson Web: elizabethjuckett.english.wvu.edu Office hours: MTWR: 1:30 – 2:30 PM; by appointmt. Phone #: 304-293-9723(office); 304-296-8437 (home) Meeting at: MWF from 11:30 – 12:20 PM Meeting in: 104 Clark Hall REQUIRED TEXTS Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven (Grove) Cather, Willa, My Antonia. (Broadview) Oates, Joyce Carol. American Short Stories, 2nd edition. (Oxford). Woodrell, Daniel. Winter’s Bone (Back Bay Books) Wright, Richard. Native Son (Harper Perennial) COURSE DESCRIPTION This course is designed to introduce you to fiction as a broad literary genre distinct from poetry and drama. In it, we will read short stories and novels that exemplify the historical development of these forms, as well as the important differences in voice, style, structure, and effect between stories and novels that treat similar themes. Part of our work will be to define distinctive qualities of the short story and novel within the broad category of prose fiction. But our focus will also be thematic: the three novels and many of the short stories we will read this semester imagine the lives of marginalized people, people who find themselves on the fringes of American life because of their race, gender, ethnicity, age, socio-economic status, or other divergence from the accepted norm. Consequently, as we explore the characteristics and evolution of the forms of American fiction, we will also be exploring, conceptually and practically, how “outsider fiction” influences us, broadly, how literature is powerfully linked to our experience and may help us engage with it.
    [Show full text]
  • Theory and Interpretation of Narrative James Phelan, Peter J
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KnowledgeBank at OSU THEORY AND INTERPRETATION OF NARRATIVE JAMES PHELAN, PETER J. RABINOWITZ, AND ROBYN WARHOL, SERIES EDITORS FOR VANESSA, MAX, AND MILLY THE RETURN OF THE OMNISCIENT NARRATOR Authorship and Authority in Twenty-First Century Fiction PAUL DAWSON THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Dawson, Paul, 1972– The return of the omniscient narrator authorship and authority in twenty-first century fiction / Paul Dawson. pages cm—(Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-1233-2 (cloth : alk. paper) ISBN-10: 0–8142– 1233–6 (cloth : alk. paper) 1. Fiction—Technique. 2. Omniscience (Theory of knowledge) in literature. 3. Narration (Rhetoric) I. Title. II. Series: Theory and interpretation of narrative series. PN3355.D246 2013 808.3—dc23 2013031509 Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Sabon Printed by Sheridan Books, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments vii Introduction The Return of Omniscience in Contemporary Fiction 1 CHaptER 1 Omniscience and Narrative Authority 25 CHaptER 2 The Direct Address and the Ironic
    [Show full text]
  • Time-Travel and Empathy: an Analysis of How Anachronous Narrative Structures Affect Character/Reader Empathy
    Department of English Time-travel and Empathy: an Analysis of how Anachronous Narrative Structures Affect Character/Reader Empathy Sophie Austin Master’s Thesis Literature Spring 2019 Supervisor: Dr. Lucy Durneen Abstract This study focuses on the relationship between the author’s narrative craft and the potential for the reader’s empathetic response. Specifically, it discusses how an anachronous narrative structure provides the author with different ways to promote empathy. The discussion of empathy is key in the discussion of narrative craft: great characters are those a reader can empathise with. But the discussion of empathy runs deeper than this, with many scholars turning to the wider effects literature can have on a reader’s moral compass (Nussbaum 1997) and even their real-world behaviour (Keen 2007). This study sets aside the question of how to produce empathy and turns instead to the author’s craft. I have assessed the author’s capability of promoting empathy by building a framework of tools for the author (dubbed The Empathy Toolbox) from several studies conducted by narratology theorists. I have then analysed this in relation to my own work and that of Audrey Niffenegger and Kurt Vonnegut with a particular focus on characterisation and how this is affected by anachrony. This study is of value to all writers of creative fiction, as anachronous timelines can be employed across a breadth of genres using plot devices like flashbacks, flash-forwards and dream sequences. Furthermore, it provides authors with tools to aid their craft and help their work resonate with any reader, not just those that might have a similar background to their protagonist.
    [Show full text]
  • English Department Handbook 2021-2022
    English Department Handbook 2021-2022 EDH 2019-2020 page 2 Table of Contents I. General Policies and Criteria 5 A. Criteria for Composition Grades 5 B. Grading Philosophy 6 C. Graduated Expectations for Evaluating Composition 6 D. Plagiarism 6 E. Quoting, Paraphrasing, and Acknowledging Sources _________________ 6 F. Credible Sources/Computing & Information Technology 7 G. TurnItIn.com 8 H. Policy on Supplementary Sources 9 I. Rationale for Summer Reading 10 J. Philosophy for Text Selection 10 K. Reading is Foundation 11 "A Comment About Censorship" 13 "Teaching Offensive Literature" 13 II. Critical Writing 15 A. Reading the Literature 15 B. Defining Your Audience 16 C. Developing a Good Thesis for Literary Criticism 16 D. Communicating Effectively 18 III. Rules of Form for Formal Assignments 21 A. Title Page Format 22 SAMPLE Title Page 22 B. Page Format 23 C. Outline Page 22 SAMPLE Outlines 24 D. Citation Introduction/Examples 27 SAMPLE Works Cited 29 E. SAMPLE Middle School Essay 31 F. SAMPLE Upper School Essay 34 EDH 2019-2020 page 3 IV. Common Correction Symbols 42 V. Errors Resulting in Major Deductions 43 VI. Glossary of Literary Terms 45 EDH 2019-2020 page 4 I. General Policies and Criteria A. Criteria for Composition Grades A paper earning a grade of A has the following characteristics: 1. Originality in handling a significant topic 2. Logical development of a central idea with thorough supporting evidence 3. Effective organization with strong transitions and unity 4. Variety in sentence structure 5. Appropriate and lively diction 6. No major errors in grammar or expression (Major errors include, but are not limited to, the following: fragment, run-on sentence, comma splice, incorrect subject-verb or pronoun-antecedent agreement, incorrect verb or pronoun usage) A paper earning a grade of B has the following characteristics: 1.
    [Show full text]
  • ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
    Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.
    [Show full text]