Definition: GENRE! GENRE: …Is the Term for Any Category of Literature

Total Page:16

File Type:pdf, Size:1020Kb

Definition: GENRE! GENRE: …Is the Term for Any Category of Literature Fiction Analysis THINGS THAT …from a Writer ’’’s AFFECT STORY! Perspective Credit: squidoo.com Credit: svguide.com First, there ’’’s Definition: GENRE! GENRE: …is the term for any category of literature. Genres can be singular or mixed. 1 Genre Types Then, there ’’’s Absurdist Historical Fiction Romantic Adventure Horror Saga “““ ””” STORY! Alphabet Book How to Book Satire Animal Book Legend Science Fiction Autobiography Memoir Short Story Biography Metafiction Suspense Color Book Modern Fantasy Tall Tale Comedy Mystery Thriller Creative Non-Fiction Myth Tragedy Dramatic Occupational Fiction Urban Fiction Epic Parody Western Essay Philosophical Fiction Young Adult Experimental Poetry Fable Political Fiction Fairy Tale Pulp Fiction Folktale Realistic Fiction Graphic Novel Religious Fiction Credit: breakthroughmarketingsecrets.com Definition: Next, there ’’’s PLOT! STORY: (otherwise known as Narrative Structure) …is the sequence of incidents found in the plot, plus the emotion, motivation, reaction, and personal involvement of the characters. Credit: i.dailymail.co.uk 2 Definition: There are PLOT (NARRATIVE STRUCTURE) : …is a sequence of TWO KINDS incidents in which the of PLOT! characters contest over the resolution of a dramatic problem. 2. NON-CHRONOLOGICAL 1. CHRONOLOGICAL (TIME): the plot is arranged in (TIME): the plot is arranged in straight line whatever order to tell the time, with a story. clear beginning, middle, and end. 3 This plot will have: Subplot Flash____________ A plot within Subplot 3 the major and plot and related to Major Plot the Flash____________ Subplot Subplot plot. 2 1 Subplot Freytag ’’’s Pyramid Major plot and sub-plot(s) must connect by the end of the story. 4 Dramatic Structure Then, there ’’’s Basic Dramatic Structure for Story: FORESHADOWING! (FREYTAG ’’’S Pyramid) 1. EXPOSITION: Sets the tone and the theme. 2. INITIAL INCIDENT 3. RISING ACTION 4. CLIMAX 5. FALLING ACTION 6. RESOLUTION (DENOUEMENT) Credit: s-media-cache-ak0.pinimg.com Foreshadowing builds FORESHADOWING: are hints or by hinting to the clues to suggest events that will SUSPENSE reader/audience of possible occur later in the story. events or situations to come. It Not all foreshadowing is OBVIOUS. allows the reader/audience to be Frequently, future events are merely "IN ON THE STORY." hinted at through dialogue, description, or the attitudes and Characters are NEVER aware of reactions of the characters. Foreshadowing, though the Narrator might be. 5 Now, it’s time for Recognizing Tone & Tone & Mood! Mood are important in discovering literary themes and appreciating an author ’’’s style. Credit: 2.bp.blogspot.com Mood Tone According to the Dictionary of Literary According to the Dictionary of Literary Terms, by Martin Gray… Terms, by Martin Gray… Mood is: TONE is: The climate of feeling in the work. It is the The author ’s attitude (stated or implied) atmosphere of the writing. toward the work, events, characters, or the reader/audience. The choice of setting, objects, details, A writer’s tone can be revealed through images, and words all contribute choice or words, imagery, description towards creating a specific mood. and approach to the subject.. 6 Next, is BUILDING A CHARACTER! STORY STARTS WITH CHARACTER!!! Definition: Definition: CHARACTER: REPRESENTATION: …is the REPRESENTATION …is the repeated display of of a personality in a literary ideas, issues, or themes in a or dramatic work of art. written piece of work. 7 Character: Is defined by: • Personality 2 + 3 = Character • Costume 2 Character Kinds & • Words (dialogue) 3 Character Types • Physical traits • Goals The Protagonist 2 Character Kinds Usually the MAIN CHARACTER(S) who wants to change or change something. Not always “The Good Guy!” 8 Example: The Antagonist The character(s) or thing that does not want change to occur. Not always “The Bad Guy!” Harry Potter Credit: vignette1.wikia.nocookie.net Example: 3 Character Types Tom Riddle (aka) Voldemort Credit: vignette1.wikia.nocookie.net 9 The Dynamic Character Example: Dynamic (Developing) Character: One who undergoes at least one permanent, important change in some aspect of their personality, nature, or attitude. Hermione Granger Credit: vignette1.wikia.nocookie.net Example: The Static Character Static Character: A character who does not change in personality, nature, or attitude; he/she is the same sort of person from the beginning of the story until the very end. Severus Snape Credit: vignette1.wikia.nocookie.net 10 Example: Example: Ron Weasley Draco Malfoy Credit: vignette1.wikia.nocookie.net Credit: vignette1.wikia.nocookie.net The Stock Character Definition: Stock Character: STEREOTYPE: A fictional character based on literary …is a standardized and simplified or social STEREOTYPES. Stock belief about groups or individuals characters rely heavily on cultural based on prior assumptions. types or names for their personality, By itself, a stereotype is not a negative thing. manner of speech, and other It allows for quick, albeit inaccurate, characteristics. understanding. 11 Example: Example: Dobby Peter Pettigrew Credit: vignette1.wikia.nocookie.net Credit: vignette1.wikia.nocookie.net Character = Conflict 4 Types of Character Conflict: Protagonist vs… Credit: 4.bp.blogspot.com 12 1. Protagonist-versus-ANTAGONIST 2. Protagonist-versus-NATURE Conflict: This conflict involves the (Antagonistic Force) Conflict: This conflict protagonist and an antagonist struggling involves something that must be defeated, over a problem or goal. endured, or sent on its way—a disease, a beast, an alien life-form, a storm, a natural power, and so on. Anger Management . Photo still courtesy of Revolution Studios . 3. Protagonist-versus- 4. Protagonist-versus- “““THE SELF ””” “““THE SYSTEM ””” (Antagonistic Force) Conflict: This conflict features inner, Conflict: This conflict pits the protagonist personal conflicts that test the protagonist ’s against a faceless bureaucracy. values, beliefs, or morals. The Matrix . Photo still courtesy of Groucho II Film Partnership . Me, Myself & Irene . Photo still courtesy of Conundrum Entertainment . 13 The main cause of a weak conflict is a ’ weak ANTAGONIST . Now, let ’’s go deeper into One of the surest ways to beef up a weak story Character! is to beef up the antagonist by making the character or force: • OBSESSIVE • CHARMING • CLEVER • POWERFUL • DIABOLICAL Hannibal . Photo still courtesy of Dino De Laurentiis Company . • or whatever turns the antagonist into a THREAT . Credit: kunstfabrik-schlot.de When we meet people for the first time, We form expectations, predictions, and we immediately begin evaluating and attitudes about a person based on these judging them based on: criteria. • Their Actions Everything that you • Their Language read, see, or do • Their Thoughts -- no matter what it is -- • Their Body Language is always filtered • Their Physical Description • Their Values through you. • and on how WE relate to them. It ’’’s Called Inference! Credit: csc.web.cern.ch Credit: lh5.googleusercontent.com Credit: media.photobucket.com 14 The same values and judgments we place on real people…we also place on Let’s see what this is like. literary characters. In the following slides, you will Getting to really know literary characters enriches our reading, and our lives. see nine photos of famous and not so famous people. None of which will you know, probably. Credit: sixcentpress.files.wordpress.com Instructions: On a sheet of paper, list the SINGLE most striking characteristic of the person you see. Then, explain what evidence you relied upon to Here make your inference. Evidence equals connections you make to the photo from: We • Your life (memories and experiences) • What you know (facts and information) • What you’ve read or seen Go! Finally, share your “first impression ” with your us. 15 1. 2. Credit: culture24.org.uk Credit: media.photobucket.com 3. 4. Credit: seasonsofthemoon.com Credit: media-cache-lt0.pinterest.com 16 5. 6. Credit: cafedesartistes.bangordailynews.com Credit: thisiscolossal.com 7. 8. Credit: thisiscolossal.com Credit: thisiscolossal.com 17 Rating Roommates 9. Credit: thisiscolossal.com Credit: tulsakids.com Character Clues Character Clues Write this sentence down exactly as you see it. Do it six (6) times. “____________ is ____________ because (name) (characteristic) he or she ______________________.” (evidence from the text) 18 Character Clues Point of View Look at your number at your table (1-4). Read the instructions at the top of each page. Now, complete that sentence for each person that matches your number. Credit: cdn.thewritepractice.com Definition: Narrator Definition: POV: The way a story gets told and who tells it. The character or "voice" that It is the method of narration that speaks or tells the story. determines the position, or angle of vision, from which the story unfolds. IT IS NOT THE SAME AS Point of view governs the reader's access THE AUTHOR! to the story. 19 Definition: First Person POV For our purposes, we’ll deal Here the narrator speaks as "I” with seven (7) types of and the narrator is a character in narrators…seven types of the story who may or may not points of view. influence events within it. If you see “I,” “me,” or “we,” you know it’s 1 st Person POV First Person POV Example: (Past Tense) Here the narrator is remembering events that have happened to her in the past. She is the protagonist, and we are inside her head as she recounts the events she has experienced, as she believes them to have happened. Credit: veronicasicoe.com 20 First Person POV Example: (Present Tense) A little more modern, here the narrator is not remembering past events, but is narrating events as they happen to him, the way he believes them to be happening. Credit: veronicasicoe.com Unreliable POV Example: “““If you really want to hear about it, the first thing you ’’’ll probably want to The Unreliable Narrator: is a know is where I was born, and what my 1st Person narrator who describes lousy childhood was like, and how my events in the story, but seems to make parents were occupied and all before obvious mistakes or misinterpretations they had me, and all that David that may be apparent to a careful Copperfield kind of crap, but I don ’’’t reader.
Recommended publications
  • Problems of Mimetic Characterization in Dostoevsky and Tolstoy
    Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy By Chloe Susan Liebmann Kitzinger A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irina Paperno, Chair Professor Eric Naiman Professor Dorothy J. Hale Spring 2016 Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy © 2016 By Chloe Susan Liebmann Kitzinger Abstract Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy by Chloe Susan Liebmann Kitzinger Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Irina Paperno, Chair This dissertation focuses new critical attention on a problem central to the history and theory of the novel, but so far remarkably underexplored: the mimetic illusion that realist characters exist independently from the author’s control, and even from the constraints of form itself. How is this illusion of “life” produced? What conditions maintain it, and at what points does it start to falter? My study investigates the character-systems of three Russian realist novels with widely differing narrative structures — Tolstoy’s War and Peace (1865–1869), and Dostoevsky’s The Adolescent (1875) and The Brothers Karamazov (1879–1880) — that offer rich ground for exploring the sources and limits of mimetic illusion. I suggest, moreover, that Tolstoy and Dostoevsky themselves were preoccupied with this question. Their novels take shape around ambitious projects of characterization that carry them toward the edges of the realist tradition, where the novel begins to give way to other forms of art and thought.
    [Show full text]
  • English 12: Science Fiction & Fantasy
    English 12: Science Fiction & Fantasy TIME CONTENT/THEME CORE GOALS/SKILLS ASSESSMENT LITERATURE Fantasy - Unit #1 Literary Genres: Fantasy o Writing Assignments 1 Marking Period Literary Elements: Elements of Fantasy, Open Ended Questions o The Hero and the Crown Characterization, Point of View, Tone, Discussion Boards Theme, Plot Short Answers Literary Devices: figurative language, Annotated Bibliographies plot structure o Tests / Quizzes Interpret, compare, describe, analyze and Chapter Reviews evaluate literary devices Summative Assessments o Identify and assess effectiveness o Research Assignments of point of view Literary Analysis Articles o Identify and assess the o Projects effectiveness of tone and mood Multimedia Group Project Recognize and analyze the elements of fantasy writing o Anansi Boys Literary Genres: Fantasy o Maskerade Literature Circles – Fantasy Literary Elements: Elements of Fantasy, o Writing Assignments o Sunshine Characterization, Point of View, Tone, Open Ended Questions o Fevre Dream Theme, Plot o The Alchemist Discussion Boards Literary Devices: figurative language, Short Answers plot structure Annotated Bibliographies Interpret, compare, describe, analyze and o Projects evaluate literary devices Group Report o Identify and assess effectiveness of point of view o Identify and assess the effectiveness of tone and mood Recognize and analyze the elements of fantasy writing Vocabulary Word Acquisition and Usage o Writing Assignments Sadlier‐Oxford Books G and H Multiple Meaning/Roots
    [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]
  • OHS Honors English Primer Is the Result of Over a Decade of Collabo- Ration Among the English Teachers of Oviedo High
    Honors English Primer Prepared exclusively for the students of Oviedo High School 2008 Edition About Your Primer The 2008 OHS Honors English Primer is the result of over a decade of collabo- ration among the English teachers of Oviedo High. We have worked together to ensure that the materials you will find here are relevant and helpful to your studies both here at Oviedo and later in life. Materials included in this publi- cation have been created specifically for you by the teachers at this school, and the information included is designed to continually build your expertise in communication skills, literary analysis, meaningful composition, and effective research. Your teachers throughout the next four years will refer you to these pages as a resource for reference, instruction, and guidance as you continue to grow as a student of English. Our Primer has four distinct sections that each focus on a different aspect of the skills you will be acquiring: Literature, Composition, Grammar, and Re- search. Some courses may rely more on one section than another, but each course will use the Primer to build off your previous knowledge and prepare you for what lies ahead. Keep this document with you—in class at all times, throughout your career as a high school student, and as you journey into high- er education. It is our sincere hope that you find the2008 OHS Honors English Primer a helpful resource as you continue to prepare yourself for your future. Best wishes for lasting success, The English teachers of Oviedo High School The 2008 edition of The OHS Honors English Primer was set in Myriad® Pro and Warnock® Pro using Adobe® In- Design® CS3.
    [Show full text]
  • On the Margin of Cities. Representation of Urban Space in Contemporary Irish and British Fiction Philippe Laplace, Eric Tabuteau
    Cities on the Margin; On the Margin of Cities. Representation of Urban Space in Contemporary Irish and British Fiction Philippe Laplace, Eric Tabuteau To cite this version: Philippe Laplace, Eric Tabuteau. Cities on the Margin; On the Margin of Cities. Representation of Urban Space in Contemporary Irish and British Fiction. 2003. hal-02320291 HAL Id: hal-02320291 https://hal.archives-ouvertes.fr/hal-02320291 Submitted on 14 Nov 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Cities on the Margin; On the Margin of Cities 7 TABLE OF CONTENTS Gérard BREY (University of Franche-Comté, Besançon), Foreword ..... 9 Philippe LAPLACE & Eric TABUTEAU (University of Franche- Comté, Besançon), Cities on the Margin; On the Margin of Cities ......... 11 Richard SKEATES (Open University), "Those vast new wildernesses of glass and brick:" Representing the Contemporary Urban Condition ......... 25 Peter MILES (University of Wales, Lampeter), Road Rage: Urban Trajectories and the Working Class ............................................................ 43 Tim WOODS (University of Wales, Aberystwyth), Re-Enchanting the City: Sites and Non-Sites in Urban Fiction ................................................ 63 Eric TABUTEAU (University of Franche-Comté, Besançon), Marginally Correct: Zadie Smith's White Teeth and Sam Selvon's The Lonely Londoners ....................................................................................
    [Show full text]
  • The Structure of Plays
    n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago.
    [Show full text]
  • International Journal of Computer Science & Information Security
    IJCSIS Vol. 13 No. 5, May 2015 ISSN 1947-5500 International Journal of Computer Science & Information Security © IJCSIS PUBLICATION 2015 Pennsylvania, USA JCSI I S ISSN (online): 1947-5500 Please consider to contribute to and/or forward to the appropriate groups the following opportunity to submit and publish original scientific results. CALL FOR PAPERS International Journal of Computer Science and Information Security (IJCSIS) January-December 2015 Issues The topics suggested by this issue can be discussed in term of concepts, surveys, state of the art, research, standards, implementations, running experiments, applications, and industrial case studies. Authors are invited to submit complete unpublished papers, which are not under review in any other conference or journal in the following, but not limited to, topic areas. See authors guide for manuscript preparation and submission guidelines. Indexed by Google Scholar, DBLP, CiteSeerX, Directory for Open Access Journal (DOAJ), Bielefeld Academic Search Engine (BASE), SCIRUS, Scopus Database, Cornell University Library, ScientificCommons, ProQuest, EBSCO and more. Deadline: see web site Notification: see web site Revision: see web site Publication: see web site Context-aware systems Agent-based systems Networking technologies Mobility and multimedia systems Security in network, systems, and applications Systems performance Evolutionary computation Networking and telecommunications Industrial systems Software development and deployment Evolutionary computation Knowledge virtualization
    [Show full text]
  • Design the Definitive Visual History by DK
    Design The Definitive Visual History by DK You're readind a preview Design The Definitive Visual History book. To get able to download Design The Definitive Visual History you need to fill in the form and provide your personal information. Book available on iOS, Android, PC & Mac. Unlimited books*. Accessible on all your screens. *Please Note: We cannot guarantee that every file is in the library. But if You are still not sure with the service, you can choose FREE Trial service. Book Details: Review: Best book I have ever seen on the design of an extraordinarily wide range of works from 1850 to the present! Extraordinary photos, wonderful biographies of key designers, clear and intelligent grouping of works into eras and styles. Awesome diversity, including almost every aspect of items shaping our lives: furniture, lights, appliances, tableware,... Original title: Design: The Definitive Visual History 480 pages Publisher: DK (October 6, 2015) Language: English ISBN-10: 1465438017 ISBN-13: 978-1465438010 Product Dimensions:10.2 x 1.4 x 12.1 inches File Format: PDF File Size: 20158 kB Ebook Tags: Description: Design: The Definitive Visual History lays out the complete evolution of design, from its origins in early cultures to the contemporary design — physical and digital — of today. This comprehensive volume covers every major design movement, along with the iconic designers and manufacturers who influenced everyday life through the objects and buildings... Design The Definitive Visual History by DK ebooks - Design The Definitive Visual History design visual the definitive pdf definitive visual design the history fb2 definitive history the design visual ebook the definitive visual history design book Design The Definitive Visual History The Definitive Visual History Design She provides definitive information about theyear ahead and into the future.
    [Show full text]
  • Mimesis, Chinese Aesthetics, Post-Modern Theatre
    In Search of Another Eye: Mimesis, Chinese Aesthetics, Post-modern Theatre Won Jung Sohn Thesis submitted for the examination for the degree of Doctor of Philosophy, University of London DEPARTMENT OF DRAMA AND THEATRE Royal Holloway, University of London 2011 1 Declaration of Authorship I, Won Jung Sohn, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. 2 Abstract Although a new tradition of non-mimetic theatre has secured a place in Western theatre history, I find that existing critical vocabularies fail to embrace various theatrical forms of today. Alternative frames of discussion are sought after, and I propose that a culturally distinct one will open up possibilities of perceiving contemporary performances in different ways. In this thesis I turn to the aesthetics of Chinese painting. The Western concept of mimesis in theatre is seen as being strictly related to the verbal aspects of the drama rather than the performed spectacle. Turning to paintings as a lens through which to look at theatre enables one to focus on the extra-textual aspects of performance. At the same time, looking at painting directs one to the issue of ways of seeing, which is fundamental to theatre. Looking at Chinese paintings will disclose the unique Chinese ways of seeing that affected their artistic creation and reception, as well as what different concepts of representation prevailed. In this thesis I trace the mimetic foundations of Western theatre by investigating the writings of Plato and Aristotle as well as looking at Classical Greek painting, its modern reflections and counteractions.
    [Show full text]
  • Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
    UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles.
    [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]
  • Subplot Sanity Amy Deardon: [email protected] GPCWC July 26, 2017
    Subplot Sanity Amy Deardon: [email protected] GPCWC July 26, 2017 SUBPLOT – a supporting narrative to the main plot. It has three purposes: Complicate the Main Story. Provide Psychological Insight. Deepen a Theme or Moral. CHARACTER ROLES – usually one, up to about 3 characters, fulfill a story role: Protagonist Antagonist Confidante Romantic Interest etc. There is “always” only one protagonist. Many stories especially romances also have a secondary protagonist – a character who works as a team with the main protagonist – but one is always subordinate (story-wise) to the other. The main protagonist is the one who experiences the character arc (hidden need subplot). Character Roles are sometimes based on MYTHIC ARCHETYPES. For one way to generate your story ideas see Chris Vogler’s The Hero’s Journey and James Frey’s The Key: How to Write Damn Good Fiction Using the Power of Myth. There are usually about 8 – 10 identifiable character roles in a story. More than that leads to “One Darn Thing After Another” Syndrome. ONE DARN THING AFTER ANOTHER SYNDROME This occurs when the story meanders without a point. Events don’t change story circumstances and therefore can be eliminated without consequences. “One Darn Thing After Another” occurs because there is a lack of story tension. Subplot Sanity 2 [email protected] GPCWC 07.26.2017 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ WHAT IS THE STORY? Story is King. Other aspects of the novel/screenplay (character development, theme/moral, story world) must take place in the context of story events. A story is defined by having: Story Goal (and multiple mini-goals) Story Stakes (and multiple mini-stakes) Story Obstacle (antagonist; plus multiple mini-obstacles) DEVELOPING STORY TENSION A story can be thought of as a sequence of small goals from beginning to end.
    [Show full text]