! CONTENTS Chapters Page No. 1. Theory of Fiction 1 2. Joseph Andrews—Henry Fielding -15 3. Tess of the D’urbervilles—Thomas Hardy 101 4. Sons and Lovers—D. H. Lawrence 164 5. The Outsider—Albert Camus 204 / \ \ \ Theory of Fiction CHAPTER 1 THEORY OF FICTION NOTES ★ STRUCTURE ★ . 1.0 Learning Objectives 1.1 Introduction 1.2 Types of Fiction 1.3 Elements of Fiction 1.4 Forms of Fiction 1.5 Uses of Fiction 1.6 Fiction Theory 1.7 Summary 1.8 Key Words 1.9 Review Questions 1.10 Further Readings 1.0 LEARNING OBJECTIVES After reading this chapter, you will be able to: • describe the theory of fiction • explain the structure of fiction • discuss the various types of fiction \ 1.1 INTRODUCTION Fiction is any form of narrative which deals, in part or in whole, with events that are not factual, but rather, imaginary and invented by its authors). Although fiction often describes a major branch of literary work, it is also applied to theatrical, cinematic, documental, and musical work. In contrast to this is non-fiction, which deals exclusively in factual events (e.g., biographies, histories). Self-Inatructional Material 1 Fiction 1.2 TYPES OF FICTION Realistic Fiction NOTES .Realistic fiction, although untrue, it explains what could actually happen. Some events, people, and places may even be real. Also, it can be possible that in the future these events could physically happen. For example, Jules Verne’s From The Earth To The Moon novel, which at that time was just a product of a rich imagination, but was proven possible in 1969, when Neil Armstrong set foot on the moon, and the team returned safely to Earth. Realist fiction appears to the reader to be something that is actually happening. Non-realistic Fiction Non-realistic fiction is that in which the story’s events could not happen in real life, because they are supernatural, or involve an alternate form of history of mankind other than that recorded, or need impossible technology. A good deal of such novels is present, although they tend to address a younger audience. Non-fiction Non-fiction is an account or representation of a subject which is presented as fact. This presentation may be accurate or not; that is, it can give either a true or a false account of the subject in question. However, it is generally assumed that the authors of such accounts believe them to be truthful at the time of their composition. Note that reporting the beliefs of others in a non-fiction format is not necessarily an endorsement of the ultimate veracity of those beliefs, it is simply saying that it is true that people believe that (for such topics as mythology, religion). Non-fiction can also he written about fiction', giving information about these other works. Semi-fiction Semi-fiction is fiction which implements a great deal of non-fiction, for example: a fictional depiction “based on a true story”, or a fictionalized account, or a reconstructed biography. 1.3. ELEMENTS OF FICTION Even among writing instructors and bestselling authors, there appears to be little consensus regarding the number and composition of the fundamental elements of fiction. For example: 2 Self’Instructional McU^rUil • Piction has three main elements: plot, character, and place or Theory of Fiction setting. • A charged image evokes all the other elements of your story— theme, character, conflict, setting, style, and so on. NOTES • For writers, the spices you add to make your plot your own include characters, setting, and dialogue. • Within the framework of a story there are the major story elements: characters, action, and conflict. As stated by Janet Evanovich, “Effective writing requires an understanding of the fundamental elements of storytelling, such as point of view, dialogue, and setting.” The debate continues as to the number and composition of the fundamental elements of fiction. Plot Plot, or storyline, is often listed as one of the fundamental elements of fiction. It is the rendering and ordering of the events and actions of a story. On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and'^an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action. Plot also has a mid-level structure: scene and sequel. A scene is a unit of drama - where the action occurs. Then, after a transition of some sort, comes the sequel- an emotional reaction and regrouping, an aftermath. Exposition Exposition refers to a fiction story’s initial setup, where, variably, setting is established, characters are introduced, and conflict is initiated. For example: It was a dark and stormy night. The young widow glared at the shadowy man dripping on her kitchen floor. “I told you my husband’s not home,” she said. He smiled a rictus smile and shut the door behind him. “Tell me something I don’t know.” Foreshadowing Foreshadowing is a technique used by authors to provide clues for the reader to be able to predict what might occur later in the story. In other words, it is a technique in which an author drops subtle hints about plot developments' to come later in the story. Self-Instruclional Malerial 3 Fiction Rising action The Rising action, in the narrative of a work of fiction, follows the exposition and leads up to the climax.’ The rising action’s purpose is usually to build suspense all the way up the climatic finish. The rising action should NOTES not be confused with the middle of the story, but is the action right , before the climax. The material beyond the climax is known as the falling action. Climax In a work of fiction, the climax often resembles that of the classical comedy, occurring near the end of the text or performance, after the rising action and before the falling action. It is the moment of greatest danger for the protagonist(s) and usually consists of a seemingly inevitable prospect of failure- it surprises us to the point that gets us excited to see what is to come in the end. A climax often includes three elements. The most important element is that the protagonist experiences a change. The main character discovers something about himself or herself, and another unknown character. The last element is revealing the theme itself: Falling action The Falling action is the part of a'^story, usually found in tragedies and short stories, following the climax and showing the effects of the climax. It leads up to the denouement (or catastrophe). Where the story is settling down and we start to get the climax and where is might be resolved. Resolution Resolution occurs after the climax, where the conflict is resolved. It may contain a moment of final suspense, during which the final outcome of the conflict is in doubt. Conflict ' Conflict is a necessary element of fictional literature. It is defined as the problem in any piece of literature and is often classified according to the nature of the protagonist or antagonist, as follows:' Types of conflict There are six basic tjTies of conflict. There are: In modem times. Person vs. Machine, also known as Person vs. Technology, has become another one. 4 Self-Instruclumal Material Man vs. Himself Theory of Fiction Man vs. Himself is the theme in literature that places a character agmnst his or her own will, confusion, or fears. Man vs. Himself explains where\, a character tries to find out who he or she is or comes to a realization NOTES or a change in character. Although the struggle is internal, the character can be influenced by external forces. The struggle of the human being to come to a decision is the basis of Man vs. Himself. Examples include the titular character of Beowulf.' More recently, the Academy Award winning movie A Beautiful Mind has been posited as an application of Man vs. Himself. Person vs. Person Person vs. Person is a theme in literature in which the main character’s conflict with another person is the focus of the story. An example is the hero’s conflicts with the central villain of a work, which may play a large role in the plot and contribute to the development of both characters. There are usually several confrontations before the climax is reached. The conflict is external. Examples are the conflict between Judah and Messala in Ben-Hur, and the conflict between a bully and his victim. Person vs. Society Person vs. Society is a theme in fiction in which examines the conflict of a main character, or group of main characters. The main source pf conflict is social traditions or concepts. In this sense, the two parties are: a) the protagonistCs); b) the society of which the prptagonist(s) app included. Society itself is often looked at as a single character, just as an opposing party would be looked at in a Person vs. Person conflict.This can also be one protagonist against a group or society of antagonists or society led by some antagonistic force. An example in literature would be Wuthering Heights by Emily Bronte. Person vs. Nature Person vs. Nature is the theme in literature that places a character against forces of nature. Many disaster films focus on this theme, which is predominant within many survival stories. It is also strong in stories about struggling for survival in remote locales, such as Gary Paulson’s Hatchet or Jack London’s short story “To Build a Fire”.