Fiction
LITERATURE:
1. NON FICTION: BIOGRAPHY, AUTOBIOGRAPHY, DIARY, HISTORY, ESSAY.
2. FICTION: NOVEL, SHORT STORY, DRAMA, POETRY
FICTION
1. WHAT IS FICTION?
· ANY NARRATIVE, IN PROSE OR VERSE, THAT IS WHOLLY OR IN PART THE PRODUCT OF IMAGINATION
· A STRUCTURE OF IMMITATION OF LIFE
2. ELEMENTS OF FICTION
A. PLOT
· DELIBERATELY ARRANGED SEQUENCE OF INTERELATED EVENTS THAT MAKES UP ITS BASIC NARRATIVE STRUCTURE. MOST PLOTS HAVE IDENTIFIABLE BEGINNING, MIDDLE, AND END.
· THE PATTERNED ARRANGEMENT OF THE EVENTS IN A NARRATIVE OR PLAY
· THE STRUCTURE OF TRADITIONAL PLOT:
1. EXPOSITION
THE BEGINNING SECTION IN WHICH THE AUTHOR PROVIDES THE NECESARRY BACKGROUND INFORMATION, SETS THE SCENE, ESTABLISHES THE SITUATION, AND DATES THE ACTION. IT USUALLY INTRODUCES THE CHARACTERS AND THE CONFLICT, OR AT LEAST THE POTENTIAL FOR CONFLICT.
2. COMPLICATION (RISING ACTION)
DEVELOPS AND INTENSIFIES THE CONFLICT
3. CRISIS (CLIMAX)
THE MOMENT AT WHICH THE PLOT REACHES ITS POINT OF GREATEST EMOTIONAL INTENSITY, IT’S THE TURNING POINT OF THE PLOT, DIRECTLY PRECIPITATING ITS RESOLUTION.
4. FALLING ACTION
ONCE THE CRISIS, OR TURNING POINT, HAS BEEN REACHED, THE TENSION SUBSIDES AND THE PLOT MOVES TOWARD ITS CONCLUSION
5. RESOLUTION (CONCLUSION/DENOUMENT)
IT RECORDS THE OUTCOME OF THE CONFLICT AND ESTABLISHES SOME NEW EQUILIBRUM
· THE ORDERING OF PLOT:
1. CHRONOLOGICALLY PLOT
THE CUSTOMARY WAY OF ORDERING EPISODES OR EVENTS IN A PLOT IS TO PRESENT THEM CHRONOLOGICALLY, THAT IS, IN THE ORDER OF THEIR OCCURRENCE IN TIME.
2. FLASHBACK
A METHODE OF EXPOSITION THAT DRAMATICALLY PRESENTS SCENES OR INCIDENTS THAT TOOK PLACE PRIOR TO THE BEGINNING OF THE PLOT
B. CHARACTERS
THE TERM CHARACTERS APPLIES TO ANY INDIVIDUAL IN A LITERARY WORK
· TYPES OF CHARACTER:
1. BASED ON THE RELATIONSHIP TO PLOT
a) PROTAGONIST
THE MAJOR OR CENTRAL CHARACTER, WHO IS USUALLY EASY ENOUGH TO IDENTIFY; HE OR SHE IS ESSENTIAL CHARACTER WITHOUT WHOM THERE WOULD BE NO PLOT IN THE FIRST PLACE. IT IS THE PROTAGONIST’S FATE ON WHICH THE ATTENTION OF THE READER IS FOCUSED
b) ANTAGONIST
THE OPPONENT OF THE PROTAGONIST, THE CHARACTER AGAINST WHOM THE PROTAGONIST STRUGGLES OR CONTENDS
2. BASED ON CREATORS DEVELOPMENT
a) FLAT CHARACTER (ONE DIMENSIONAL CHARACTER)
CHARACTER WHO EMBODY OR REPRESENT A SINGLE CHARACTERISTIC, TRAIT, OR IDEA, OR AT MOST A VERY LIMITED NUMBER OF SUCH QUALITIES. USUALLY IT PLAYS A MINOR ROLE.
b) ROUND CHARACTER
IT EMBODY A NUMBER OF QUALITIES AND TRAITS AND ARE COMPLEX MULTIDIMENSIONAL CHARACTER OF CONSIDERABLE INTELLECTUAL AND EMOTIONAL DEPTH. THEY HAVE CAPACITY TO GROW AND CHANGE.
3. BASED ON THE CHARACTER’S CAPACITY TO DEVELOP OR CHANGE (AS THE RESULT OF THEIR EXPERIENCES)
a) DYNAMIC CHARACTER
THIS CHARACTER EXHIBIT A CAPACITY TO DEVELOP OR CHANGE. (FROM YOUNG TO ADULT EXPERIENCES FOR EXAMPLE)
b) STATIC CHARACTER
THIS CHARACTER DOESN’T EXHIBIT A CAPACITY TO CHANGE. AND ALSO LEAVE THE PLOT AS THEY ENTERED IT, LARGELY UNTOUCHED BY THE EVENTS THAT HAVE TAKEN PLACE.
· METHODS OF CHARACTERIZATION
1. DIRECT METHOD (TELLING)
a) THE USE OF NAMES
NAMES ARE OFTEN PROVIDE ESSENTIAL CLUES THAT AID THE CHARACTERIZATION. SOME CHARACTERS ARE GIVEN NAMES THAT SUGGEST THEIR DOMINAT OR CONTROLLING TRAITS
b) APPEARANCE
IN A REAL LIFE APPEARANCE ARE OFTEN DECIEVING. IN FICTION, DETAILS OF APPEARANCE (WHAT SHE OR HE WEARS AND HOW HE OR SHE LOOKS) OFTEN PROVIDE ESSENTIAL CLUES TO CHARACTER.
c) BY THE AUTHOR
THE AUTHOR INTERUPTS THE NARRATIVE AND REVEALS DIRECTLY, THROUGH A SERIES OF EDITORIAL COMMENTS, THE PERSONALITY OF THE CHARRACTERS, INCLUDING THE THOUGHTS AND FEELINGS THAT PASS THROUGH THE CHARACTERS’ MINDS.
2. INDIRECT METHOD (SHOWING)
a) THROUGH DIALOGUE
b) THROUGH ACTION
C. SETTING
SETTING IS THE TERM THAT, IN ITS BROADEST SENSE, ENCOMPASSES BOTH THE PHYSICAL LOCALE THAT FRAMES THE ACTION AND THE TIME OF DAY OR YEAR, THE CLIMATIC CONDITIONS, AND THE HISTORICAL PERIOD DURING WHICH THE ACTION TAKES PLACE.
D. POINT OF VIEW
THE METHOD OF NARRATION THAT DETERMINES THE POSITION, OR ANGLE OF VISION, FROM WHICH THE STORY IS TOLD.
· TYPE OF POINT OF VIEW:
1. OMNISCIENCE POINT OF VIEW
WITH THIS POINT OF VIEW AN “ALL-KNOWING” NARRATOR FIRMLY IMPOSES HIS OR HER PRESENCE BETWEEN THE READER AND THE STORY AND RETAINS COMPLETE CONTROL OVER NARRATIVE.
2. LIMITED OMNISCIENCE
WITH THIS TYPE OF POINT OF VIEW(THIRD PERSON) , THE NARRATOR LIMITS HIS OR HER ABILITY TO PENETRATE THE MINDS OF CHARACTERS BY SLECTING A SINGLE CHARACTER TO ACT AS THE CENTER REVELATION.
3. FIRST-PERSON POINT OF VIEW
THIS POINT OF VIEW GOES ONE STEP FURTHER BY HAVING THAT FOCAL CHARACTER ADDRESS THE READER DIRECTLY, WITHOUT AN INTERMEDIARY. THIS CHARACTER REFFERS TO HIMSELF OR HERSELF AS “I” IN THE STORY AND ADDRESSES THE READER AS “YOU”.
4. DRAMATIC POINT OF VIEW
IN THE DRAMATIC, OR OBJECTIVE, POINT OF VIEW THE STORY IS TOLD OSTENSIBLY BY NO ONE. THE NARRATOR, WHO TO THIS POINT IN THE DISCUSSION HAS BEEN A VISIBLE, MEDIATING AUTHORITY STANDING BETWEEN THE READER AND THE WORK, NOW DISAPPEARS COMPLETELY AND THE STORY IS ALLOWED TO PRESENT ITSELF DRAMATICALLY THROUGH ACTION AND DIALOGUE.
E. THEME
THEME IS THE CENTRAL IDEA OR STATEMENT ABOUT LIFE THAT UNIFIES AND CONTROLS THE TOTAL WORK.
LITERATURE:
1. NON FICTION: BIOGRAPHY, AUTOBIOGRAPHY, DIARY, HISTORY, ESSAY.
2. FICTION: NOVEL, SHORT STORY, DRAMA, POETRY
FICTION
1. WHAT IS FICTION?
· ANY NARRATIVE, IN PROSE OR VERSE, THAT IS WHOLLY OR IN PART THE PRODUCT OF IMAGINATION
· A STRUCTURE OF IMMITATION OF LIFE
2. ELEMENTS OF FICTION
A. PLOT
· DELIBERATELY ARRANGED SEQUENCE OF INTERELATED EVENTS THAT MAKES UP ITS BASIC NARRATIVE STRUCTURE. MOST PLOTS HAVE IDENTIFIABLE BEGINNING, MIDDLE, AND END.
· THE PATTERNED ARRANGEMENT OF THE EVENTS IN A NARRATIVE OR PLAY
· THE STRUCTURE OF TRADITIONAL PLOT:
1. EXPOSITION
THE BEGINNING SECTION IN WHICH THE AUTHOR PROVIDES THE NECESARRY BACKGROUND INFORMATION, SETS THE SCENE, ESTABLISHES THE SITUATION, AND DATES THE ACTION. IT USUALLY INTRODUCES THE CHARACTERS AND THE CONFLICT, OR AT LEAST THE POTENTIAL FOR CONFLICT.
2. COMPLICATION (RISING ACTION)
DEVELOPS AND INTENSIFIES THE CONFLICT
3. CRISIS (CLIMAX)
THE MOMENT AT WHICH THE PLOT REACHES ITS POINT OF GREATEST EMOTIONAL INTENSITY, IT’S THE TURNING POINT OF THE PLOT, DIRECTLY PRECIPITATING ITS RESOLUTION.
4. FALLING ACTION
ONCE THE CRISIS, OR TURNING POINT, HAS BEEN REACHED, THE TENSION SUBSIDES AND THE PLOT MOVES TOWARD ITS CONCLUSION
5. RESOLUTION (CONCLUSION/DENOUMENT)
IT RECORDS THE OUTCOME OF THE CONFLICT AND ESTABLISHES SOME NEW EQUILIBRUM
· THE ORDERING OF PLOT:
1. CHRONOLOGICALLY PLOT
THE CUSTOMARY WAY OF ORDERING EPISODES OR EVENTS IN A PLOT IS TO PRESENT THEM CHRONOLOGICALLY, THAT IS, IN THE ORDER OF THEIR OCCURRENCE IN TIME.
2. FLASHBACK
A METHODE OF EXPOSITION THAT DRAMATICALLY PRESENTS SCENES OR INCIDENTS THAT TOOK PLACE PRIOR TO THE BEGINNING OF THE PLOT
B. CHARACTERS
THE TERM CHARACTERS APPLIES TO ANY INDIVIDUAL IN A LITERARY WORK
· TYPES OF CHARACTER:
1. BASED ON THE RELATIONSHIP TO PLOT
a) PROTAGONIST
THE MAJOR OR CENTRAL CHARACTER, WHO IS USUALLY EASY ENOUGH TO IDENTIFY; HE OR SHE IS ESSENTIAL CHARACTER WITHOUT WHOM THERE WOULD BE NO PLOT IN THE FIRST PLACE. IT IS THE PROTAGONIST’S FATE ON WHICH THE ATTENTION OF THE READER IS FOCUSED
b) ANTAGONIST
THE OPPONENT OF THE PROTAGONIST, THE CHARACTER AGAINST WHOM THE PROTAGONIST STRUGGLES OR CONTENDS
2. BASED ON CREATORS DEVELOPMENT
a) FLAT CHARACTER (ONE DIMENSIONAL CHARACTER)
CHARACTER WHO EMBODY OR REPRESENT A SINGLE CHARACTERISTIC, TRAIT, OR IDEA, OR AT MOST A VERY LIMITED NUMBER OF SUCH QUALITIES. USUALLY IT PLAYS A MINOR ROLE.
b) ROUND CHARACTER
IT EMBODY A NUMBER OF QUALITIES AND TRAITS AND ARE COMPLEX MULTIDIMENSIONAL CHARACTER OF CONSIDERABLE INTELLECTUAL AND EMOTIONAL DEPTH. THEY HAVE CAPACITY TO GROW AND CHANGE.
3. BASED ON THE CHARACTER’S CAPACITY TO DEVELOP OR CHANGE (AS THE RESULT OF THEIR EXPERIENCES)
a) DYNAMIC CHARACTER
THIS CHARACTER EXHIBIT A CAPACITY TO DEVELOP OR CHANGE. (FROM YOUNG TO ADULT EXPERIENCES FOR EXAMPLE)
b) STATIC CHARACTER
THIS CHARACTER DOESN’T EXHIBIT A CAPACITY TO CHANGE. AND ALSO LEAVE THE PLOT AS THEY ENTERED IT, LARGELY UNTOUCHED BY THE EVENTS THAT HAVE TAKEN PLACE.
· METHODS OF CHARACTERIZATION
1. DIRECT METHOD (TELLING)
a) THE USE OF NAMES
NAMES ARE OFTEN PROVIDE ESSENTIAL CLUES THAT AID THE CHARACTERIZATION. SOME CHARACTERS ARE GIVEN NAMES THAT SUGGEST THEIR DOMINAT OR CONTROLLING TRAITS
b) APPEARANCE
IN A REAL LIFE APPEARANCE ARE OFTEN DECIEVING. IN FICTION, DETAILS OF APPEARANCE (WHAT SHE OR HE WEARS AND HOW HE OR SHE LOOKS) OFTEN PROVIDE ESSENTIAL CLUES TO CHARACTER.
c) BY THE AUTHOR
THE AUTHOR INTERUPTS THE NARRATIVE AND REVEALS DIRECTLY, THROUGH A SERIES OF EDITORIAL COMMENTS, THE PERSONALITY OF THE CHARRACTERS, INCLUDING THE THOUGHTS AND FEELINGS THAT PASS THROUGH THE CHARACTERS’ MINDS.
2. INDIRECT METHOD (SHOWING)
a) THROUGH DIALOGUE
b) THROUGH ACTION
C. SETTING
SETTING IS THE TERM THAT, IN ITS BROADEST SENSE, ENCOMPASSES BOTH THE PHYSICAL LOCALE THAT FRAMES THE ACTION AND THE TIME OF DAY OR YEAR, THE CLIMATIC CONDITIONS, AND THE HISTORICAL PERIOD DURING WHICH THE ACTION TAKES PLACE.
D. POINT OF VIEW
THE METHOD OF NARRATION THAT DETERMINES THE POSITION, OR ANGLE OF VISION, FROM WHICH THE STORY IS TOLD.
· TYPE OF POINT OF VIEW:
1. OMNISCIENCE POINT OF VIEW
WITH THIS POINT OF VIEW AN “ALL-KNOWING” NARRATOR FIRMLY IMPOSES HIS OR HER PRESENCE BETWEEN THE READER AND THE STORY AND RETAINS COMPLETE CONTROL OVER NARRATIVE.
2. LIMITED OMNISCIENCE
WITH THIS TYPE OF POINT OF VIEW(THIRD PERSON) , THE NARRATOR LIMITS HIS OR HER ABILITY TO PENETRATE THE MINDS OF CHARACTERS BY SLECTING A SINGLE CHARACTER TO ACT AS THE CENTER REVELATION.
3. FIRST-PERSON POINT OF VIEW
THIS POINT OF VIEW GOES ONE STEP FURTHER BY HAVING THAT FOCAL CHARACTER ADDRESS THE READER DIRECTLY, WITHOUT AN INTERMEDIARY. THIS CHARACTER REFFERS TO HIMSELF OR HERSELF AS “I” IN THE STORY AND ADDRESSES THE READER AS “YOU”.
4. DRAMATIC POINT OF VIEW
IN THE DRAMATIC, OR OBJECTIVE, POINT OF VIEW THE STORY IS TOLD OSTENSIBLY BY NO ONE. THE NARRATOR, WHO TO THIS POINT IN THE DISCUSSION HAS BEEN A VISIBLE, MEDIATING AUTHORITY STANDING BETWEEN THE READER AND THE WORK, NOW DISAPPEARS COMPLETELY AND THE STORY IS ALLOWED TO PRESENT ITSELF DRAMATICALLY THROUGH ACTION AND DIALOGUE.
E. THEME
THEME IS THE CENTRAL IDEA OR STATEMENT ABOUT LIFE THAT UNIFIES AND CONTROLS THE TOTAL WORK.
