Short Stories ararnetctory isnot a novel synopsized. Most oten a short story reveals only a single charactor Brough am geh sees a novel usualy ace the davelopment ofan Puntauad orcs through cumulative experiences Tees rts in the twenty century has developed a great consciousness ofthe symbole ses to which objects and incidents can be © put and a greater subtly inthe ways in which pattems of ness are built up below the quietly realisic surface. ‘The combhaton of realn ot modearehoaentemporary probabily and universal sgnifeance, conrbulos a senate ot fe ‘modern short siory, Plot = what happens in the story ~ events which form a significant pattern of action (cause and effect events) with a beginning, a migole and an end to achieve an effect (eg mystery) |. Plot Strcture ‘A regular / Chronological B flashback sequence in medias resin the middle of things (aka ‘sic of lite") Brame story -the story that holds a Second story (a story within a story) muttiple plots or parallel plots 4. Comporents of Plot ‘A: exposition or introduction - introduces characters, setting and plt; catches the ‘readers attention (narrative hook) & ual Incident starts the conflict; the fst upward movement ofthe graph C.tlsing action - events or incidents that create conflict, dramatic lexelon and ‘suspense, or reveal new information (eg about character). 1. conflict. struggle between two forces; may be physical, mental, emotional oF moral; may be a dilemma 2. classifications of confict ‘ab, dare ‘. character vs character character vs nature /the environment external conficts character vs self(Intemnal) character ve society oo . character vs the Sugematural_. character va technology 3 complication - any obstacle that increases tension of story aroblem £ fei point (rises) peak of rama tension Bef oreshadowng - clues or subtle indications about events that wll happen oat te figh point of interest just before the conflicts resoWed: he erica pomnt 1. Indeterminate - contict not resolved within story so reader rust provide a personal resolution; open-ended determinate - conflicts Tesolved; denouement and closure are provided 3 surprise ending maces el ferms: antictinax (bathos), catastrophe, catharsis, clifhanger, deus ex prophesy eucse ame story, pathos, piot wet, prologue, red herring. sell ullifieg prophesy, subplot Plot Diagram or GraphCharacter a human, animal, godly or Imaginative participant in the story | cheralr Presentation y direct presentation - the readers told ‘ty narrator's comment 2 by what thers say about the character 8 indrcet presentation = he reader must ner re yuhat io ckaracr does 2 by what the person thinks and says 6. the character dramatized must have: 1 fanciteney = atin sider way’ in sniarstuattons 2 nlivaion-eason or behaviour 5 plausibity -be tke, betevable probable 1 Character Revelation "A by what the character says 8. by how the character says it & By piyslal desernion ©. by paychologial desctigton by probing wate character thinks F by what he cheracter does © Dy epatolners say about te character _-H byte character's ervronment 1 by te character's reaction to others ‘Loy ne characte’ reacion 0 sat Ccharadiet ations tne srateges a wile uses to communicate information about characters I Character Development ‘A flat character 1. centres around one or to traits (2-D) 2. can be summed up in a sentence 8. round character ° nd character and many-sided (2D) 2. requires an essay fr fl anasis C. stock character Ch cneteal kind offatcharacter 2. isa stereotyped gure that Spears many stores > |v. Character Change R Gtatc character - does not change 5 Sttamie (developing) character undergoes significant lasting change =it rast be wih te possi ofthe character. 2 must be matvated by creumstance 5 rust be allowed sufflent timo for change tobe bellvable C.epiphany-asuddéninsight Toe etey & V.tlinor Characters 2 Gna to complement the major characers 8 Gsualy ere fat charactors They can serve to ; "reveal te main character 2.mave the action 3. provide comic rele 4 provide authori commentary 2 Felect the views and opinions in society ViMajge Characters Soo val uncon tothe development and resolution of the action 8 antagonlat va character or frea that opposes he protagonist *Pometies spon as sodely oF nature 2 lain. an overempifeation ofthe le 3. doppelganger two personales in one character (Dr Jekyil and Mr. Hyde) ¢. protagonist th coil character +'9fer0 an oversimpiicaion ofthe role a ner oray net be aways admirable; nevertheless, the character must hand imlveren on the pan of he reader, preferably empathy >) 2. anthiero™ a character wo stuggs for values not deemed univesaly Minreble (the Outsderby Cams) Vil More Terme: anthropomarphism, archetype, caricature, character foil, character {law“chit sds Blow tit best dose te ‘arc ~youthink of Mental Qualities intetigent educated smert gifted clever ingenious briliant leamed scholarly astute: ‘competent sensible -~ talented intellectual precocious ‘Fatiort unintetfigent sunschooled dumb ignorant simple puerile obtuse vacuous narrow-minded shallow dull incompetent unreasonable incapable bigoted ignorant inrational Physical Qualities + strong ‘healthy handsome 4 beautiful pretty cute robust hardy dainty delicate charming ravishing adroit skill rely ‘weak sickly hideous ugly graceless emaciated clumsy awkward grotesque odious coarse repulsive -more.wonds to"add {Sine VSts PO 2°! Ma ig thé ony can Morat Qualities moral Immorat Kind cruel considerate inconsiderate iceatistc unprincipled innocent comupt tighteois vile upstanding deceitful truth iving honest sinserupulous honourable dishonorable loyal untrustworthy helpful selcentred virtuous dissolute pure vulgar Purtanical degenerate austere insulting polite - base respectable Social Quatities cooperative contentious hospitable inhospitable congenial impotie cheerfal sullen supportive anlagonistic worly Doorish ‘debonair Provinlal suave brusque elegant obsequious courteous unpolished tacit petulant cordial eude canvival/é on yiy'e\ crabby encouraging crlical memy caustic ‘grumpySetting the time, place and atmosphere of a story |. Physical Setting =Igeographical acation, topography, scenery, cimate, or even the arrangement of ‘objec in @ room (physical surroundings) Hl. Chronological Setting Othe point or several points in time in which the story takes place ines er, yea, month, day and me of day “fhe dally ives or customs of the characters; anachronism: ofthe wrong time period II Emotional Seting Oona nod depends on the words and tone of description to evoke feelings or ‘emotions in the reader - the atmosphere is the general feeling {Pathos - emotional appeal used to inspie pity or sorow towards a characte Pathetic fallacy -atbuton of human emotions of characteristics to inanimate objects Patnalure (og. angty clouds; it begins to rain at character's lowest point) IV. Functions of Setting ‘causes conflict - motivate characters to act “help reveal character : Nic (microcosm) peta philosophical ideas (eg devastated world of science fiction may suggest man is irresponsible) _ gals plot in that some stories can take place only in certain settings Theme « the central underlying meaning of the story |. Story and Theme 12K story deals with “What happens?" "How does itturn out?” (Its the plot) = B.A theme deals with "What does it add up to?" (its natthe subject.) 1 Theme, Moral and Mott A theme presents an idea, £ Amoral rstructs is didadtle, teaches alesson. (eg ‘The Hare and the Tortoise" 8 Amott isan clement which is repeated which may be common to many texts. It's A Teature of the text, (eg the “Wicked stepmother" figure, the “quest formula, the frotoreyese as a symboy of freedom in American movies) 1, Implicit and Explicit Themes “A. explicit: The reader is told the theme, B: Implicit: The reader infers the theme from the information given. IV. To determine theme, consider Bary changes tbe nd tr hanges the protagonist undergoes 3 Sola observations abut er human nate. Note: Not all stories have themes; some are meant just to entertain. ‘The reader does not have to agree with theme, A theme is Sated in general terms. Ithas universality. ‘There is mora than one way to state a theme. ‘There may be more than one theme in a story, or there may be minor themes.Point of View {he relationship ofthe narrator tothe events or characters in the story «this determines the reader's response tothe story |. Third Person ="he’, "she", “the narrator is Outside ofthe fictional word A. omniscient + traditional pov Teves egy 9: Can Soe nt the minds of al characters (but may only reveal a guthatal commentary (persona - an auhor’s assumed character inthe witing) adv, flexible and has a wide scope disad. continual shiting of point of vewmay damage coherence of story B. limited omniscient = from one characters perspective Bk atledae of what oer characters ink ‘disadv offrs a limited field of vision . impersonal (objective / dramatic) ~ Fee ghi what characters say and do indect presentation - usualy ently Ue) ~feader can only infer what the characters think = ‘Ti on the wal what the camera sees adv. has the most speed and action - disadl no interpretation by the author a participant in the events ofthe story narrates ~Feader Sees the world from that character's perspective (cannot go into other Characters’ minds); may be an unrellable narrator iajot or minor character (protagorist or observer) ‘may take the form of stream-of-consciousness (Interior monologue) + Same adv. and disadv. as limited omniscient ad. ife\like; no midgleman; can create dramatic tcny sisadv. character cannot die unless pov shits; bias Ill. Second Person sou" used in “choose your own adventure” series Note: The point of view in a story can switch. Multiple Points of view may be presented, ine The boint of view shapes the theme (eg the Wolf neurotic compulsivenese] ve Ace Riding Hood frightened innocence) narrating)Examples of Different Points of View A ‘Martha satin a chair pretending to read. ‘The moon was shining brightly through the east window of her tenth floor apartment. John arose and said, “There's nothing more to say.” He walked slowly tothe closet to get his coat. ‘A month ago, onthe beach, Martha had sad she loved him. Now they had hhad their last quarrel. John was five fet tall, a pleasant looking young man with ‘reddish-brown mustache. He was a timid man and too self-citical to interest the vivacious Martha for long. That was why she had just now told him that she ‘asin love with Peter. Peter wasn’t so morbid, she had said. John paused a moment before the window. He wondered what Martha ‘would do if he suddenly flung himself over the casement. B. ‘Weary in every limb, the ant tugged aver the snow a piece of corm he had stored up last summer. It would taste mighty good at dinner tonight. ‘A grasshopper, cold and hungry, looked on. Finally he could bear it no longer. “Please friend ant, may Thave a bite of com?” “What were you doing al last summer?” He looked the grasshopper up and down, He knew his kind “Tsang from dawn till dark,” replied the grasshopper, happily unaware of | ‘what was coming next. “Well,” said the ant, hardly bothering to conceal his contempt. “Since you ‘sang all summer, you can dance all winter.” “Moral: He who idles when he is young will have nothing when he's old. c. Weary in every limbs, the ant tugged over the snow a piece of com he had stored up last summer. It would taste mighty good at dinner tonight. [t was then that he noticed the grasshopper, looking cold and pinched. «Please friend ant, may { have a bite of your corn?” asked the srasshopper. He looked the grasshopper up and down. “What were you doing all last ee “Tsang from dawn till dark,” replied the grasshopper, “Well,” sai the ant, hardly bothering to conceal his contempt, “since you sang all summer, you ean dance all winter.” D. John looked at Martha, Martha was reading a magazine. “Well,"he said, { guess there's nothing more to say.” She continued reading. The moon shone through the window, He got his coat and walked toward the window and looked atthe moon, Then he looked back at her. She was sill reading,B old and hungry, watched the ant tugging over the snow apiece of com he had stored se_astsummer. My felers twitched and Twas conscious of acta my left leg, Finally {could teat too longs, “Pleas fiend ant” Take, may havea bite of your coms He eco weary down “What were you doing all last summer? he asked, mther too smugly kocsnrcro i, wan om dawn to dark,” I sud innocent, remembering ke happy tines Woh" ‘sid with a priggsh neer, “since you sang all summer, you ean dance al wines © FE jared Marthe, but hw she wasn ove with Peer that gli a! She ignored me Show pant eptreading. [couldn't believe our night on the beach meant sole te hes td ‘Terher Uthought. 1 got my coat and walked tote windor. It vas ten sori to esc ‘The moon was cold and blank just above the tops ofthe skyseaper, I'd make hes ot Style 1 Ray fox elements (words, phrases, sentence, images) are organized in elation to eachother 7 feaders need to consider how it affets the meanings which readers make from the texe ~ features may be noticeable because of repetition, contrast and pattern |. Dietion or word choice - the type of words which dominate the text + calloguial or specialized (academic, jargon, slang, idiom) = Fepresen different social groups (dialed) = precise or ambiguous register formal, standard or informal 7 dxpotation= basic dictionary meaning; the iteral or factual meaning ~> depends on socal suggested or implied meaning; associative meaning usage and contexts (eolysemy), archaic, pretentious or inflated language, dysphemism, euphemism, loaded language 1H. Syntax or word order - the ordering of elements ina sentence 7 unusual word order often hs a significance fr readers (eg inversion - I cannot aliow that. vs That I cannot allow.) ~ in poetry, this is manipulated to ereate rhythms racaegtarical devices - the techniques used by speakers and writers o persia listeners and readers 10 consider «topic from a different perspective A. Figurative Language 7 techniques include simile, metaphor, symbol and personi 7 tadiionally the language which differs fom everyday, “noaliteray” usage sed to make language more entertaining, and to carfy the meanings conveyed * Provides readers with comparisons, substitutions and patems tat shape meaning B. Imagery - the use of selected details to create mental pictures 342 deseibe something ina way that appeals tothe five sens (description or 7-10 deseribe one hing in terms of another eg He an lithe wind. (igurative). Irony - when a statement (verbal trony) or situation (situational irony) means something different from (or even the opposite of) what js expected; a contrast between appearance and reality rs a nal rony involves arevesl expectations bese the aeons of chuncteread to) the reverse of what the character intends. Dramatic irony occurs (often in plays) when the reader or audience knows something one ‘or more of the characters do not Some types of verbal irony are understatement, overstatement and sarcasm. . Sound Devices - include alliteration, onomatopoeia, repetition, euphony, cacophony E. Tome (see attached pages) F. Voice - the author's style, the quality that makes his or her writing unique, and w! the author's attitude, personality, and character, may also refer tothe characteristics of narrator “clive voice - The subject of the sentence does the action. This technique is preferred t0 ‘make writing more lively and presse. eg The firefighter extinguished the fre. “passive voice - The subject ofthe verb receives the action eg The fire was extinguished. G. Other techniques - analogy, anecdote, antithesis, apostrophe, circumlocation (periphrasis), comic reief, dialogue, ellipsis, humour, juxtaposition, paralleism, paradox, proverb, pun, rhetorical question, wit H. Techniques to criticize wien seen or avoided as a writer include cliches, redundancy, plagiarism, logical fallacies, and triteness IV. Sentence organization - the structure of sentences (simple, compound, complex), their lengths, and various arrangements ofthese through repetition or patterning fects of style include : superiority and contempi, detached objectivity, seriousness or respect, apprebension, emotional emphasis, dreary boredom, exhilaration and delight, ironic amusement yTone Examples tone examples are present everywhere in media and in real life. However, the term “tone” is most frequently associated with all genres of literature: tere gives shape and life to literature, because it is through tone that the attitude and mood of a work are created and presented. Tone gives voice to the characters, both literally and figuratively. Through tone, the reader is able to learn about a character's personality and disposition. However, the tone ‘alco shapes the work as a whole, and whether the piece should be read ae a serious, funny, dramatic or upsetting, What Is Tone Fass the best way to begin to describe tone is through every day examples that everyone is comfortable with. Everyone is familiar with the stressed soy mother yelling "Don’t you use that tone of voice with me!" to her disobedient, sarcastic, or fresh son or daughter. The way in which someone voices sfatement is exactly the definition of tone. If the mother asked "What are your Plans for today?” the child could have responded “I'm going to the store.” {f the Child said “I'm going to the store” in a simple, matter of fact way, he or che Would not have elicited a scolding response from the mother. However, if the Ghild responded with a whiney “I'm going to the store!" because he or she could simply not be bothered with answering the mother’s question, then the entre meaning of the situation changes. See how tone is a major manipulator of meaning? How someone says something entirely changes the situation. Therefore, authors use tone to create the type of mood that they want for their piece of literature, Tone Examples in Catcher in the Rye One of the most well known characters in all of literature, Holden”Caulfield, has af, Undeniable tone in Catcher in the Rye, He is sarcastic, tough, and inquisitive, He also makes polgnant observations through his rather biting tone, Seme quotations from Holden are as follows: + (Goddamn money. It always ends up making you blue as hell." + "Catholics are always trying to find out if you're Catholic." * "If a girt looks swell when she meets you, who gives a damn if she's late? Nobody." * "People never believe you." "All morons hate it when you call them a moron." Studying Holden certainly gives a large amount of insight into tone. Holden tends to speak sarcastically; however, he is making satirical statements about the nature of life. That Is exactly what J.D. Salinger's purpose was. He wantes Other Examples of Tone in Literature Every single piece of literature ever written has a tone, and it would beimpossible for anything to claim to be literature if it did not have a tone. The following are only a smattering of examples of the wide uses of tone in literature. + "Atticus was feeble: he was nearly fifty." -To Kill a Mockingbird: This ‘example shows the naiveté of the young narrator, Scout, because she thinks that 50 is extremely old. Again, a coming of age narrative is established. ife and death appeared to me ideal bounds, which T should first break through, and pour a torrent of light into our dark world." - Frankenstein: Victor speaks these words at the very beginning of the novel, setting an ominous mood for the rest of the tale. + "The course of true love never did run smooth." -A Midsummer Night's Dream: In a different context, this quotation could be full of woe and misery. However, although Lysander is making comments about troubles with love, ultimately the reality is that the words are spoken by 2 comic character highlighting that the play Is sure to be full of perplexing yet light trials of love. Examples of Tone in Poetry Citing one brief example from Robert Frost's famous “The Road Not Taken" sums up a great deal of information not only about the poem, but also about the effect of tone in general. Let's look at the last stanza: "[ shall be telling this with a sigh/Somewhere ages and ages hence:/Two roads diverged in a wood, and 1,/I took the one less 7m traveled by,/And that has made all the difference.” To an extent, reading literature Is a subjective process because different pieces of writing can be interpreted in different ways by the reader. In this example, Frost is commonly interpreted as looking back on his experience with joy. That Is true, if he were to speak those lines cheerfully. However, imagine that he actually sighs when he says "sigh" and he appears sullen when he says’ "And that has made all the difference." The entire meaning of the poem is changed, and Frost is, indeed, not thrilled with the choice he made in the past. ‘The Effect of Tone the aforementioned tone examples are in no way comprehensive, because everything always has a tone. Furthermore, as can be seen, particularly by the Frost example, tone is not always easy to decipher. Sometimes different individuals will have varying opinions about what exactly the tone is supposed to be. Important to remember though, is that in any case, tone absolutely affects the mood of the piece. Mood and tone are two separate qualities and their differences must be known by anyone studying literature; however, they are intrinsically linked because of the effects that they have on one another. puthor: Jen Mare —_htip://www.yourdittonary.com/grammarfexamples/tone-examples. htm! >Some Tone Words simple, straightforward, direct, unambiguous, candi complicated, comple, difficult complimentary, proud, effusive strident, harsh, acerbic, angry, outraged, energetic, vibrant satirical, critical bitter, grim, cynical hollow, detsched, cold, obdurate indifferent, unconcemed, disinterested, apathetic ‘humorous, playful, joking, frivolous impish, silly, sophomoric, childish reticent, subdued, restrained afraid, fearful, horrific, terrified, panicked solemn, serious, somber recalcitrant, stubbom, rebellious thoughtful, dreamy, fanciful excited, exhilarated, exuberant happy, contented, ecstatic, joyful, giddy insistent, urgent, pressing commanding, demanding condescending, arrogant, haughty, dogmatic oratorcal, dramatic, melodramatic audacious, bold, impudent, insolent shocking, offensive, reprehensible, lurid iolent |tp:fin-fosterripod.comvindex files/page0128.htm inctect, understated, evasive, allusive admiring, worshiping, approving disliking, abhorring, contemptuous forceful, powerful, confident ‘tonic, sardonic, sarcastic, mocking, sly, wry sharp, biting interested, sympathetic, pitiful ‘ied, boring, uninterested impaatial, objective ‘ippant, irreverent, facetious tesigned, calm, tranquil, quiet, peaceful, ‘upset, depressed, melancholy, despairing ‘wistful, nostalgic, sentimental apologetic, penitent, ignominious apprehensive, anxious, pensive vexed, uncertain, confused, ambivalent ardent, fervent, zealous ‘ncredulou’, questioning, skeptical, dubious pertinent, pointed, incisive, poignant exhoratory,admonishing, censorious elevated, grand, bombastic, pretentious Scomful,disdainful, supereilious alluring, provocative, seductive Aidacic, instructiveGenre Genre's the lem for any category of literature. Genros are determined by a set of stylistic criteria. ‘Genres are formed by conventions that change over time as new genres are invented and the usr Of od ones are discontinued. Genres may also be connected to a particular culture. Often, works fi”) {ito multiple genres by way of borrowing and recombining these conventions. Literature can generally be divided into two categories: prose and poetry. Major forms include short stories, novels, poetry and drama. There ar many shot story genres, inching arabia ‘hitaren’s story fable faite myth jo falrytale folate modern Short short story ‘Modem short story genres include urban legends, graphic text and fanfiction. ‘An alternate list of short story genres that can be applied to other literary and artistic forms includes fantasy humour farce satire history allege mystery horror classic drama action and adventure diary biography ‘sclence fiction ‘magic realism war crime autobiography ‘sport western Yen / young adult romance thriller children’s a Novels and longer works of Iterature may also be classified as BBildungsroman roman a clef /Schlusselroman epistolary epic ‘memoir Plcaresque ‘Since Ancient Greece drama has traditionally been divided into the genres of comedy and tragedy an corsered post. Shakcopeeros lays ee si moat writen post at wey are genealy dvded ino four categories ‘raged history comedy problem play or Romance (Other categories of drama include ‘ragicomedy musical monologue melodrama aay pl opera screenplay mniracle and mystery plays pantomime fone act play 8 Fheatre of the absurd ‘The word drama car'used to describe a category of play that is neither comedy nor tragedy. ‘Miso. there are subcategories within these genes. For example, tragedy is often divided into Classical Greek, Shakespearian and modern. 5 Intertexuality is the relationship between texts. Texts ofall kinds are bound together by the broader readig and wring practices ofa cuiture. These include language, the corweniions and techniques by which we recognize a text as belonging to a category, and spectic allusions.