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The Novel. An introduction. Background. Does not really exist prior to mid-1700s: grows out of play, epic poem, short story, novella, etc. Became the norm by 1830s Stages (in a very, very broad sense): Early novel ( Gulliver’s Travels, Modest Proposal )
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The Novel An introduction
Background • Does not really exist prior to mid-1700s: grows out of play, epic poem, short story, novella, etc. • Became the norm by 1830s • Stages (in a very, very broad sense): • Early novel (Gulliver’s Travels, Modest Proposal) • Romanticism (Frankenstein, Scarlett Letter) • Realism (Huck Finn, Middlemarch) • Modernism (The Great Gatsby, Love Song of J. Alfred Prufrock) • Post modernism (Cat’s Cradle, Haroun and the Sea of Stories)
Make-up of the novel • Exposition: Set the scene, characters, voice, etc.; give any necessary background; create the problem; foreshadow • Rising Action: Keep the characters/story/plot going in an interesting direction (bulk of the book) • Climax: Presentation of the bulk of the problem • Resolution: End of the problem (for better or worse). Last bit to wrap it up
Exceptions to the layout • Begin in medias res: in the middle and work backwards—i.e. flashback or (flash “around”) like Catch-22 • End deus ex machina: sudden, miraculous ending like Lord of the Flies • Insufficient resolution: Novel just kind of ends; or has a notably negative ending, or has no real climax • Character build up: novel focus on character with little to no plot • Novel lacks a climax but rather just tells a story like Siddhartha
Character • Things that do the bulk of the acting and/or are acted upon in the novel • Main character is called the protagonist • Person who stands in opposition is called the antagonist • Usually human, though they do not have to be • In some instances, usually character studies, the character can be the main part of the novel—when done right the story is almost a side point • Weaker or stock characters are also used for the opposite effect • Famous characters include: Huck Finn, Lord Voldemort, Holden Caufield, Dracula
Plot • What actually happens within the novel • Can be elaborate or very simplistic—with twists and turns or without, absurd or logical, etc., • Both the easiest—in that you can have any type of one, and hardest—in that you’ve got to convince yourself it is good, part of the novel • Novels with strong plot: Harry Potter, Brave New World, The Great Gatsby, Alice’s Adventures in Wonderland
Setting • Where the novel takes place • Can be one place or many • Can be used to frame or make the novel—maybe most versatile part • Important settings: the river in Huck Finn, the island in Lord of the Flies, WWII and the concentration camps in Night
Theme • The overarching underlying ideas behind the book—what the book is talking about, commenting on, suggesting, etc.—a common thread woven throughout the book • Usually the part of the book that is most critically commented on. • Ex: The corruption caused by wealth and materialism in The Great Gatsby
Language • The voice—how the book is written • Only area where normalcy does no harm—a good writer can only improve/benefit by it • Hardest to teach, most individual • Can be very complex—18th and early 19th century books; or more simple (with complexities) like today. Unique examples include: • Stream of conscious: Ulysses, Finnegan’s Wake • Slang: A Clockwork Orange • Jargon: Huck Finn, Trainspotting • Simplistic: Any Hemingway
Characterization and creating your character
Terms • Characters are people that inhabit stories. • Protagonist--Major character at the center of the story. • Example: Katniss or Harry Potter • Antagonist--A character or force that opposes the protagonist. • Example: President Snow or Voldemort • Minor character--0ften provides support and illuminates the protagonist • Example: Peeta/Gale/Haymitch or Hermoine/Ron/Hagrid
Terms • Static character--A character who remains the same. • Dynamic character--A character who changes in some important way. • A flat character is not fully developed; know only one side of the character. • A round character is fully-developed, with many traits--bad and good--shown in the story. We feel that we know the character so well that he or she has become a real person.
Characterization • Defies expectation- Avoids stereotype • For example: • Katniss is young and poor, yet defies everyone’s expectation by being so brave and skilled • Haymitch seems to be a jaded drunk, yet evolves into an inspirational leader and advocate
Characterization • Delivers relevant and interesting physical description such as… • Physical traits • Attire • Mannerisms- • Speech patterns • Yet, avoids “all points bulletin” style • Limit description to what relevant to plot • Something needs a reason to be noticed
Characterization • Places character convincingly in environment • People tend to be either products or their environment or are defined in their opposition to it. • For example: • What do they do for a living? For Fun? • Goes hunting • How would they react to different places: • District 12, The Capitol, the game arena • What stuff do they have? • Ex. Crossbow and arrow • Where do they live? • District 12
Characterization • Puts character in motion • Characters don’t just stand around to be described- • What are they doing? How are they doing it? • Example- Descriptions of the Hunger Games, and the players actions
Characterization • Reveals the character’s inner world • Dreams, visions, memories, and thoughts • Gives us “two for one” descriptions of places, other characters, etc.- not only what they’re like but how our character feels about them. • Katniss with Peeta
Characterization themes: • Super powers or super villainy • Magical powers
Character Creation • For this short assignment, you will turn yourself into a superhero or supervillain • Within your character description (think of this as a character biography on Wikipedia or IMDB), address the following:
What do you do? • Using your personality as a guide: • So you possesses fantastic powers greater than normal people… releasing you from the laws and restrictions that confine the lives of mere mortals… • What do you draw moral guidance from? (now that you no longer fear authority) • How to use your power? (Personal gain vs. saving world) • What is your responsibility? (Since you can save or destroy the world…) • How do you relate to normal people? • Not to mention… costumes, secret identities, trademark weapons, hideouts, minions/allies • Draw yourself in character • Add descriptions of your powers, skills, etc.
Setting Why does it matter?
Setting Basically where and when a story takes place; however, it is the whole environment in which the character(s) live(s). One should consider the five senses and what the character sees, hears, tastes, smells, and touches. The setting is more than background; frequently it’s critical to: the development of the plot, to the understanding of the protagonist, or as a means of establishing the mood within the story.
Time When the story happens What is the date of the story? What time of day is your scene taking place? What time of year is it? What’s going on in history that might affect the character (s)?
Location Where, in general, the story happens What is the weather like? What is the physical environment like? What’s the character’s relationship/ comfort with the physical surrounding? What are the man-made features like?
Atmosphere Where, specifically, the story happens What does the character see? hear? smell? touch? taste? What’s the “vibe” of the place? Are there layers- things you don’t notice right away?
Social Milieu What are the people are like in the story. How do they react to stimuli? What is the characters’ relationship to the people here?
Establishing Setting • Details of setting, like details of character, need to be relevant to story • Too much detail will quickly get boring…think Gatsby • Avoid verbs-of-being • Jack was standing on the corner. It was 10:30. It was raining. Vs: • Jack’s watch read 10:30 as he dashed to the corner. “Rats,” he thought, “missed my bus again- and it’s raining.” • Remember your character’s “filter” • One character might feel very differently about a place than another, and this will affect description greatly.
Utopia • Types: • Religious • Political • Technological • Economic • Social • Etc./ Other An imaginary, ideal civilization, which may range from a city to a world, and may be regarded as possible in the future or the past, although not currently existent.
Dystopia A fictional society that is the opposite of utopia. Usually characterized by an authoritarian or totalitarian form of government, or some other kind of oppressive social control.
Why They’re the Same Ideal Freak • Utopias and Dystopias are essentially the same concept • Why? Well, whenever you create an ideal, you create a freak. • Your utopia is my dystopia, in short.
Your turn • You and a partner are going to create a novel outline based on a title I have created • Who are the characters? Setting? What is the basic plot? • Title: Freshman Year at University • Need: characters (and descriptions), setting, plot points (intro, rising action, climax, falling action, resolution/ending)
Film Analysis • Film: Pirates of the Caribbean: The Curse of the Black Pearl • You will be having a graded class discussion surrounding character and setting • What works in terms of character development (think about good vs. bad characters)? • What type of setting is the best in a story? Explain. • How can setting become a central character or aspect of the story? • What is more important in a story: a great setting or a great character? Explain. • Why do we need both dynamic and static characters? • If you had to change the setting for Pirates, where would you set it instead? Explain.
Elements of Plot as explained through Pirates of the Caribbean
Plot- the arrangement of ideas and/or incidents that make up a story.
Plot Arc: Exposition--Background information regarding the setting, characters, plot.
Plot Arc: Complication or Rising Action--Intensification of conflict.
Plot Arc: Climax or Crisis--Turning point; moment of great tension that fixes the action.
Plot Arc: Resolution/Denouement--The way the story turns out.
Plot Devices: Exposition • Framed Narrative: A story within a story • Narrative hook — the opening of a story intended to grab the reader and hold them to read the story • MacGuffin — a prime motivation for the characters that has little other relevance to the story
Plot Devices: Rising ActionCausality--One event occurs because of another event. Suspense--A sense of worry established by the authorRed herring — a person, event or object which deflects attention from the real thing Flashback- A sudden scene happening earlier to the present one that adds exposition at the right momentReversal — a change in the action or circumstances completely reversing them Self-fulfilling prophecy — a prediction of a future event, where the prediction of the event causes the event Foreshadowing--A suggestion of what is going to happen.
Plot Devices: Conclusion • Cliffhanger — abrupt ending presumably allowing the story to be continued in another episode or some other work • Deus ex machina — strange or unusual means of resolving a story, such as having an event turn out to be a dream • Twist ending — unexpected conclusion to a story
Conflict--Struggle between opposing forces. • Protagonist v. Antagonist • Anagonist can be: • Another person (e.g. Apollo Creed) • Self (e.g. Rocky gaining confidence) • Larger society or system (everybody telling him he’s a “bum”) • An inanimate object (e.g. nature)
Theme: Mano a Mano • Every story involves a conflict of some sort of the other • In fact, a story without conflict isn’t a story • Regardless of genre • Thus, this unit is all about conflict and competition
