BRIEF NOTES ON THE NATURE OF FICTION

1. BRIEF NOTES ON THE NATURE OF FICTION

2. DEFINITION Broadly defined, the term fiction refers to any narrative, in prose or in verse, that is wholly or in part the product of the imagination. This definition includes plays, poems, folktales, parables, fables, legends, allegories, satires and romances – all of which contained certain fictional elements.

3. Fiction should be regarded as a presentation or imitation of life and not to be confused with a literal transcription of life itself.

4. Fiction is REPRESENTED rather than REPORTED. Fiction is IMPLICIT rather than EXPLICIT. Fiction has become more DRAMATIC rather than NARRATIVE. Fiction SHOWS rather than TELLS

5. Literary Elements • Plot. • Character. • Setting. • Point of view. • Theme. • Symbol and allegory. • Tone and style.

6. Story versus Plot • A story could be defined as a narrative of events arranged in their time sequence. • A plot is also a narrative of events, the emphasis falling on causality.

7. Conflict in a Plot • For a plot to begin, we need to have conflict. Conflict is a device through which the reader is given the information or material from which to conclude the “hows” and “whys” of what happens.

8. There are two kinds of conflict: external and internal conflict. 1. External conflict is when the protagonist is pitted against some object outside himself. This may reflect a basic opposition between man and society or between man and nature. 2. Internal conflict is when the issue to be resolved is confined to the protagonist’s psyche or personality. For example, in Conrad’s “The Secret Sharer,” when a young captain must conquer his insecurity and self-doubt to become the master of his ship.

9. Five-Stage Structure of Plot The traditional plot may be broken down as follows; however, many plots do not follow in exact sense or sequence this breakdown. • Exposition • Complication or rising action • Crisis or climax • Reversal or falling action • Resolution or denouement

10. 3.CLIMAX (crisis) 4.REVERSAL (falling action) 2.COMPLICATION (rising action) 5. RESOLUTION (denouement or end) 1.EXPOSITION

11. a. Exposition: the presentation of essential information, especially about what has occurred before this piece of action begins. (Background of characters and setting or a situation). • b. Complication or rising action: the conflict is introduced. The conflict may exist between the protagonist and an antagonist, or between the protagonist and non-human factors such as fate, nature, or between the protagonist himself. • c. Crisis or climax: the decisive turning point. This is when the plot reaches its point of greatest emotional intensity, directly precipitating its resolution. • d. Reversal or falling action: once the crisis has been reached, the tension subsides and the plot moves towards its appointed conclusion. Note: Sometimes there is no reversal or falling action. • e. Resolution or denouement: The final section of the plot. It records the outcome of the conflict.

12. Analyzing Plot • a. What is the conflict? Is it internal, external or the combination or both. • b. What are the chief episodes that make up the plot? How is it arranged? • c. Compare the plot’s beginning and end. What essential changes have taken place? • d. Describe the plot in terms of its exposition, complication, crisis, falling action, and resolution.

13. e. Is the plot unified? Do the individual episodes logically relate to one another? f. Is the ending appropriate to an consistent with the rest of the plot? g. Is the plot plausible?

14. Characters • The term character applies to any individual in a literary work. The kinds of character include: protagonist, antagonist, flat, round, stock, dynamic, and static.

15. Methods of Characterization • a. Telling: Relies on exposition and direct commentary by the author. • b. Showing: The author allows the characters to reveal themselves directly through their dialogue and their actions.

16. 1. Characterization through the use of names • 2. Characterization through appearance • 3. Characterization by the author • 4. Characterization through dialogue • 5. Characterization through action

17. Setting In its broadest sense, setting encompasses both the physical locale that frames the action and the time of day or year, the climactic conditions, and the historical period during which the action takes place. Setting helps the reader to visualize the action of the work. It helps to create and sustain the illusion of life.

18. The Functions of Setting These functions, however, are not mutually exclusive: a. to provide background for the action b. as an antagonist c. as a means of creating appropriate atmosphere d. as a means of revealing character e. as a means of reinforcing theme

19. Authors traditionally use the cycle of the year and the cycle of the day to establish settings because of their traditional association with the successive cycles in human life: a. Spring, morning: Youth b. Summer, noon: Maturity c. Fall (autumn), afternoon, twilight: Declining years. d. Winter, night: Death

20. Analyzing Setting a. How does the author go about establishing setting? Does the author want the reader to see or feel the setting; or does the author want the reader both to see and feel it? What details of the setting does the author isolate and describe? b. Is the setting important? If so, what is its function? Is it used to reveal, reinforce, or influence character, plot, or theme? c. Is the setting an appropriate one?

21. Point of View 1. A story must have a plot, characters, and a setting. It must also have a story teller: a narrative voice, real or implied, that presents story to the reader. 2. The narrative voice is the point of view, the method of narration that determines the position, or angle of vision, from which the story is told. 3. The point of view involves, among other things, the distance that the author wishes to maintain between the reader and the story and the extent to which the author is willing to involve the reader in its interpretation.

22. There are four basic point of views: • a. Omniscient • b. Limited omniscient • c. First-person • d. Dramatic

23. Omniscient point of view (panoramic, shifting, or multiple point of view) • The omniscient narrator is an all-knowing presence. From a vantage point outside the story, the narrator is free to tell us much or little, to dramatize or summarize, etc. • The narrator firmly imposes himself between the reader and the story, and retains full and complete control over the narrative • The narrator can direct the reader’s attention and control the source of information.

24. Limited omniscient point of view (third person or selective omniscient) • The narrator retains the right of immediate access to the work but moves the point of view inside by selecting a single character to act as the centre of revelation. • The reader’s knowledge of the events is always restricted to what his focal character can know or see. • The tightness of focus and control are the main advantages of this limited point of view as it provides the intensity that is suited to the story. It also works well as a means of creating and sustaining irony because it can exploit the disparity between what the focal character thinks he or she knows and the true state of affairs.

25. First person point of view • This view is tightly controlled and limited in its access to information.

26. Dramatic point of view (Objective point of view) • The story is told by no one. The reader is left largely on his own. There is no way of entering the minds of the characters; no evaluative comments are offered to the readers of how to respond to the events or the characters. • Without the presence of the narrator, telling is replaced by showing (action and dialogue).

27. Reliable and Unreliable Narrators • The omniscient and the dramatic point of view could always be regarded as reliable narrators as they are placed outside the work and aids directly in its analysis and interpretation. • However, when the narrative voice is positioned inside the work and belongs to a character, the reliability of this voice becomes questionable.

28. Theme • Theme may mean the moral or lesson that can be extrapolated from the work, as with one of Aesop’s fables. • Theme could also refer to the basic issue, problem or subject with which the work is concerned: For example, “the nature of man,” “the discovery of truth,” or “the initiation into adulthood.” • In literature, theme is the central idea or statement about life that unifies and controls the total work. In this case, theme is not the issue, or problem, or subject with which the work deals. Rather, theme is the comment or statement the author makes about the subject as it necessarily and inevitably emerges from the interplay of various elements of the work.

29. Identifying ThemeThe following suggestions and comments may prove helpful in identifying the theme of a particular work: • The theme of a literary piece must not be confused with the work’s subject or situation. Theme is the abstract, generalized statement or comment that the work makes about a concrete subject or situation. • Try not to understate or overstate or even failing to discover the total significance of the theme of the story. • Make sure that the theme that is proposed is supported by the work’s other elements. • Titles may also provide clues about the theme. e. Biographical and autobiographical explorations are helpful in discovering the theme in a work. They can tell us something about the author’s intentions.

30. Symbol and Allegory • Symbolism enhances fiction in such a way as to help readers organize and enlarge their experience of the work. • Allegory is a technique for expanding the meaning of a literary work by having the characters and sometimes the setting and the events represent certain general abstract ideas, qualities, or concepts usually moral, religious, or political in nature.

31. Style and Tone • Style: The distinctive quality of literature that sets it apart from all other forms of artistic expression is its reliance on language. • Tone : It is used to characterize the special qualities of accent, inflection, and duration in a speaker’s voice.