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SHORT STORIES

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Title: SHORT STORIES


1
SHORT STORIES
2
Elements of Fiction
  • Think about pieces of a puzzle All pieces of
    the puzzle come together to make a complete
    picture.
  • There are many parts of a story. All of these
    parts come together to make a complete story.

3
PROTAGONIST
  • The leading character in a story.

4
ANTAGONIST
  • A character in the story that opposes and
    actively competes with another character in the
    story.
  • In the Disney movie Hercules, Hercules would have
    been the PROTAGONIST. Who would have been the
    ANTAGONIST?

5
PLOT
  • The sequence of events or happenings in a story.
    An ordering of events in such a fashion as to
    bring them to a strongly satisfying conclusion.
  • Freytags Pyramid

6
EXPOSITION
  • Introduction of the setting (the time and place),
    the characters, and the basic situation.

7
CONFLICT
  • This is a major element in the plot structure.
    It is a struggle of some kind.
  • Introduced right after the exposition, at the
    beginning of the rising action
  • There are 3 different types of conflict.

8
EXTERNAL CONFLICT
  • Man vs. Man A struggle between 2 characters.
  • Man vs. Nature A struggle between a character
    and his/her environment.

9
INTERNAL CONFLICT
  • A struggle within a characters mind.
  • Man vs. Himself

10
RISING ACTION
  • Events leading up to the climax of the story.

11
CLIMAX
  • The point at which the intensity of the action
    rises up to a very high point of interest.

12
FALLING ACTION
  • The events in the plot that lead to the
    resolution.

13
RESOLUTION
  • The moment in the plot when the conflict ends.

14
FORESHADOWING
  • The use of hints or clues in a story to suggest
    what action is to come. Foreshadowing helps to
    build suspense because it alerts the reader to
    what is about to happen. It also helps the
    reader savor all the details of the buildup.

15
POINT OF VIEW
  • The vantage point from which a story is told.
  • Ask yourself, Who is telling the story?
  • May be unlimited or narrow this depends on the
    author
  • Point of view can be very important in some
    stories.

16
THIRD-PERSON OMNISCIENT
  • The author is outside of the story.
    (All-knowing)
  • The author presents the thoughts of all the
    characters involved as an objective observer.
  • When Jane saw Bill jogging past her house, her
    heart skipped a beat.
  • When Bill saw Jane in the hallway at school, he
    fought hard to catch his breath. No doubt about
    it it was love!

17
THIRD-PERSON LIMITED
  • The author tells the story from the viewpoint of
    just one character.
  • When Jane saw Bill jogging past her house, her
    heart skipped a beat. She thought from the way
    Bill looked at her in the hallway that he liked
    her, too.

18
FIRST-PERSON POINT OF VIEW
  • Tells a story from the I point of view.
  • Is a limited point of view
  • One character will narrate his/her own story or
    experience directly.
  • When I see Bill jogging past my house, I think I
    am going to faint. I think that I have the same
    effect on him. Do you think this means we are in
    love?

19
SETTING
  • The time and place of the action in a story. In
    short stories and novels, the setting is
    generally established by description. Setting
    can be important in poetry and nonfiction as
    well, and the means of establishing setting is
    through description. In dramas, the setting is
    usually established by stage directions and
    reinforced in dialogue. Since a drama normally
    has sets that appear before an audience,
    elaborate descriptions of setting are unnecessary.

20
SETTING con.
  • In the first sentence of The Legend of Sleepy
    Hollow Washington Irving establishes the setting
    of the story

21
SETTING con.
  • In the bosom of one of those spacious coves
    which indent the eastern shore of the Hudson, at
    that broad expansion of the river named by the
    ancient Dutch navigators the Tappan Zee, there
    lies a small market town or rural port, which by
    some is called Greensburgh, but which is more
    generally and properly known by the name of
    Tarrytown.

22
SETTING con.
  • The setting of that passage establishes not only
    the physical locale (Tarrytown) but also
    something of historical moment as well. This
    tells us right away that history may have
    something to do with the story.

23
SETTING con.
  • Setting can be of great importance in
    establishing mood or building emotional
    intensity. The next passage is from The Fall of
    the House of Usher by Edgar Allan Poe. Note how
    the underlined words help to build an atmosphere
    of gloom

24
SETTING con.
  • During the whole of a dull, dark, and soundless
    day in the autumn of the year, when the clouds
    hung oppressively low in the heavens, I had been
    passing alone, on horseback through a singularly
    dreary tract of country, and at length found
    myself, as the shades of the evening drew on,
    within view of the melancholy House of Usher.

25
IRONY
  • Events contrary to what is expected. Irony is
    used in literature for different effects, from
    humor to serious comments on the unpredictable
    nature of life. There are three different types
    of irony

26
SITUATIONAL IRONY
  • Also called IRONY OF SITUATION
  • Something takes place that a character or reader
    does not expect to happen. For example, a
    student voted Most Likely to Succeed ends up
    going to prison.

27
VERBAL IRONY
  • When the meaning a speaker wishes to communicate
    is different fromor opposite towhat the actual
    words seem to say.
  • Hyperbole exaggerated statement used to make a
    strong effect (Ill never get this fish line
    untangled in a million years.)
  • Understatement the opposite of hyperbole
    involves saying less than you really feel for
    ironic effect (after almost being hit by a bus
    Now that the excitement is over, why not have
    some tea?)

28
DRAMATIC IRONY
  • The reader or audience knows or understands
    something that a character or speaker does not.
    For example, readers know that the apple Snow
    White is about to bite into is poisoned, but Snow
    White does not know it.

29
THEME
  • The main idea or the basic meaning of a literary
    work.
  • Not all stories will have a theme.
  • Look for a lesson about life
  • Theme is stated as a general statement that is
    not directly related to the story.
  • Theme is NOT a summary of the story!
  • Some themes are directly stated as a moral of the
    story.

30
  • Some traditional short story themes
  • The struggle between good and evil.
  • The differences between nature and a civilized
    society.
  • The conflict between the individual and the
    community.
  • The differences between country and city life.

31
THEME con.
  • To figure out the theme of a story, you must
    think about the selection read.
  • Ask yourself what you learned about life after
    reading the story.
  • Look for key passages that tell you about life.
  • Oftentimes a character in the story learns the
    same lesson as you learned.
  • What is the theme of A Christmas Carol Scrooge
    and Marley?

32
THEME con.
  • In A Christmas Carol, one key passage that
    points toward the theme of the story is this
    speech by Marleys ghost, warning Scrooge to
    change his ways before it is too late

33
THEME con.
  • Mankind was my business. The common welfare was
    my business charity, mercy, forbearance,
    benevolence, were all my business. The dealings
    of my trade were but a drop of water in the
    comprehensive ocean of my business!

34
THEME con.
  • Clues to help you find the theme in a story
  • The title
  • Important images or symbols in a story
  • General observations made by the author,
    narrator, or characters in the story
  • Any moral suggested by the outcome of the
    conflict

35
SUSPENSE
  • Anxiety or apprehension resulting from uncertainty

36
GENRE
  • Kind or type of literature

37
MOOD
  • The emotions and atmosphere the plot creates

38
FLASHBACK
  • A break in the continuity of a story to introduce
    an earlier event

39
TONE
  • The attitude of the author toward his/her subject

40
INCITING INCIDENT
  • The event that begins and motivates the action of
    the story conflict is introduced

41
CHARACTERIZATION
  • The act of creating or developing a character
  • Direct characterization the author states what
    the character is like
  • Indirect characterization you, the reader, must
    infer from the details in the story what the
    character is like
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