Group I:

Novy Dwi Shaphitri – 183112200340080

Ferinda Nisrina Machmud – 193-093

Aisha M. Maharani - 183112200340101

ANYLIZING LITERARY ASPECTS OF LITERATURE:

The Novel “PAPER TOWNS” by JOHN GREEN

A. Character and Characterization

In presenting and determining characters there are 2 methods, namely telling
(directly) and showing (indirectly). Excerpted from the book Pickerig & Hoeper, 1981:
27. That:

 "Telling means one method which relies on expositions and direct comments by the
author. In telling a method preferred and practiced by many older fiction writers. We
learn and look only at what the author calls and mentions to our attention. What is
meant by direct delivery if characters or characterizations in a book are presented in
the form of:
1. Through the name of the character
2. Through the appearance of a character
3. Through the author's guidance

 "Showing means indirect method which involves the author's stepping aside, as it
were, to allow the characters to take themselves directly through and their actions
with showing, much of the burden of character analysis is shifted to the readers, who
is required to infer characters on the basis of evidence provide in the narrative "while
what is meant by indirect delivery if the character or characterization in the book is
presented in the form of:
1. Through dialogue
2. Location or building and conversation situation
3. Through dialogue or the staging of other characters
4. The mental quality of a character
5. Voice tone, pressure, and vocabulary

But in a novel does not rule out the possibility of the author combining the two
methods, such as the book "Paper Town" where the author uses both methods to be able
to understand the character of the characters through dialogue or action so as not to cause
boredom. Why does my group think that this book uses both methods, because in the
paper town author the characters and characters characterization use several methods,
either by telling or showing.

• Through the name of the character (telling)

Based on data traced from Q&A of the author (John Green), he said:

"Margo's name has gone in it; I guess that's probably the reason I chose it. Her last
name, Spiegelman, means "mirror maker" in German - like, the guy in the German
villages who made the mirror was the spiegelman. And Margo functions as a mirror to
the other characters in the novel: What they see when they look at Margo ends up saying
a lot more about them than it says about Margo herself.

Roth once meant red in German, and I wanted to give Margo (in the subtlest way
possible since I have a color name and I didn't want people connecting her to me) a
color name, because so much of the imagery in the novel is either black (black Santas) or
white (the great white wall of cow).

The black things in the novel tend to be expressions of how humans end things with
meaning, whether well or poorly; the white things tend to be things that are menacingly
void of meaning and totally apathetic to us. "

So that the characters used on Margo figures are like mirrors that are red and black
and white. Where Margo is a mirror for other characters to improve themselves or
remind each other.

While red, depicts a brave figure, strong, confident, and has a strong energy. the black
color represents a mysterious, elegant and sad attitude. And white color itself portrays a
simple figure with minimal funds.

https://www.canva.com/en_us/learn/arti-warna-dan-simbol-from-merk/

http://www.johngreenbooks.com/paper-towns-faq

While based on Urban Dictionary, Quentin means "A boy who changes your life, and
makes you believe in happiness, love, and friendship. He is the smartest, smartest and
most handsome boy. He is the boy you want to spend the rest of your life with. He is
someone who has to give up all your heart, and someone who will cure all your pain,
worries, and fears "so that it is clear here that the characteristics of the Quentin character
are handsome, intelligent and perfect in every way.

https://translate.google.com/translate?hl=en&sl=en&u=https://www.urbandictionary.com
/define.php%3Fterm%3DQuentin&prev=search
• Through the appearance of characters

Not only the name but the appearance described by the author in the book can also
describe the characteristics of the character.

" ... On the morning in question, she wore white shorts and a pink T-shirt that featured
a green dragon breathing a fire of orange glitter. It is difficult to explain how awesome
I found this T-shirt at the time. " “... her purple sneakers a circuitous blur. ....” (page
4)

“She wore a white skirt to her knees and a blue print top. I could see her collarbone.
She was laughing at something hysterical—her shoulders bent forward, her big eyes
crinkling at their corners, her mouth open wide. (Page 13)

“... I kept taking glances at her through the crowd, quick snapshots: a photographic
series entitled Perfection Stands Still While Mortals Walk Past. ...” (Page 14)

“I swiveled around when I heard the window open, and Margo’s blue eyes were staring
back at me. Her eyes were all I could see at first, but as my vision adjusted, I realized
she was wearing black face paint and a black hoodie.” (page 25)

"... Here is Margo Roth Spiegelman, five feet away from me, her lips chapped to
cracking, makeup-less, dirt in her finger-nails, her eyes silent. ... " (page 281)

So that we can emphasize the characteristics of the Margo character the stronger
we know from background the names of the characters where Margo is a brave and
mysterious girl and also a sad figure.

• Through the author's guidance

The author wrote several times describing the characteristics possessed by each
character through his speech.

"... we rode a bicycle and I let Margo paddle in front because I cried and didn't want
her to see it. I'm biased to see blood on the soles of margo's purple sneakers ". (page
12)

“... We got on our bikes and I let her go in front of me because I was crying and didn’t
want her to see. I could see blood on the soles of her purple sneakers.” (Page 6)

" Margo always loved mysteries. And in everything that came afterward, I could never
stop thinking that maybe she loved mysteries so much that she became one.” (page 8)

" The thing about Margo Roth Spiegelman is that really all I could ever do was let her
talk, and then when she stopped talking encourage her to go on, due to the facts that 1.
I was incontestably in love with her, and 2. She was absolutely unprecedented in every
way, and 3. She never really asked me any questions, so the only way to avoid silence
was to keep her talking.". (page 31)

• Through dialogue

Through dialogue between characters we can also conclude the characterization of a

character, as happened in the Paper Town novels (pages 32 and 33)

“I really don’t want to get in any trouble,” I told Margo back in the minivan as she
used the bottled water to wipe the black paint off her face with the tissues. She’d only
needed the makeup, apparently, to get out of the house. “In my admission letter from
Duke it actually explicitly says that they won’t take me if I get arrested.”

“You’re a very anxious person, Q.”

“Let’s just please not get in trouble,” I said. “I mean, I want to have fun and
everything, but not at the expense of, like, my future.” (Page 32)

She looked up at me, her face mostly revealed now, and she smiled just the littlest bit.
“It amazes me that you can find all that shit even remotely interesting.”

“Huh?”

“College: getting in or not getting in. Trouble: getting in or not getting in. School:
getting A’s or getting D’s. Career: having or not having. House: big or small, owning
or renting. Money: having or not having. It’s all so boring.” (Pages 43)

Her forehead still against the glass, she turned to me and smiled. "Here's a tip: you're
cute when you're confident. And less when you're not. "(Pages 57)

• The mental quality of the character

It can be seen or illustrated through Margo's parents' dialogues, the do not care about
what Margo does, and considers it only embarrassing the family name and disgusted
with the problems Margo always makes. Without seeing the reason why Margo did it
all.

“Mr. Spiegelman continued talking to my mom. “We’re happy to pay for her
to go to college, but we can’t support this…. This silliness. Connie, she’s eighteen!
And still so self-centered! She needs to see some consequences.” My mom
removed her hands from Mrs.Spiegelman. “I would argue she needs to see loving
consequences,” my mom said. “Well, she’s not your daughter, Connie. She
 hasn’t walked allover you like a doormat for a decade. We’ve got another child
to think about.” “And ourselves,”

Mr. Spiegelman added. He looked up at me then. “Quentin, I’m sorry if she tried to
drag you into her little game. You can imagine how ….just how embarrassing this is
for us. You’re such a good boy, and she…..well.”I pushed myself off the wall and
stood up straight. I knew Margo’s parents a little, but I’d never seen them act
so bitchy. No wonder she was annoyed with them Wednesday night.”(pages 101-
102)

So it came to a conclusion that the characteristics of Margo Roth Spiegelman are

daring, bold, adventurous, extremely wild, but also mellow, depressed, calm, hold
deep-grudges, and have a high attraction so that it can be a reflection of others and
mysterious and like puzzles. And the characteristics of the Quentin Jacobsen figure are
well-adjusted, high-expectations, funny, nerdy, smart, merciful, lacking self-confidence,
and have high anxiety and come from a harmonious family, based on the Telling and
Showing Method.

Reading a novel, we will be confronted with a number of characters presented in it.

However, in relation to the whole story, the role of each character is not the same. In
terms of the role and how important the character is, which is usually called the main
character and peripheral characters.

Based on a book entitled "Theory of Study of Fiction by Burhan Nurgiyantoro

(pages 177)". In general, the main characters who are often told or often appear in the
novel in question. However, in some other novels the main character does not always
appear in every event or is not directly appointed in each chapter, but in fact these
events are still closely related or can be reported with the actor.

Because the main character appears or is the most narrated and is always in contact
with other figures, it largely determines the development of the plot and other figures as
a whole. He is always subject to event or conflict. The main character can be more than
one person, although the degree of virtue is not (always) the same. Their importance is
determined by the dominance or the amount of storytelling, and their effect on the
overall development of the plot.
 So we can determine that the main character in a Paper Towns novel has more than
one main character, Margo Roth Spiegelman and Quentin Jacobsen. But it is clear that
the degree of virtue is not the same. Because when seen in the influence given to other
figures and changes that are very significant to the plot, for that reason, of course
Margo is more important than Quentin and other figures. Because the level of virtue of
stratified figures, namely: 1. The main character (the main one) is Margo 2. The main
character (additional) is Quentin 3. The main additional figure (the main) is Ben, Radar
(Marcus), Lacey, Angela and 4. The additional figure is indeed additional. They are
Becca, Jase, Chuck Parson.

To determine the character of the protagonist or antagonist, we can see if after

determining the main character and supporting characters as well as any conflicts that
affect the main character, according to our lecturers on campus not all protagonists are
always good or what is displayed something that is in accordance with our views or our
hope, but the protagonist is a character attached to the main character, while the
character that influences or does not have one frequency so that it can cause conflict,
we can call it an antagonist.

Based on the book Theory of Fiction Studies (pages 179) conflicts experienced by
the protagonist (main character) do not have to be caused by an antagonist but can be
caused by something other than one's individuality, such as natural disasters, accidents,
natural and social environments, rules social, and so on. And conflict is very likely
caused by himself, where a character will decide something important, each of which
demands a sequence so that there is conflict within itself even though it must be
influenced by outside even though indirectly called the antagonist force (Altenbetnd &
Lewis, 1966: 59 ).

After the presentation of the theory strengthens the argument that the protagonist in
the Paper Town novel is Margo Roth Spiegelman because Margo is the main character
in this novel. And the Antagonist in this novel is due not only to other characters but to
himself.

The first Antagonist in this novel is Margo's parents namely Mr.and Mrs.
Spiegelman Explained in the dialogue between Margo and Quentin on pages 26-27.
 Within seconds, her dad was standing on the patio outside. “Margo!” he shouted. “I
saw you!”

From beneath my bed, I heard a muffled, “Oh, Christ.” Margo scooted out from
under the bed, stood up, walked to the window, and said, “Come on, Dad. I’m just
trying to have a chat with Quentin. You’re always telling me what a fantastic influence
he could be on me and everything.”

“Just chatting with Quentin?”

“Yes.”

“Then why are you wearing black face paint?”

Margo faltered for only the briefest moment. “Dad, to answer that question would take
hours of backstory, and I know that you’re probably very tired, so just go back t—”

“In the house,” he thundered. “This minute!”

Margo grabbed hold of my shirt, whispered, “Back in a minute,” in my ear, and then
climbed out the window.

In the dialogue it can be concluded that the habits Margo has made are routine so
that Margo's parents believe that Margo is only a troublemaker and embarrassing the
family name. Also explained in the Margo dialog on page 38.

Margo started talking. “The thing is they don’t even really care; they just feel like
my exploits make them look bad. Just now, do you know what he said? He said, ‘I
don’t care if you screw up your life, but don’t embarrass us in front of the
Jacobsens—they’re our friends.’ Ridiculous.

As mentioned if the antagonist does not always come from someone, but in the case
experienced by Margo, the anatgonic figure originates from himself even though it is
all caused by the environment so that makes Margo insist that living in Jefferson is a
ridiculous and funny thing. What was considered Jefferson was a city like a paper town
but the people left behind were also like fake paper people. Like the affair committed
by Jason Worthington, his ex-boyfriend, and his parents who do not care about him.

This statement is reinforced by the Margo dialog on pages 57-58.

“Here’s what’s not beautiful about it: from here, you can’t see the rust or the
cracked paint or whatever, but you can tell what the place really is. You see how
fake it all is. It’s not even hard enough to be made out of plastic. It’s a paper town. I
mean look at it, Q: look at all those cul-de-sacs, those streets that turn in on
 themselves, all the houses that were built to fall apart. All those paper people living
in their paper houses, burning the future to stay warm. All the paper kids drinking
beer some bum bought for them at the paper convenience store. Everyone demented
with the mania of owning things. All the things paper-thin and paper-frail. And all
the people, too. I’ve lived here for eighteen years and I have never once in my life
come across anyone who cares about anything that matters.”

When we see closer, Margo is an ordinary girl who needs the attention of those
around her and her parents and only the girl who is looking for her own identity, but
feels disappointed with what she expects from Jefferson.

B. Point of View

The point of view of the relationship with the narrator is inseparable. The author must
use the narrator with his perspective in telling the story. Understanding the point of view
itself is the way a story is told. It is a way or view that is used by the author as a means to
present characters, actions, settings and various events that shape the story in a work to
the reader (Abrams, 1981: 142)

The point of view of the story itself can be divided into two: first person, "I" style and
third person, "he / she" style.

In the narrator's "I" point of view, the narrator itself is the one involved in the story.
He is the "I" character who tells the story, tells his own awareness, tells the actions that
are known, seen, heard, experienced, and felt, as well as his attitude, towards other
characters to the reader. Then we can only feel in a limited way as seen and felt the
character of the "I" is. And the narrator is only omniscient for siri himself and not other
characters involved in the story. He is only as an observer of the figures "he" who is not
himself. (Theory of Fiction Studies on page 262)

First persona "I" point of view divided into two: which are "I" the main character or
"I" additional characters. And in this Paper Towns novel the author uses the perspective
of the first person "I" the main character. Because what we know is Quentin is the main
character and a narrator in the Paper Towns novel. Where First-person participant is the
narrator who plays a role as the main character and tells a variety of events and behavior
that he experienced physically and mentally as well as relationships with everything
outside himself. So that readers come to experience the experience of "I" and follow the
moral view. And in Paper Towns we know that the viewpoint used in the novel uses the
Quentin Jacobsen perspective.

While the perspective of the persona "I" is additional, the narrator or "I" presents the
character in whom he is allowed to tell about himself (another character). So that the "I"
in the story just as a witness to a story that generally appears at the beginning and end of
the story.
 In addition, there are two kinds of narrative techniques, they are: 1. The N "I"-
included Narrator Technique and 2. the non-included "I" Narrator Technique
(Nurgiyantoro, 1995: 262-264). It has been strengthened from the previous statement.
That the technique used in Paper Towns is certainly the "I"-included storytelling
technique, because Quentin is bound or included in the story told in the novel.

C. Plot

The plot is the most important element. The structure of a work is often emphasized in
plot talk. Traditionally, plots cover exposure - complications - climax - falling action -
resolution. Stanton (1965: 14), argues that the plot is a story that contains a sequence of
events and each event is connected as a result, one event caused or caused another event.

The story that begins with no-nonsense and straightforward dip to the core of the
problem, is the story that was found in the beginning was high-level conflict, so that the
sequence of storytelling (linearly) can occur.

However, the plot of a work of fiction often does not present a chronological and
coherent sequence of events, but rather a presentation that can begin and end with any
event without the need to begin and end with a beginning and ending event. Thus, the
initial stage of the story does not have to be at the beginning of the story or at the end of
the text, but can be located anywhere. Theoretically the plot can be sorted into certain
stages chronologically. However, in practice, the author's "operational" steps are not
always followed by the theory.

Plot Distinction Based on the Criteria of the Time Order in question is the time of
occurrence of events told in the fictional work in question. Or rather, the order in which
the events are told relates to the logic of the story. Can determine which events occur first,
are at the beginning, in the middle, or the end of the text. Thus, the time sequence has to
do with the plotting stages.

From this theoretically we can distinguish plots into two categories: chronological and
non-chronological. The first is referred to as a straight plot, forward, or can also be called
progressive, while the second is a reverse-backward, backward, flash-back, or can also be
referred to as regressive. The plot of a novel is said to be progressive if the events
narrated are chronological, the first events are followed by the events that occur
afterwards. Or, coherently the story starts from the initial stage (situation, recognition,
conflict appearance), middle stage (conflict escalates, climax), and end (resolution).
Progressive plot usually shows the simplicity of the way of telling, not convoluted, and
easy to follow. (Theory of Fiction Study pages 154)

And it can be determined that the plot used in this Paper Towns novel uses a straight,
forward, or chronological progressive (coherent) plot.

• Initial Phase (situation, recognition, conflict arising),

 Early stage. The initial stage of a story is usually referred to as the introductory
stage. The introductory phase generally contains a number of important information
relating to various matters which will be told in the following stages. He for example,
in the form of designation and introduction to the setting, such as the names of places,
natural atmosphere, the time of the event (for example, it has to do with historical
time), and others. In this novel for the initial stages are in the first part, called The
String.

“My miracle was this: out of all the houses in all the subdivisions in all of
Florida, I ended up living next door to Margo Roth Spiegelman. Our
subdivision, Jefferson Park, used to be a navy base. But then the navy
didn’t need it anymore, so it returned the land to the citizens of
Orlando, Florida, who decided to build a massive subdivision, because that’s
what Florida does with land.
My parents and Margo’s parents ended up moving next door to one
another just after the first houses were built. Margo and I were two. Before
Jefferson Park was a Pleasantville, and before it was a navy base, it belonged to
an actual Jefferson, this guy Dr. Jefferson Jefferson. Dr. Jefferson Jefferson
has a school named after him in Orlando and also a large charitable
foundation, but the fascinating and unbelievable-but-true thing about Dr.
Jefferson Jefferson is that he was not a doctor of an kind. He was just an
orange juice salesman named Jefferson Jefferson. When he became rich and
powerful, he went to court, made “Jefferson” his middle name, and then
changed his first name to “Dr.” Capital D. Lowercase r.Period.” (pages 3-4)

“I usually got a ride to school with my best friend, Ben Starling but Ben had
gone to school on time, making him useless to me”. (pages 11)

“So Margo and I were nine. Our parents were friends, so we would sometimes
play together, biking past the cul-de-sacced streets to Jefferson Park itself, the
hub of our subdivision’s wheel” (pages 4) .

And the conflict began with the loss of Margo and some instructions he made after
carrying out his revenge mission against his ex-girlfriend with Quentin.
 “Come here,” she said, and I took a step forward. She hugged me, and
the bags made it hard to hug her back, but if I dropped them I might wake
someone.
I could feel her on her tiptoes and then her mouth was right up against my ear
and she said, very clearly, “I. Will. Miss. Hanging Out With You.”(pages 81)

• Middle Stage (increased conflict, climax)

The conflict began to increase at the stage where Quentin could find a series of
instructions given by Margo to himself. As well as Quentin's confusion in tapping
the puzzle that Margo had given him. And the middle stage enters the second part of
the novel, The Grass.

“There’s something in Margo’s window.”The game music stopped, and

Radar and Ben knelt down on either side of me. “That’s new?” asked
Radar. “I’ve seen the back of that shade a million times,” I answered, “but
I’ve never seen that poster before.”(pages 108)
“Hey,” I said. Ben looked over.
“Holy shitstickers,” he said. “Nice find.” Radar spun around the chair and
said,“Impressive. Wonder what’s inside.”

Unfortunately, only a record was inside. The record looked exactly

like a record . I put it on Margo’s record player and eventually figured
out how to turn it on and put down the needle. It was some guy singing Woody
Guthrie songs. He sang better than Woody Guthrie.

“What is it, just a crazy coincidence?”

Ben was holding the album cover. “Look,” he said. He was pointing
at the song list. In thin black pen, the song title “Walt Whitman’s Niece”
had been circled.

“Interesting,” I said. Margo’s mom had said that Margo’s clues never led
anywhere, but I knew now that Margo had created a chain of clues and she
had seemingly made them for me. (pages 113)

Puzzles made by Margo one by one began to be revealed, until it reached the
peak where Quentin, Radar, Ben, and Lacey decided that Margo was in Agloe, part
of the city in New York.
 I feel someone pull hard on my shirt. I spin my head and see Ben, his eyes
shooting back and forth between me and a corner of the room. I have to look
past a wide beam of bright white light shining down from the ceiling, but I can
see into that corner. Two long panes of chest-high, dirty, gray-tinted Plexiglas
lean against each other at an acute angle ,held up on the other side by the
wooden wall. It’s a triangular cubicle, if such a thing is possible.

We walk toward Margo, all four of us, but she doesn’t seem to see us. She
just keeps writing. Finally, someone—Radar, maybe—says,“Margo. Margo?”
She stands up on her tiptoes, her hands resting atop the makeshift
cubicle’s walls. If she is surprised to see us, her eyes do not give it away. Here is
Margo Roth Spiegelman, five feet away from me, her lips chapped to
cracking, makeup-less, dirt in her fingernails, her eyes silent . I’ve never seen
her eyes dead like that, but then again, maybe I’ve never seen her eyes before.
She stares at me. I feel certain she is staring at me and not at Lacey or
Ben or Radar. I haven’t felt so stared at since Robert Joyner’s dead eyes
watched me in Jefferson Park. She stands there in silence for a long time,
and I am too scared of her eyes tokeep walking forward. “I and this
mystery here we stand,” Whitman wrote. Finally, she says, “Give me like five
minutes,” and then sits back down and resumes her writing (pages 281-282)

And this is where they are disappointed at what they got after finding Margo,
Margo's attitude disappointed them all, because it was not as expected as clearly
clearly in the Aglo Chapter (pages 284-286)

“Bullshit!”I shout, which it mostly is. “You were just playing with
us, weren’t you? You just wanted to make sure that even after you left to
go have your fun, you were still the axis we spun around.” She’s
screaming back, louder than I thought possible. “You’re not
even pissed at me, Q! You’re pissed at this idea of me you keep inside
your brain from when we were little!”

She tries to turn away from me, but I grab her shoulders and hold her in front
of me and say, “Did you ever even think about what your leaving
 meant? About Ruthie? About me or Lacey or any of the other people who
cared about you? No. Of course you didn’t.

Because if it doesn’t happen to you, it doesn’t happen at all. Isn’t that it,
Margo? Isn’t it?” She doesn’ t fight me now. She just slumps her shoulders,
turns, and walks back to her office. She kicks down both of thePlexiglas
walls, and they clamor against the desk and chair before sliding
onto the ground. “SHUT UP SHUT UP YOU ASSHOLE.” “Okay,”

I say. Something about Margo completely losing her temper allows me to regain
mine. I try to talk like my mom. “I’ll shut up. We’re both upset. Lots of, uh,
unresolved issues on my side.” She sits down in the desk chair, her feet on what
had been the wall of her office. She’s lookinginto a corner of the barn. At
least ten feet between us. “How the hell did you even find me?” “I thought
you wanted us to,” answer. My voice is so small I’m surprised she even hears
me, but she spins the chair to glare at me. “I sure as shit did not.” “‘Song of
Myself,’” I say. “Guthrie took me to Whitman. Whitman took me to the door.
The door took me to the mini mall. We figured out how to read the painted-over
graffiti. I didn’t understand ‘paper towns’ it can also mean subdivisions that never
got built, and so I thought you had gone to one and were never coming
back. I thought you were dead in one of these places, that you had killed
yourself and wanted me to find you for whatever reason. So I went to a bunch of
them, looking for you. But then I matched the map in the gift shop to the
thumbtack holes. I started reading the poem more closely, figured out you
weren’t running probably, just holed up, planning. Writing in that
notebook. I found Agloe from the map, saw your comment on the talk page of
Omnictionary, skipped graduation, and drove here.”

• Final stage (completion)

At the end usually shows the scene of the completion or the effect of the
climax. In this Paper Town novel. After them (Quentin, Lacey, Ben, and Radar)
there were many questions they wanted to ask and what was the reason behind all
the clues he gave Quentin, and found the reason behind why Margo decided to leave
Jefferson, Orlandia and live in Agloe, New York.
“I’m sorry I was being so bitchy,” she says. “You just
have to understand— Imean, you guys walk in here out of
nowhere and you scare the shit out of me —” “You
could have just said, like, ‘Guys, you are scaring the shit
out of me,’” I said. She scoffs. “Yeah, right, ’cause that’s the
Margo Roth Spiegelman everybody knows and loves.” Margo is quiet
for a moment, and then says, “I knew I shouldn’t have
said that on Omnictionary. I just thought it would be funny
for them to find it later. I thought the cops might trace it
somehow, but not soon enough. There’s like a
billion pages on Omnictionary or whatever. I never thought……
” “What?”
“I thought about you a lot, to answer your question. And
Ruthie. And my parents. Of course, okay? Maybe I am the most horribly
self-centered person in the history of the world. But God, do you
think I would have done it if I didn’t need to?” She shakes her
head. Now, finally, she leans toward me, elbows on knees, and we are
talking.At a distance, but still. “I couldn’t figure out any
other way that I could leave without getting dragged back.”
(pages 329).

And the reason for the answer to why Margo left Jefferson is on page 336.

“So this plan eventually gets like seventy pages long, and
then it’s about to happen, and the plan has come together
really well.
But then I find out about Jase, and I just
decide to leave. Immediately. I don’t need to graduate. What’s the
point of graduating? But first I have to tie up loose
ends. So all that day in school I have my notebook
out, and I’m trying like crazy to adapt the plan to
Becca and Jase and Lacey and everyone who wasn’t a friend
to me like I thought they were, trying to come up
with ideas for letting everyone know just how pissed off I
am before I ditch them forever.

“But I still wanted to do it with you; I still

liked that idea of maybe being able to create in you at
least an echo of the kick-ass hero of my little-kid
story.
“And then you surprise me,” she says. “You had
been a paper boy to me all these years—two dimensions
as a character on the page and two different, but
still flat, dimensions as a person. But that night you
turned out to be real. And it ends up being so odd and
fun and magical that I go back to my room in
the morning and I just miss you. I want to come
over and hang out and talk, but I’ve already decided to
leave, so I have to leave. And then at the last
second, I have this idea to will you the Osprey. To
leave it for you so that it can help you make even
further progress in the field of not-being-such-a-scaredy-cat.

And the reason why Margo chose the city of Agloe is on page 337.

“A paper town for a paper girl,” she says. “I read

about Agloe in this book of ‘amazing facts’ when I was ten
or eleven. And I never stopped thinking about it. The
truth is that whenever I went up to the top of
the SunTrust Building—including that last time with you—I
didn’t really look down and think about how everything was
made of paper. I looked down and thought about how I
was made of paper. I was the flimsy-foldableperson, not
everyone else. And here’s the thing about it. People love the
idea of a paper girl. They always have. And the worst
thing is that I loved it, too. I cultivated it, you
know?”
 “Because it’s kind of great, being an idea that everybody
likes. But I could never be the idea to myself, not all
the way. And Agloe is a place where a paper creation
became real. A dot on the map became a real
place, more real than the people who createdthe dot could
ever have imagined. I thought maybe the paper cutout of
a girl could start becoming real here also. And it
seemed like a way to tell that paper girl who cared about
popularity and clothes and everything else: ‘You are going to
the paper towns. And you are never coming back.’”

So it can be concluded that Margo disappeared to be himself, without imagining

from the experience of 18 years of living in Jefferson, and he decided not to return to
that city because it was impossible with what he had tried to this point. And choose the
city of Aglo which is the city of paper for her paper girl.

Where Margo wrote his message using primary paint in the novel on page 149.

”YOU WILL GO TO THE PAPER TOWNS

AND YOU WILL NEVER COME BACK”

D. Settings

The background element is emphasized in the novel directly or indirectly. Which

greatly influences the plot and character. And in the Paper Town novel there is an
emphasis on the use of the City of Jefferson, Orlandia where the characteristic nature of
the local geographical conditions characterizes or illustrates the state of the environment
and the character of the people in the neighborhood. Because the city of Jefferson has a
distinctive socio-cultural in this novel, which is a small town that has a housing sub
section connected to the Jefferson park and has a famous school called the Winter Park
High School.

In the novel Paper Town, in addition to the lattar elements, the role of time is
emphasized too, because time influences the atmosphere that occurs in each scene or
event because the author writes down the time spent on them during their trip. Like they
have to use the best possible time, where characters with time must chase each other to
find Margo. And the author is very detailed to write every location and time that occurs in
each scene, so that readers can feel the tension or circumstances in each scene.

Suddenly Radar had the phone back. “How long is the

trip?” “Nineteen hours and four minutes.” “According to who?”
“Google maps.” “Crap,” Radar said. “None of those map
programs calculate for traffic. I’ll call you back. And hurry.
 We’ve got to line up like right now!” “I’m not going.
Can’t risk the time,” I said, but I was talking to
dead air. Radar called back a minute later. “If you average
sixty-five miles per hour, don’t stop, and account for
average traffic patterns, it’s going to take you twenty-
three hours and nine minutes. Which puts you there just
after one P.M., so you’re going to have to make up
time when you can.” “What? But the—” Radar said, “I don’t
want to criticize, but maybe on this particular topic, the
person who is chronically late needs to listen to the
person who is always punctual. But you gotta come here at
least for a second because otherwise your parents will
freak out when you don’t show when your name is called, and
also, not that it is the most important consideration or
anything, but I’m just saying— you have all our beer in
there.” “I obviously don’t have time,” I answered. Ben leaned into
the phone. “Don’t be an asshat. It’ll cost you five minutes.”

Paper Town novel was made in 2008, which uses simple past tense and present tense,
because the novel is a story that has been passed or experience of the characters (in the
Quentin point of view) but uses present tense tenses as well because in the novel there is
dialaog dialogue of the characters at that time written using simple tense or as if to feel if
the events that occurred at that time were experienced by readers.