ENG 1D

Huntington

Terms, concepts and techniques for (Short) Stories

(character, setting, conflict, plot, theme, POV, irony, symbol)

CHARACTER
An individual (person or thing) in a literary work

Characters are revealed/described in the following ways:

o What the narrator (not necessarily the author's voice) tells about them.
o Character’s words or actions
o Things the character does NOT do (omissions)
o What other characters in the story say about, or do to, the character

Protagonist:
The main character in a literary work. The character around whom the story is focused. This character
is sometimes referred to as the “hero” but is not always, or necessarily a completely good person.

Antagonist:
The character who is working in direct opposition to the main character. (The person who antagonizes
them.) Sometimes referred to as the “villain.”

Four Types of Characters:

Round:
They have a variety of character traits (e.g helpful, funny, strong-willed). They are three-dimensional –
they have depth.
OR
Flat:
They have only one clearly shown trait (e.g. mean and only mean). They are usually either distinctly
good or evil. They rely heavily on stereotypes. These characters are sometimes referred to as
“cardboard characters.” (especially in film)

Static:
These characters do not change or develop; they stay the same (static) throughout the piece (e.g. they
start the story mean and end it mean).
OR
Dynamic:
These characters can be seen to experience significant change throughout the work in terms of their
personality, attitude, mannerisms, etc. (e.g. the character starts the story mean but through a series of
events learn the error of their ways and becomes kind).

All Characters Have:

Physical Traits:
Descriptions of their appearance: hair, eyes, height, weight, build, etc.

Characteristics/Character Traits/Qualities:
Aspects of their personality such as optimism, intelligence, etc.
Advanced Character Writing:

Clever authors develop characters by showing us who they are, not telling us who they are. e.g. Juan,
tired after his long football practice, stopped to help old Mrs. Jackson mow her lawn. (We see, rather
than are told, that Juan is generous and selfless. This revelation relies on reader inference.)

SETTING
Consists of the following three elements.

Time:
Any or all of year, day, month, season, era or milieu.
E.g.: The full wolf moon shone bright on Mr. Obama's face as he drew the bedroom curtain in the White
House for the first time.

Place:
Physical location of the story.
E.g.: The waves crashed upon the shore. The white cliffs of Dover shone behind. To the east, the
twinkle of lights just evident on the not-too-distant shores of France.

Atmosphere (a.k.a. Mood): (will be described using an emotion word)

Emotions or feelings that are attached to the setting.
E.g.: Two a.m. in a foggy graveyard. Vs. A sun bathed beach where children are jumping and laughing
in the gentle surf.
Note:
Always search for all clues that are given in a literary work. Be sure to refer to the three areas
mentioned above. Remember that setting may not be overt – refer to examples above.

CONFLICT
The issue, or challenge that arises in a story. Difference does not equal conflict. Conflict appears when a
character is stopped from doing what they want to do - their goals are most often hindered. There are several
types of conflict, we'll focus on four:

Person v. Person:
Any disagreement happening between two people – whether physical, verbal or psychological (the
silent treatment is still evidence of a conflict.)

Person v. Self:
An internal conflict where the person struggles with their own conscience or emotions.

Person v. Society:
A person struggles to accept or behave acceptably within the rules or standards of the society in which
they live.

Person v. Nature:
Nature can be a tough adversary, and can ruin even the best laid plans. Any difficulty arising from an
element of nature (animal, climate, disaster) falls into this category.
PLOT
Plot: the storyline of a literary work

Exposition (Introduction)
Means “showing forth.”
The introductory material which gives the setting, creates the tone, presents the characters, and
presents other facts necessary to understanding the story.

Inciting Force
The event or character that triggers the conflict.

Rising Action:
A series of events that builds from the conflict. It begins with the inciting force and ends with the climax.

Climax
The climax is the result of the crisis. It is the high point of the story for the reader. Frequently, it is the
moment of the highest interest and greatest emotion. It is the point at which the outcome of the conflict
can be predicted.

Falling Action
The events after the climax which close the story.

Conclusion/ Resolution (Denouement)

Rounds out and concludes the action. Ties up all the loose ends.
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NOTE:
1. Inciting force must cause the climax. We call this a causal relationship. The inciting force is the cause and
the climax is its outcome or effect.

2. Rising action must be a result of the inciting force, and lead directly, or indirectly, to the climax.

3. Plots will not all follow the standard shape, but will include most of the elements described above. (For
example, many TV shows – think CSI – begin with the climax and jump back to exposition as the detectives
reveal the steps of the crime)

4. You must be able to provide clear evidence (directly from the story) to support your assumptions of what
stage goes where.

THEME (see additional handout too)

The underlying idea, or ideas, that are present in an author's work. Theme is not something that is directly
(explicitly) stated, but something implicit (implied) that the reader needs to determine from the characters, their
actions, the plot, symbols or other text features. Theme is not a moral. A theme does not need to teach the
reader anything. A theme brings to light a truth about human existence and is evident in several aspects of the
story.

Themes are general rather than specific and can generally be summarized in a word or short phrase.

A theme should have universal application – that is to say, while it is identified in a particular story, it
should be relevant to the world at large. It could also serve as a basis for connections to other texts,
world, or self.

Clues are usually found in the title, symbols, observations made by characters, a lesson suggested by
the resolution of a conflict, etc.

You should avoid using clichés as statements of theme. (e.g. Don’t judge a book by its cover)

Some examples of theme include:

• Relationships
• Prejudice
• Fate

Sometimes theme will be stated in the form of “a” vs. “b”

• appearance vs. reality
• light vs. dark

Good analysis of the theme will focus on demonstrating its occurrence in the text, and its universal application.

Example:
In the classic tale “The Three Little Pigs,” a moral could be that “haste makes waste,” or “quality costs more,
but is worth more too” (since the first is a cliché). A theme related to this moral could be perseverance. This
theme is demonstrated by the fact that the third little piggy’s brick house serves to offer him needed protection
whereas the others’ of straw and sticks (which can be assumed to be cheaper and more quickly constructed)
do not serve their intended purpose (assuming that a house is designed to protect). Additionally, the wolf
persists in his quest for pig.

POINT OF VIEW (P.O.V.)

The viewpoint from which a story is told. There are three main types of P.O.V. In describing these types of P.O.V.
you will be expected to not only identify which type is being used, but to make some predictions about why the
author would have chosen that form of narration – suggest what added advantage there is to the reader knowing
the thoughts and feelings of the character, or seeing events through one particular’s character’s eyes.

First Person:
This story is told from the point of view of a major character in the story, usually the protagonist. The
person telling the story does so using personal pronouns, such as I and We.

This form of narration CAN: This form of narration CANNOT:

This form of narration would be best suited for which types of stories?

Third Person Limited:

This story is told from the point of view of a narrator. This individual is generally not directly involved in the
story. This is evident because personal pronouns are not used, rather you will see pronouns such as she, he or
they. Limited means the narrator describes the thoughts, feelings and the emotions of only one or few characters
in the story.

This form of narration CAN: This form of narration CANNOT:

This form of narration would be best suited for which types of stories?

Third Person Omniscient:

As above, except that omniscient means all-knowing, or God-like. In this type of narration the thoughts,
feelings, and emotions of many or all of the characters are shared.

This form of narration CAN: This form of narration CANNOT:

This form of narration would be best suited for which types of stories?

IRONY
The contrast between what is expected or what appears to be and what actually is. There are three main types
of irony:

Verbal:
When something is said, but something else is meant (frequently through sarcasm)
e.g.: You are just assigned a bunch of homework for the weekend and say “Oh, that's great!”
Situational:
When something happens that is the opposite of what is expected to happen. (Importantly, this is not
just a surprise. The audience must have had an expectation built up for them by the author – it is an
example of situational irony when that expectation is reversed and the opposite of what the reader had
logically come to expect, happens.) It is contrary to established expectation.

e.g.: Throughout the story the coach encourages and reminds her team that they have an unbeaten
winning streak while their opponents have never won and are playing without subs, yet the favoured
team, who the audience has been lead to believe to be far superior, loses.

Dramatic:
When the audience knows something that the characters in the the literary work do not know. Usually it
is important information which could have a vital impact on the plot.
e.g.: In The Dark Knight many people do not realize that Bruce Wayne is Batman, but would benefit
from knowing this information. Also, the audience knows this vital dual identity before the characters do.

SYMBOL
A symbol in literature is an item, person, or even concept that is used to represent something else. It does not
have a specific, unchangeable meaning, but instead draws its meaning from the context in which it is used.
The symbol must draw specific meaning from the known item or object and apply it to the unknown.

Importantly: the symbolic meaning must be representative, not literal. For example, a weapon in a story would
not symbolize death – it is a tool which brings death. Likewise, in the story “The Interlopers” the wine flask
would not represent quenching of thirst, it is a tool which allows or provides for that occurrences.

If in a story a diamond ring is used to symbolize marriage we would look for the qualities of a diamond that
could also be used to describe marriage. Specifically, a diamond is the hardest mineral – it can withstand
great pressure. Diamonds are rare, precious and very valuable. Furthermore, diamonds refract light, dividing
light into its spectrum. Accordingly, this symbol would state that marriage is able to withstand pressure, it is
rare, precious, valuable and can take the love of one person and multiply it – perhaps represented by children
and a growing extended family.