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Creative Writing
Information Sheet No.5

Topic: Elements of Fiction

MELCs:
1. identify the various elements, techniques, and literary devices in fiction
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2. write journal entries and other short exercises exploring key elements of fiction
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Objectives:
At the end of the module, students will be able to:
1. distinguish the various elements in fiction;
2. determine techniques and literary devices in fiction literature; and

Fiction, is a form of literature created from the imagination, not presented as fact,
though it may be based on a true story or situation. Types of literature in the fiction genre
include the novel, short story, and novella. It is derived from the Latin word fictiō, which
means “the act of making, fashioning, or molding.”

Works of fiction are those that tell made up stories. As opposed to the many genres of
nonfiction—biography, autobiography, commentary, data analysis, philosophy, history,
and others—fiction is defined by its focus on narratives invented by the author. Most
academics and literary critics further subdivide fiction into two categories: genre fiction
and literary fiction.

What Is the Difference Between Literary Fiction and Genre

Fiction?
Most critics define genre fiction as the opposite of literary fiction. In some academic and
journalistic circles, genre fiction is considered inferior to literary fiction, but in fact, genre
fiction is more popular with large masses of readers. Indeed most fiction books on the
bestseller list would be classified as genre fiction rather than literary fiction.

The best books are not necessarily literary novels, but such books tend to endure for
decades if not centuries. While some genre fiction also endures for similar periods of time
—this of Harriet Beecher Stowe’s Uncle Tom’s Cabin—it is safe to speculate that future
university English classes will spend the vast majority of their curricula studying books
from the literary fiction subgenre.

6 Types of Fiction Writing

There are many different types of fiction. Genres of fiction are typically defined by their
tone and subject matter. The term “genre fiction” generally encompasses popular types of
fiction situated within a specific genre outside of standard literary fiction. Some of the most
popular forms of fiction include:

Historical fiction: Historical fiction has characters based on real people and often
bases its plots on real-life events. Generally, many elements of plot or dialogue are
fabricated by the author, although it’s up to the writer how much to invent.

Literary fiction: Literary fiction describes mainstream highbrow fiction. Literary fiction
encompasses most books taught in high school English courses and most books that

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 are up for major annual prizes like the Pulitzer Prize or Man Booker Prize. Literary
fiction often depicts nuanced themes and incorporates literary devices.
Mystery fiction: Mystery novels are plot driven thrillers based around a crime or
other form of mystery.

Science fiction: Science fiction is a genre of fiction that often depicts stories set
against the backdrop of futuristic technology and dystopian societies.

Children’s fiction: Children’s literature is a genre of fiction that can range from books
for toddlers to full length young adult novels.

Fanfiction: Fanfiction is a genre of fiction in which fans take source material from
existing franchises and then spin them off into separate narratives of their own.

Elements of Fiction

1. Character: Novels are driven by fictional characters. Depending on the scope of a novel, yo
1. Character: Novels are driven by fictional characters. Depending on the scope of a novel,
you may follow one central character or several major characters. Most novels follow fully-
formed round characters who resemble real human beings and undergo significant change
over the course of the story. Additionally, a genre novel will likely also have minor characters
who are flat characters who don’t undergo significant change. Good character development
means understanding the backstory and background information that informs your character’s
point of view. When developing realistic characters with clear points of view, it can be useful to
think about your own point of view and how it has evolved as you lived through events in the
real world.

Different Types of Characters in Literature

At the core of all great storytelling lies a compelling array of character types. There are
three ways to categorize character types. One is via archetypes—broad descriptions of
the different types of characters that populate human storytelling. Another way is to group
characters by the role they play over the course of the story. The third method is to group
characters by quality, spelling out the way they change or stay the same within a
narrative.

As you craft your own story—whether that’s a first novel, a screenplay, or a short story—
consider the way that these character types function within the overall narrative.

6 Character Roles in Stories

If we categorize character types by the role they play in a narrative, we can hone in
on seven distinct varieties: the protagonist, the antagonist, the love interest, the confidant,
deuteragonists, tertiary characters, and the foil.

1. Protagonist: The main character of the story is the protagonist. They should be
carefully crafted with a logical backstory, personal motivation, and a character arc over the
course of the story. Often the story will be told from their point of view. From a heroine like
Katniss Everdeen in The Hunger Games to a miserable wretch like Doestoevsky’s
Underground Man, the protagonist is the character the audience is most invested in.

2. Antagonist: The villain of the story is the antagonist. Think Lex Luthor, Lord Voldemort,
or Dr. Charles Nichols in The Fugitive. Note that an antagonist is not the same as an anti-
hero like the Joker or Walter White. Anti-heroes are villainous people who function in a
protagonist’s role.
Love interest: The love interest is the protagonist’s object of desire. A good love interest
will be compelling and three-dimensional, like Daisy Buchanan in The Great Gatsby or
Rhett Butler in Gone With the Wind.

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3. Confidant: This type of character is the best friend or sidekick of the protagonist, the
Sancho Panza to their Don Quixote. Often the protagonist's goal flows through the
confidant—although not every story needs one. A particularly famous confidant is Horatio
in Shakespeare’s Hamlet, as is Hermione in Harry Potter.

4. Deuteragonists: These characters often overlap with confidants. A deuteragonist is

close to the main character, but the story’s main plot does not directly correspond with
their own character arc. Horatio doubles as a deuteragonist. In Tolkien’s Lord of the Rings
trilogy, Samwise Gamgee is a deuteragonist. In Shakespeare’s Romeo and Juliet,
Benvolio is a deuteragonist who doubles as a confidant, while Mercutio is a deuteragonist
but not a confidant.

5. Tertiary characters: Tertiary characters populate the world of the story but do not
necessarily link to the main storyline. These minor characters serve any number of
functions and may have varying degrees of personal dynamism. Think of Padma and
Parvati Patil in the Harry Potter series or Father Zosima in The Brothers Karamazov. In
Spider-Man, various tertiary characters help fill out the world of Peter Parker’s New York.

6. Foil: A foil character primarily exists to bring the protagonist’s qualities into sharper
relief. This is because the foil is effectively the opposite of the protagonist. In the Star Trek
series, Captain Kirk and Mr. Spock serve as each other’s foils since their personalities are
so notably different. Draco Malfoy is a foil to Harry Potter.

5 Character Types That Appear in Fiction

One way to classify characters is by examining how they change (or don’t change) over
the course of a story. Grouped in this way by character development, character types
include the dynamic character, the round character, the static character, the stock
character, and the symbolic character.

 Dynamic character: A dynamic character is one who changes over the course of the
story. As such, a dynamic character makes the best protagonist. In Mark Twain’s The
Adventures of Huckleberry Finn, both Huck and Jim are dynamic characters.
Similarly, each character in the love triangle of William Styron’s Sophie’s Choice—
Stingo, Sophie, and Nathan—is a dynamic character.

 Round character: Closely related to a dynamic character, a round character is a

major character who shows fluidity and the capacity for change from the moment we
meet them. By contrast, some dynamic protagonists do not change until actions in the
story force that change. Round characters can be noble, like Konstantin Levin in
Anna Karenina, or morally dubious, like Humbert Humbert in Lolita.

 Static character: A static character does not noticeably change over the course of a
story. Sometimes known as a flat character, these characters often play tertiary roles
in a narrative (think of various parental figures in Roald Dahl’s children's books).
Many villains are also static: They were evil yesterday, they’ll be evil today, and they’ll
be evil tomorrow.

 Stock character: A stock character is an archetypal character with a fixed set of

personality traits. Shakespeare’s various fools are stock characters, as are some of
his comic creations like Sir Andrew and Sir Toby in Twelfth Night.

 Symbolic character: A symbolic character represents a concept or theme larger

than themselves. They may have dynamic qualities, but they also exist to subtly steer
an audience’s mind toward broader concepts. Most are supporting characters, but
some stories have symbolic protagonists, such as Dostoevsky’s The Idiot. When it
comes to symbolic supporting characters, Boo Radley in To Kill A Mockingbird is an
example, representing a much larger legion of outcasts.

12 Character Archetypes

Characters in a work of fiction can usually be grouped into archetypes. These archetypes
have been categorized by Swiss psychologist Carl Jung, the American literary theorist

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Joseph Campbell, and generations of authors, screenwriters, and storytellers. Here are
the 12 commonly discussed character archetypes:

 The Lover: the romantic lead who’s guided by the heart. Their strengths include
humanism, passion, and conviction. Their weaknesses include naivete and
irrationality. Some famous lovers are Romeo, Juliet, and Scarlett O’Hara.

 The Hero: the protagonist who rises to meet a challenge and saves the day. Their
strengths are courage, perseverance, and honor. Their weaknesses include
overconfidence and hubris. Some famous heros are Achilles, Luke Skywalker, and
Wonder Woma

 The Magician: a powerful figure who has harnessed the ways of the universe to
achieve their goals. Their strengths may include omniscience, omnipotence, and
discipline, while their weaknesses center on corruptibility and arrogance. Prospero,
Gandalf, Morpheus, and Dumbledore are famous magician characters.

 The Outlaw: the rebel who won’t abide by society’s demands. The outlaw can be a
bad guy, but not always. The outlaw’s strengths include independent thinking and
skepticism. Their weaknesses may include self-involvement and criminality. Among
the famous outlaws are Han Solo, Dean Moriarty, and Humbert Humbert.

 The Explorer: a character naturally driven to push boundaries and find what’s next.
Their strengths: They are curious, driven, and motivated by self-improvement. They
are weak in that they are restless, unreliable, and never satisfied. Famous explorers
include Odysseus, Sal Paradise, and Huckleberry Finn.

 The Sage: a wise figure with knowledge for those who inquire. Strengths of the sage
include wisdom, experience, and insight. In terms of weakness, the sage may be
overly cautious and hesitant to actually join the action. A few famous sages: Athena,
Obi-Wan Kenobi, and Hannibal Lecter (an evil sage).

 The Innocent: a morally pure character, often a child, whose only intentions are
good. Their strengths range from morality to kindness to sincerity. Their weaknesses
start with being vulnerable, naive, and minimally skilled. Famous innocents are Tiny
Tim, Lennie Small, Cio-Cio-San.

 The Creator: a motivated visionary who creates art or structures during the narrative.
Their strengths include creativity, willpower, and conviction. Their weaknesses include
self-involvement, single-mindedness, and lack of practical skills. Famous creators
include Zeus, Dr. Emmett Brown, and Dr. Moreau.

 The Ruler: a character with legal or emotional power over others. The ruler’s
strengths include omnipotence, status, and resources. Their weaknesses include
aloofness, being disliked by others, and always seeming out of touch. Famous rulers
include Creon, King Lear, and Huck Finn’s Aunt Sally.

 The Caregiver: a character who continually supports others and makes sacrifices on
their behalf. Among their strengths, caregivers are honorable, selfless, and loyal.
Among their weaknesses, they lack personal ambition or leadership. Sometimes they
even lack self worth. Famous caregivers include Dolly Oblonsky, Calpurnia, and
Samwell Tarly.

 The Everyman: a relatable character who feel recognizable from daily life. When it
comes to strengths, they are grounded, salt-of-the-earth, and relatable. In terms of
weaknesses, they typically lack special powers and are often unprepared for what’s to
come. Famous everymen: Bilbo Baggins, Leopold Bloom, Leslie Knope.

 The Jester: an intentionally funny character who provides comic relief but may also
speak important truths. Strengths include the ability to be funny, disarming, and
insightful. Weaknesses include the capacity to be obnoxious and superficial. Famous
jesters range from Sir John Falstaff to King Lear’s Fool to George’s parents in
Seinfeld.

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 2. Setting
2. Setting - In literature, the setting is the time, location, and physical
environment of a narrative. A setting can be a specific geographical location, a
historical era, or a fictional location or world. Other setting examples include the
modern day, or in an unknown time and place, such as the future.

Why is Setting Important in a Story?

 Create a mood. Writers establish the mood or tone of a story by choosing where and
when they set the action. For instance, setting a story during winter in Alaska—a
dark, snowy environment—can create a tense, foreboding mood.
 Establish context. Setting builds a framework that brings other narrative elements
into play. Historical settings inspire authors like Dan Brown and provide context for his
action-packed books. Inferno opens by dropping the reader into the middle of a chase
through the streets of Florence, a city steeped in art and history. This setting allows
Brown to give his main character, Robert Langdon, access to masterpieces from
painters like Botticelli and Vasari, which provide him with important clues.

 Support the narrative. According to Brown, “Locations not only function as

characters that have personalities, but they can also function as pillars of your
structure.” Opening The Da Vinci Code at the Louvre Museum in Paris puts the City
of Lights in the spotlight, setting the stage where the action will play out. Brown uses
Paris to access important elements—like famous works of art—that play a vital role in
the narrative.

 Serve as a plot device. Location can also provide inspiration for scenes. Brown
chooses places that intrigue or excite him and will often use those places to
determine how his characters move through the story. Sometimes, it makes more
sense to him to use thematic elements—for example, in Origin, the story moves from
the world of art (the Guggenheim Museum) to the world of technology (the
Supercomputing Center). Occasionally, a location can even provide answers to plot
problems. While writing one of the final scenes of Origin, Brown noticed a deadly
staircase in Sagrada Familia that inspired him to imagine someone dying there.

2 Types of Setting in Literature

The relevance of the setting determines which category it falls into:

1. Integral setting. An integral setting is when a writer uses a specific location and exact
time period to directly support the plot and characters. Dan Brown uses integral settings in
each of his novels. Like Paris in The Da Vinci Code, Florence in The Inferno, and
Washington, D.C. in Deception Point, the cities in which Brown places his main characters
are full of symbolism, rich with culture and history relevant to the themes he portrays.

2. Backdrop setting. A backdrop setting is unobtrusive to the narrative, like a nondescript

house in the suburbs. While backdrop settings are often vague and generic, they help
serve the narrative in a different way to integral settings: they make a story universal and
easier to relate to. Many fairy tales have backdrop settings.

Location is an enormously useful tool in novel-building. You should treat it as you

would treat a character, allowing it to convey mood and letting it reveal more of
itself over time. You can transform relatively mundane scenes into more
compelling ones by selecting locations that excite you.

Time period is one of the primary aspects of setting in literature. As you map out
your novel or short story, use vivid details—and your senses—to create a time that
complements your story. Write down the time period in which your novel takes
place. No matter if it’s historical or modern-day, try to be specific with the year in
which your story occurs. Having a concrete time period can guide your research.
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 3. Plot is what happens in a story. However, a plot is not a simple sequence of
events. A strong plot is centered on one moment—an interruption of a pattern, a
turning point, or an action—that raises a dramatic question, which must be answered
throughout the course of the story. This is also known as plot A.

Every element of the plot—each scene, each line—exists in service of answering

that question. There are myriad plot devices that can bolster the main story; these
are considered subplots.

7 Types of Plots

1. Tragedy. In a tragedy, your main character should undergo a major change of fortune
— almost always from good to bad, happy to sad. Tragic characters have to suffer.

2. Comedy. In comedy, even though your characters have defects, their defects should
never wind up being painful or destructive. Comic characters make it through unscathed.

3. Hero’s Journey. In a “hero’s journey,” the hero of a story must undergo two things:
recognition and reversal of a situation. Something has to happen from the outside that
inspires the hero in a way that he/she didn’t realize before. Then he has to undertake a
quest to solve the situation.

4. Rags to Riches. Remember Cinderella? The classic fairy tale follows a simple rags-to-
riches plot: the protagonist is downtrodden, impoverished, or otherwise struggling, and
through a series of events--either magical, like in the case of Harry Potter, or more
realistic, like in Great Expectations--achieves success. This type of plot often features a
happy ending.

5. Rebirth. The rebirth style of plot follows a character’s transformation from bad to good.
The character will frequently have a tragic past that informs their current negative view of
life, however, a series of events (usually set in motion by the protagonist or a narrator) will
help them see the light. See: Scrooge in A Christmas Carol, or the Beast in Beauty and
the Beast.

6. Overcoming the Monster. Otherwise known as the good versus evil plot, this type of
story features a protagonist (good) fighting an antagonist (evil). The protagonist can be a
singular character or a group united in their mission. The antagonist is generally a big, bad
evil (like Darth Vader in Star Wars) who continuously throws obstacles in the protagonist’s
way—until the final battle.

7. Voyage and Return. This plot is a simple point A to point B and back to point A plot.
The protagonist sets off on a journey, only to return to his or her starting point having
gained wisdom and experience (and sometimes treasure too). Paulo Coelho's The
Alchemist is a beloved contemporary illustration of this plot.

How to Outline a Story Plot: Three-Act Structure

At its core, plot structure has three parts: a beginning, middle, and end. Each part has
its own purpose and challenge. Aristotle was the first to formulate this now well-worn
formula in Poetics. He put it this way: “A whole is that which has a beginning, a middle,
and an end.”

In other words, your audience should be able to watch your story without being distracted
with wondering what happened before the story started, what more happened after it
ended, or how the characters got from the beginning to the end. Acclaimed dramatists
Aaron Sorkin and David Mamet both consider Aristotle’s Poetics to be the primary guide
to writing good storylines.

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 Beginning. The beginning of your novel has to accomplish a lot. It must introduce the
hero, the villain, and the world of the story, as well as the story’s dramatic question,
and it must do this with enough energy to grab your reader’s interest right away. A
prologue can be useful for seizing the reader’s attention.

 Middle. Your job during the middle of the story is to make the hero’s quest as difficult
as possible so that at every moment it seems less likely that the hero will triumph.
You must raise the stakes along the way and create obstacles of ever-increasing
intensity while keeping your eye firmly fixed on your conclusion. The different plot
points can include the basic plot, plus various subplots. The main plot of a story
always has to build up to the resolution.

 End. The end of your story answers the dramatic question, which already has your
ending hidden within it. For example, if your question is: Will Ahab catch the whale?
Then your story’s finale will be the moment when he does. Often, tension evaporates
in the middle of a novel, so it’s a good idea to write your ending first. It may not be
perfect, and you can always change it later, but it’s useful to know the climax to which
your characters are headed. Having that destination will help you stay focused during
the “middle muddle.”

What Is Freytag’s Pyramid?

German novelist Gustav

Freytag expanded on
Aristotle’s concept of plot by
adding two additional
components to the beginning,
middle, and end: rising action
and falling action. Freytag’s
dramatic arc, also known as
Freytag’s Pyramid, includes
the following:

 Exposition. This is the beginning of the story.

 Rising action. Once the story has begun, it is important to create tension by raising
the stakes. You must raise the stakes along the way and create obstacles of ever-
increasing intensity while keeping your eye firmly fixed on your conclusion.

 Climax (middle). The pinnacle of your plot.

 Falling action. The falling action occurs after the climax but before the end. Falling
action frequently depicts the protagonist dealing with the consequences or fallout of
the climax. The falling action is when the protagonist ties up loose ends and heads
toward the conclusion. It is also referred to as the denouement.

 Resolution. This is the end of the story.

 4.Conflict is a literary device characterized by a struggle between two

opposing forces. Conflict provides crucial tension in any story and is
used to drive the narrative forward. It is often used to reveal a deeper
meaning in a narrative while highlighting characters’ motivations, values,
and weaknesses.

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Internal vs. External Conflict

All conflict falls into two categories: internal and external.

 Internal conflict is when a character struggles with their own opposing desires
or beliefs. It happens within them, and it drives their development as a
character.
 External conflict sets a character against something or someone beyond their
control. External forces stand in the way of a character’s motivations and create
tension as the character tries to reach their goals.

Including both internal and external conflict is crucial for a good story, because life
always includes both.

The 6 Types of Literary Conflict

Just like it takes two to tango, it also takes two (or more) to create conflict. What you
choose to pit your characters against will have a significant effect on what kind of story
you tell. Many stories contain multiple types of conflict, but there is usually one that is
the main focus.

1.  Character vs. Self

This is an internal conflict, meaning that the opposition the character faces is coming
from within. This may entail a struggle to discern what the moral or “right” choice is, or
it may also encompass mental health struggles. All other types of conflict are external
—meaning that a character comes up against an outside force that creates the conflict.

2.  Character vs. Character

This is a common type of conflict in which one character’s needs or wants are at odds
with another’s. A character conflict can be depicted as a straightforward fist fight, or as
intricate and nuanced as the ongoing struggle for power in the HBO series Game of
Thrones.

3.  Character vs. Nature

In a nature conflict, a character is set in opposition to nature. This can mean the
weather, the wilderness, or a natural disaster. For example, in Ernest Hemingway’s The
Old Man and the Sea, the main character, Santiago finally manages to reel in a fish
after months and months of bad luck. He fends off sharks, who are trying to steal his
prized catch, but eventually they eat the fish—leaving Santiago with only a carcass.
This is the essence of the man versus nature conflict: man struggles with human
emotions, while nature charges forth undeterred.

4.  Character vs. Supernatural

Pitting characters against phenomena like ghosts, gods, or monsters raises the stakes
of a conflict by creating an unequal playing field. Supernatural conflict also covers
characters, like Harry Potter or Odysseus, who have a fate or destiny and struggle to
accept the sacrifices that come along with it

5.  Character vs. Technology

In this case, a character is in conflict with some kind of technology. Think of the tale of
John Henry, the African American folk hero. In American folklore, Henry was a former
slave who worked as a steel-driver on the rail line. To prove his superiority over new
technology, he raced a steam-powered rock drilling machine and won. However, he
suffered a heart attack after winning the race.

6. Character vs. Society

A character vs. society conflict is an external conflict that occurs in literature when the
protagonist is placed in opposition with society, the government, or a cultural tradition
or societal norm of some kind. Characters may be motivated to take action against their
society by a need to survive, a moral sense of right and wrong, or a desire for
happiness, freedom, justice, or love . 

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 5.Point of view is the “eye” or narrative voice through which you tell a
story. When you write a story, you must decide who is telling the story, and
to whom they are telling it. The story could be told by a character who is
involved in the story, or from a perspective that sees and knows all of the
characters but is not one of them.

3 Types of Point of View

There are three primary types of point of view:

1. First person point of view. In first person point of view, one of the characters
is narrating the story. This is generally revealed by the “I” sentence construction
and relies on first person pronouns. (“I went to work.”) The reader assumes that
this character is closely related to the story’s action—either a main character or
someone close to the protagonist. First person narrative can provide intimacy
and a deeper look into a character’s mind, but it is also limited by the perceptive
abilities of the character. They are confined to report only what they would
realistically know about the story, and they are further confined by their own
perspective. Nick Carraway of The Great Gatsby (1925) by F. Scott Fitzgerald
and Ishmael of Herman Melville’s Moby Dick (1851) are two of the most well-
known first person narrators in literature and great examples of this point of
view.

2. Second person point of view. Second person point of view is structured

around the “you” pronoun, and is less common in novel-length work. (“You
thought you could do it.”) Second person can allow you to draw your reader into
the story and make them feel like they’re part of the action because the narrator
is speaking directly to them. Writing in second person for any great length is a
challenge, and will stretch your writing skills. Lorrie Moore is well-known for her
innovative use of second person narration in her short story collection Self-
Help (1985). Second person point of view is sometimes referred to as second
person POV.

3. Third person point of view. The author is narrating a story about the
characters and refers to them with the third person pronouns “he/she.” (“He was
hungry.”) This point of view is subdivided into third person omniscient and third
person limited. Third person point of view is sometimes referred to as third
person POV.

What Is the Difference Between Third Person Omniscient and Third Person
Limited?

The omniscient narrator knows everything about the story and its characters. This
third person narrator can enter anyone’s mind, move freely through time, and give the
reader their own opinions and observations as well as those of the characters. This
narrator also knows more than the characters—think of the omniscient narrator as
having a god’s-eye-view of the characters. (“He had been infected with the virus, but he
didn’t know it yet.”)

The third person limited point of view (often called a “close third”) is when an author
sticks closely to one character but remains in third person. This style gives you the
ability to be inside a character’s thoughts, feelings, and sensations, which can give
readers a deeper experience of character and scene. (“As she watched him leave, she
was afraid he’d never come back.”)

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Ernest Hemingway is known for his use of a very direct style of third person narration.

6. A literary theme is the main idea or underlying meaning a writer

explores in a novel, short story, or other literary work. The theme of a
story can be conveyed using characters, setting, dialogue, plot, or a
combination of all of these elements.

In simpler stories, the theme may be a moral or message: “Don’t judge a

book by its cover.” In more complex stories, the central theme is typically
a more open-ended exploration of some fundamental aspect of society or
humanity.

6 Common Themes in Literature

Literary Theme 1: Good vs. Evil

The classic battle between light and dark, altruism and antagonism, the theme of
good versus evil stretches beyond even Biblical times. A story about good triumphing over
evil may pit two characters directly against each other, as in J.K. Rowling’s Harry Potter
series, or a main character against society at large, as in Harper Lee’s To Kill a
Mockingbird.

In addition, the theme of good versus evil may be explored through the external
actions and dialogue of the characters, or via their internal struggle to do the right thing
when faced with temptation.

Literary Theme 2: Love

Love is one of the most universal themes in literature, as in life. In fact, the theme of love
is underpins many of the stories we’ve discussed so far. Love can be a force for good that
inspires people to sacrifice themselves for others, or a toxic force that drives people to
madness or violence. Different flavors of love as a literary theme include:

Forbidden love. Yearning and disapproval collide in forbidden love stories, which often
find star-crossed lovers hurtling towards a tragic fate. Examples include: Romeo and Juliet
by Shakespeare and Atonement by Ian McEwan.

Family love. Stories about the love between parents and children or siblings often explore
the costs or challenges of family loyalty. Examples include: The Sound and the Fury by
William Faulkner and My Sister’s Keeper by Jodi Picoult.

Unrequited love. The pain of loving someone who does not return your affection is a
frequent subject in literature. Examples include: The Phantom of the Opera by Gaston
Leroux and The Sun Also Rises by Ernest Hemingway.

Friendship. The power of friendship to carry people through hard times and change them
—whether for better or worse—is an especially common theme in young adult literature.

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Examples include: The Body by Stephen King (adapted into a film, Stand By Me) and The
Lord of the Rings by J.R.R. Tolkien.

Literary Theme 3: Redemption

Failures or tragedies set the stage for a sad story, but it doesn’t have to end this way: in
books that employ redemption as a central theme, characters see the errors of their ways
and strive to right the wrongs they’ve committed, making for an uplifting tale. Stories of
redemption often involve a reformed character sacrificing his or her freedom or life.

Examples of stories that explore redemption include A Christmas Carol by Charles

Dickens and Les Miserables by Victor Hugo.

Literary Theme 4: Courage and Perseverance

The triumph of the human spirit in the face of adversity is a hugely popular theme in
literature, film, and real life. Characters in stories about courage endure difficult
circumstances or impossible odds, persevering through sheer determination, grit, and gall.

Examples of stories with courage as their central theme include: A Wrinkle in Time by
Madeleine L’Engle and Black Hawk Down by Mark Bowden.

Literary Theme 5: Coming of Age

Also known as a bildungsroman, a classic coming-of-age story follows one or more
characters during their journey of growing up into adulthood. These characters may
experience everything from a loss of innocence, to an awakening or self-awareness
before finally reaching maturity. While coming of age stories are popular in young adult
literature, they’re also common in memoirs.

Examples of books that employ coming of age as a central theme include Little Women by
Louisa May Alcott, Great Expectations by Charles Dickens, and The Catcher in the Rye
by J.D. Salinger.

Literary Theme 6: Revenge

A common plot in literature, the theme of revenge sets up a conflict between one
character and his or her enemies as he or she journeys to avenge wrongs done to them.
A revenge story may depict the trials a character must endure in order to achieve their
vengeance—or, explore the human cost and moral dilemmas around pursuing vengeance
in the first place

Examples of stories that use revenge as their central theme include: The Iliad by Homer,
Carrie by Stephen King, The Count of Monte Cristo by Alexander Dumas, and
Frankenstein by Mary Shelley.

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How to Analyze a Short Story

Although a short story has much in common with a novel (See How to Analyze a Novel), it
is written with much greater precision. You will often be asked to write a literary analysis.
An analysis of a short story requires basic knowledge of literary elements. The following
guide and questions may help you:

1.Setting
Setting is a description of where and when the story takes place. In a short story there are
fewer settings compared to a novel. The time is more limited. Ask yourself the following
questions:

 How is the setting created? Consider geography, weather, time of day, social
conditions, etc.
 What role does setting play in the story? Is it an important part of the plot or theme?
Or is it just a backdrop against which the action takes place?

Study the time period, which is also part of the setting, and ask yourself the following:

 When was the story written?

 Does it take place in the present, the past, or the future?
 How does the time period affect the language, atmosphere or social circumstances of
the short story?

2.Characterization
Characterization deals with how the characters in the story are described. In short stories
there are usually fewer characters compared to a novel. They usually focus on one central
character or protagonist. Ask yourself the following:

 Who is the main character?

 Are the main character and other characters described through dialogue – by the way
they speak (dialect or slang for instance)?
 Has the author described the characters by physical appearance, thoughts and
feelings, and interaction (the way they act towards others)?
 Are they static/flat characters who do not change?
 Are they dynamic/round characters who DO change?
 What type of characters are they? What qualities stand out? Are they stereotypes?
 Are the characters believable?
3. Plot and structure

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The plot is the main sequence of events that make up the story. In short stories the plot is
usually centered around one experience or significant moment. Consider the following
questions:

 What is the most important event?

 How is the plot structured? Is it linear, chronological or does it move around?
 Is the plot believable?

The climax is the point of greatest tension or intensity in the short story. It can also be the
point where events take a major turn as the story races towards its conclusion. Ask
yourself:

Is there a turning point in the story?

When does the climax take place?

4. Narrator and Point of view

The narrator is the person telling the story. Consider this question: Are the narrator and
the main character the same?

By point of view we mean from whose eyes the story is being told. Short stories tend to be
told through one character’s point of view. The following are important questions to
consider:

 Who is the narrator or speaker in the story?

 Does the author speak through the main character?
 Is the story written in the first person “I” point of view?
 Is the story written in a detached third person “he/she” point of view?
 Is there an “all-knowing” third person who can reveal what all the characters are
thinking and doing at all times and in all places?

5. Conflict
Conflict or tension is usually the heart of the short story and is related to the main
character. In a short story there is usually one main struggle.

 How would you describe the main conflict?

 Is it an internal conflict within the character?
 Is it an external conflict caused by the surroundings or environment the main
character finds himself/herself in?

6. Theme
The theme is the main idea, lesson, or message in the short story. It may be an abstract
idea about the human condition, society, or life. Ask yourself:

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 How is the theme expressed?
 Are any elements repeated and therefore suggest a theme?
 Is there more than one theme?

Style
The author’s style has to do with the his or her vocabulary, use of imagery, tone, or the
feeling of the story. It has to do with the author’s attitude toward the subject. In some short
stories the tone can be ironic, humorous, cold, or dramatic.

 Is the author’s language full of figurative language?

 What images are used?
 Does the author use a lot of symbolism? Metaphors (comparisons that do not use
“as” or “like”) or similes (comparisons that use “as” or “like”)?

Your literary analysis of a short story will often be in the form of an essay where
you may be asked to give your opinions of the short story at the end. Choose the
elements that made the greatest impression on you. Point out which
character/characters you liked best or least and always support your arguments.

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 Self-Check No. 5

Read the story found in the APPENDICES titled “The Gift of the Magi”. Make an
analysis based on the elements, style, and literary techniques and devices. See to it
that the said analysis is done in-depth. This analysis will either be written or
encoded.

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