The plot is, arguably, the most important element of a story.

It is literally the sequence of

events and, in that sequence, we learn more about the characters, the setting, and the moral of
the story.
In a way, the plot is the umbrella under which all the other elements of a story unfold. Let's
explore some plot of a story examples. We'll see how you can formulate your own plot points
and enjoy some samples from literary giants.
Elements of a Story's Plot
Even though the plot is, essentially, the events that take place in a story, there is a specific plot
structure that most stories follow. In fact, there are five main plot elements to be aware of.
With these elements in mind, you stand on the precipice of fantastic story formation.
1. Introduction
This is the start of the story, where we meet the main character or characters, understand the
setting, and deduce the conflict.
For example, we might meet a main character, named Fiona, who just moved to Ireland, and is
writing her first book. There, we meet the main character, understand she's in a new country,
and will watch her push to overcome the trials and tribulations that come from each of these
new elements.
2. Rising Action
In the rising action, we watch a series of events unfold. There's not much in a story if everything
works out perfectly and there are zero bumps in the road. We need a little conflict.
Conflict can come in many forms. Continuing with Fiona, perhaps she's battling some sort of
internal conflict. We might see her doubt her decision to move so far away from home. Or, with
regard to her book, perhaps she submits it to her agent and it's torn to shreds.
Maybe she meets some devilish Irish lad who distracts her from her primary purpose and she
must realign her priorities. The possibilities for action - and conflict - are endless.
3. Climax
The climax of a story is the peak of the action. At this point, we've watched the main character
confront the action, or conflict, and now something major has to come to a head.
Perhaps Fiona makes a new acquaintance who takes on a motherly role, reducing those feelings
of doubt about moving so far away from home. Perhaps she submits the revised version of her
book and it's accepted. Maybe she tells the devilish lad to bugger off so she can focus on her
work.
Just like there are many avenues for action and conflict, there are many ways to bring a story to
a climax. This will be the moment that stirs up the strongest sense of emotion in the reader.
4. Falling Action
In the falling action, we see things start to wind down.
Fiona and her new motherly acquaintance might have settled into a steady rhythm of Sunday
dinners by now. As for her book, maybe the only thing she's waiting for now is the advanced
copy. Perhaps the devilish lad has come back around and they're in a steady relationship.
5. Resolution
In any story, it's important to conclude with a solid resolution, sometimes called the
denouement. Here, we learn of the final outcome of the tale. Short stories, in particular, need a
defined ending. Books, however, can remain somewhat open-ended. But, you must bring the
story to a close with either a tragic or a happy ending.
Perhaps Fiona is purchasing her own home in Ireland with the royalties from her book. Or,
maybe she'll move back to her home country, cherishing her Irish adventure for what it was.
Either way, readers want to experience some sort of finite conclusion, or resolution.
Primary Elements of a Plot
There are five main elements in a plot.
1. Exposition or Introduction
This is the beginning of the story, where characters and setting are established. The conflict or
main problem is introduced as well.
2. Rising Action
Rising action which occurs when a series of events build up to the conflict. The main characters
are established by the time the rising action of a plot occurs, and at the same time, events
begin to get complicated. It is during this part of a story that excitement, tension, or crisis is
encountered.
3. Climax
In the climax, or the main point of the plot, there is a turning point of the story. This is meant to
be the moment of highest interest and emotion, leaving the reader wondering what is going to
happen next.
4. Falling Action
Falling action, or the winding up of the story, occurs when events and complications begin to
resolve. The result of the actions of the main characters are put forward.
5. Resolution
Resolution, or the conclusion, is the end of a story, which may occur with either a happy or a
tragic ending.
The tale of peter the rabbit
introduction
In stories there are sometimes facts that are not made evident to the audience from what they
are watching or reading. Most times these are facts that the audience must be made aware of
in order for the story to make sense and these facts are handled by a device called exposition.
These facts tend to be things and events that have happened in the past, before the story being
told begins. Exposition is essential in storytelling but should never be overused as it can become
tedious for the person watching or reading the story. The exposition should also be delayed as
much as possible so that the audience can become involved more with the character and
become hooked onto what is happening. Beatrix Potter uses exposition in the story of Peter
Rabbit at the very beginning of the story by having Peter’s mother remind him and his siblings
about his father’s death:
Conflict
Conflict in a story is an element that every forceful drama needs. It propels a story forward
providing energy and movement. Conflict occurs when a character in the story wants
something that is difficult to get or achieve, if characters desire nothing, conflict can not occur.
Almost the entire story of Peter Rabbit involves him being chased by Mr. McGregor. Peter’s
conflict is with Mr. McGregor, but also the conflict of him not being able to escape back home.
Peter is trying throughout the book to get out of the situation he is in, being chased by Mr.
McGregor, to be able to return to a desirable place, his home with his mother and siblings.
Peter Rabbit has extreme difficulty in obtaining his goal, running into problems all throughout,
which adds to the conflict in the book. Conflict is created when a character tries to do
something difficult.

How the Camel Got His Hump

by Rudyard Kipling

NOW this is the next tale, and it tells how the Camel got his big hump.
In the beginning of years, when the world was so new and all, and the Animals were just
beginning to work for Man, there was a Camel, and he lived in the middle of a Howling Desert
because he did not want to work; and besides, he was a Howler himself. So he ate sticks and
thorns and tamarisks and milkweed and prickles, most 'scruciating idle; and when anybody
spoke to him he said 'Humph!' Just 'Humph!' and no more.
Presently the Horse came to him on Monday morning, with a saddle on his back and a bit in his
mouth, and said, 'Camel, O Camel, come out and trot like the rest of us.'
'Humph!' said the Camel; and the Horse went away and told the Man.
Presently the Dog came to him, with a stick in his mouth, and said, 'Camel, O Camel, come and
fetch and carry like the rest of us.'
'Humph!' said the Camel; and the Dog went away and told the Man.
Presently the Ox came to him, with the yoke on his neck and said, 'Camel, O Camel, come and
plough like the rest of us.'
'Humph!' said the Camel; and the Ox went away and told the Man.
At the end of the day the Man called the Horse and the Dog and the Ox together, and said,
'Three, O Three, I'm very sorry for you (with the world so new-and-all); but that Humph-thing in
the Desert can't work, or he would have been here by now, so I am going to leave him alone,
and you must work double-time to make up for it.'
That made the Three very angry (with the world so new-and-all), and they held a palaver, and
an indaba, and a punchayet, and a pow-wow on the edge of the Desert; and the Camel came
chewing on milkweed most 'scruciating idle, and laughed at them. Then he said 'Humph!' and
went away again.
Presently there came along the Djinn in charge of All Deserts, rolling in a cloud of dust (Djinns
always travel that way because it is Magic), and he stopped to palaver and pow-pow with the
Three.
'Djinn of All Deserts,' said the Horse, 'is it right for any one to be idle, with the world so new-
and-all?'
'Certainly not,' said the Djinn.
'Well,' said the Horse, 'there's a thing in the middle of your Howling Desert (and he's a Howler
himself) with a long neck and long legs, and he hasn't done a stroke of work since Monday
morning. He won't trot.'
'Whew!' said the Djinn, whistling, 'that's my Camel, for all the gold in Arabia! What does he say
about it?'
'He says "Humph!"' said the Dog; 'and he won't fetch and carry.'
'Does he say anything else?'
'Only "Humph!"; and he won't plough,' said the Ox.
'Very good,' said the Djinn. 'I'll humph him if you will kindly wait a minute.'
The Djinn rolled himself up in his dust-cloak, and took a bearing across the desert, and found
the Camel most 'scruciatingly idle, looking at his own reflection in a pool of water.
'My long and bubbling friend,' said the Djinn, 'what's this I hear of your doing no work, with the
world so new-and-all?'
'Humph!' said the Camel.
The Djinn sat down, with his chin in his hand, and began to think a Great Magic, while the
Camel looked at his own reflection in the pool of water.
'You've given the Three extra work ever since Monday morning, all on account of your
'scruciating idleness,' said the Djinn; and he went on thinking Magics, with his chin in his hand.
'Humph!' said the Camel.
'I shouldn't say that again if I were you,' said the Djinn; you might say it once too often. Bubbles,
I want you to work.'
And the Camel said 'Humph!' again; but no sooner had he said it than he saw his back, that he
was so proud of, puffing up and puffing up into a great big lolloping humph.
'Do you see that?' said the Djinn. 'That's your very own humph that you've brought upon your
very own self by not working. To-day is Thursday, and you've done no work since Monday,
when the work began. Now you are going to work.'
'How can I,' said the Camel, 'with this humph on my back?'
'That's made a-purpose,' said the Djinn, 'all because you missed those three days. You will be
able to work now for three days without eating, because you can live on your humph; and don't
you ever say I never did anything for you. Come out of the Desert and go to the Three, and
behave. Humph yourself!'
And the Camel humphed himself, humph and all, and went away to join the Three. And from
that day to this the Camel always wears a humph (we call it 'hump' now, not to hurt his
feelings); but he has never yet caught up with the three days that he missed at the beginning of
the world, and he has never yet learned how to behave.

THE Camel's hump is an ugly lump Which well you may see at the Zoo;But uglier yet is the
hump we get From having too little to do.Kiddies and grown-ups too-oo-oo,If we haven't
enough to do-oo-oo, We get the hump-- Cameelious hump--The hump that is black and
blue!We climb out of bed with a frouzly head And a snarly-yarly voice.We shiver and scowl and
we grunt and we growl At our bath and our boots and our toys;And there ought to be a corner
for me(And I know there is one for you) When we get the hump-- Cameelious hump--The
hump that is black and blue!The cure for this ill is not to sit still, Or frowst with a book by the
fire;But to take a large hoe and a shovel also, And dig till you gently perspire;And then you will
find that the sun and the wind.And the Djinn of the Garden too, Have lifted the hump-- The
horrible hump--The hump that is black and blue!I get it as well as you-oo-oo--If I haven't
enough to do-oo-oo-- We all get hump-- Cameelious hump--Kiddies and grown-ups too!
The Tale of Peter Rabbit
by Beatrix Potter

ONCE upon a time there were four little Rabbits, and their names were— Flopsy, Mopsy,
Cotton-tail, and Peter.
They lived with their Mother in a sand-bank, underneath the root of a very big fir tree.
"NOW, my dears," said old Mrs. Rabbit one morning, "you may go into the fields or down the
lane, but don't go into Mr. McGregor's garden: your Father had an accident there; he was put in
a pie by Mrs. McGregor."
"NOW run along, and don't get into mischief. I am going out."
THEN old Mrs. Rabbit took a basket and her umbrella, to the baker's. She bought a loaf of
brown bread and five currant buns.
FLOPSY, Mopsy, and Cottontail, who were good little bunnies, went down the lane to gather
blackberries;
BUT Peter, who was very naughty, ran straight away to Mr. McGregor's garden and squeezed
under the gate!
FIRST he ate some lettuces and some French beans; and then he ate some radishes;
AND then, feeling rather sick, he went to look for some parsley.
BUT round the end of a cucumber frame, whom should he meet but Mr. McGregor!
MR. McGREGOR was on his hands and knees planting out young cabbages, but he jumped up
and ran after Peter, waving a rake and calling out, "Stop thief!"
PETER was most dreadfully frightened; he rushed all over the garden, for he had forgotten the
way back to the gate.
He lost one of his shoes among the cabbages, and the other shoe amongst the potatoes.
AFTER losing them, he ran on four legs and went faster, so that I think he might have got away
altogether if he had not unfortunately run into a gooseberry net, and got caught by the large
buttons on his jacket. It was a blue jacket with brass buttons, quite new.
PETER gave himself up for lost, and shed big tears; but his sobs were overheard by some
friendly sparrows, who flew to him in great excitement, and implored him to exert himself.
MR. McGREGOR came up with a sieve, which he intended to pop upon the top of Peter; but
Peter wriggled out just in time, leaving his jacket behind him.
AND rushed into the toolshed, and jumped into a can. It would have been a beautiful thing to
hide in, if it had not had so much water in it.
MR. McGREGOR was quite sure that Peter was somewhere in the toolshed, perhaps hidden
underneath a flower-pot. He began to turn them over carefully, looking under each.
Presently Peter sneezed— "Kertyschoo!" Mr. McGregor was after him in no time,
AND tried to put his foot upon Peter, who jumped out of a window, upsetting three plants. The
window was too small for Mr. McGregor, and he was tired of running after Peter. He went back
to his work.
PETER sat down to rest; he was out of breath and trembling with fright, and he had not the
least idea which way to go. Also he was very damp with sitting in that can.
After a time he began to wander about, going lippity— lippity—not very fast, and looking all
around.
HE found a door in a wall; but it was locked, and there was no room for a fat little rabbit to
squeeze underneath.
An old mouse was running in and out over the stone doorstep, carrying peas and beans to her
family in the wood. Peter asked her the way to the gate, but she had such a large pea in her
mouth that she could not answer. She only shook her head at him. Peter began to cry.
THEN he tried to find his way straight across the garden, but he became more and more
puzzled. Presently, he came to a pond where Mr. McGregor filled his water-cans. A white cat
was staring at some gold-fish; she sat very, very still, but now and then the tip of her tail
twitched as if it were alive. Peter thought it best to go away without speaking to her; he had
heard about cats from his cousin, little Benjamin Bunny.
HE went back towards the tool-shed, but suddenly, quite close to him, he heard the noise of a
hoe—scr-r-ritch, scratch, scratch, scritch. Peter scuttered underneath the bushes. But presently,
as nothing happened, he came out, and climbed upon a wheelbarrow, and peeped over. The
first thing he saw was Mr. McGregor hoeing onions. His back was turned towards Peter, and
beyond him was the gate!
PETER got down very quietly off the wheelbarrow, and started running as fast as he could go,
along a straight walk behind some black-currant bushes.
Mr. McGregor caught sight of him at the corner, but Peter did not care. He slipped underneath
the gate, and was safe at last in the wood outside the garden.
MR. McGREGOR hung up the little jacket and the shoes for a scare-crow to frighten the
blackbirds.
PETER never stopped running or looked behind him till he got home to the big fir-tree.
He was so tired that he flopped down upon the nice soft sand on the floor of the rabbit-hole,
and shut his eyes. His mother was busy cooking; she wondered what he had done with his
clothes. It was the second little jacket and pair of shoes that Peter had lost in a fortnight!
I AM sorry to say that Peter was not very well during the evening.
His mother put him to bed, and made some camomile tea; and she gave a dose of it to Peter!
"One table-spoonful to be taken at bed-time."
BUT Flopsy, Mopsy, and Cotton-tail had bread and milk and blackberries, for supper.

THE END
Elements Of Plot Cinderella
 1. •Exposition •Rising action •Climax •Falling action •Resolution
 2. ~ Point of highest emotion / tension ~ turning point Climax Resolution of character’s
crisis 1 or more Exposition characters Resolution in crisis Introduces: All loose ends ~
characters tied up. ~ setting
 3. Let’s take a look at the elements of plot with the story of Cinderella!
 4. Once upon a time, in a land far away, there lived a girl named Cinderella. She lived
with her evil step- mother and two evil step-sisters. Exposition Introduced: ~ characters
– Cinderella, step-mother, and step-sisters ~ setting – (time) long ago, (place) land far
away
 5. Everyday, the evil step-mother made Cinderella work all day long and into the night.
One day, an invitation to a ball was sent to all the young maidens of the kingdom, but
the evil step- mother would not allow Cinderella to go to the ball and locked her in her
room. Cinderella thought all hope was lost until her fairy godmother appeared. Dressed
in a beautiful 1 or more characters gown and glass slippers, face a crisis. Cinderella
rushed off to attend the ball.
 6. As the clock struck 12, Cinderella ran away as fast as she could. Although Prince
Charming looked for her, all he found was a glass slipper. The plot thickens…
 7. ~ Point of highest emotion or tension … ~ Turning point Climax Cinderella held her
breath as Prince Charming gently slipped the glass slipper onto her foot. Prince
Charming took Cinderella by the hand and made her his bride.
 8. Resolution of character’s crisis Cinderella went to live with Prince Charming in the
beautiful castle on the hill.
 9. Cinderella and Prince Charming lived happily ever after. Resolution All loose ends tied
up.
 10. Choose a fairy tale you remember from your childhood days and diagram the
elements of the plot using a diagram like the one in this presentation. Be prepared to
share with the class!
1. Why did you decide to become a teacher?
2. What is your teaching philosophy?
3. Describe your classroom management structure.
4. How do you incorporate social-emotional learning in your lessons?
5. How do you use technology in the classroom?
6. How do you connect your lessons to the real world?
7. How will you encourage parents to support their children’s education ?
8. What are some methods you use to check for understanding as you’re teaching?
9. How do you assess students’ progress?
10. Why do you want to teach at this school?
11. How can you meet the needs of a student with an IEP?
12. How will you meet the needs of the students in your class who are advanced or say they’re
bored?
13. How will you engage reluctant learners?
14. Which activities, clubs, or sports are you willing to sponsor if you are offered a position?
15. What three words would your peers, administrators, or students use to describe you?
16. What do you feel you can contribute to our school’s PLC for your subject?
17. Which component of your résumé are you most proud of and why?
18. Do you have any questions?
What is your teaching philosophy?

How much do you want to know about your students in order to be most helpful to them?
Why do you want to work for our school district?
How can you help our school/students?
What do you find most frustrating about teaching
Why should we hire you to teach here?
How would you get your classroom ready for the first day of school?
How do you evaluate your students?
Why do you want to work at this school? What kinds of qualities do students look for in
teachers? What personality traits do teachers need to be successful? How do you approach
discipline and what role does it play in learning? How do you interact with parents? How have
state, local, or common core standards affected your lesson planning process? What do you
think of technology in the classroom and how have you integrated it into your lessons?