Vocabulary:
narrative elements and methods
protagonist leading character
narrator / cinematic techniques: this is an objective view, which may be as wide as an
perspective aerial shot or a mise en scene, and as focused as a close up
omniscient narrator: an ‘all-knowing’ third-person narrator
third person narrator: most commonly used narrative mode; the narrator is
of limited consequence or interest; there is greater freedom to move beyond
one character
withheld information: elements of the story are purposefully not revealed
unreliable narrator: the credibility of the narrator is compromised (he/she
may conceal information but appear to be transparent)
stream of consciousness: the narration moves seamlessly between the
different thought processes of different character
first person perspective: a participating character narrates this story; this
can develop a close relationship between narrator and reader
narrative tense: past or present
structure overall sequence: what happens (in the beginning, middle, end)
linear: progressing through the narrative from one stage to another (often
chronological)
non-linear: disjointed, disruptive; the narrative does not follow the direct
causality pattern
cyclical: the conditions at the end are the same as at the beginning
parts: Q4 will divide the scene into (at least) two parts for you
widening / narrowing view, e.g. mise en scene to the facial expression of a
single character
focus, e.g. character, setting, new character etc.
shifts (of focus or viewpoint or time), e.g. external view to internal thoughts;
from description to dialogue; from present to past etc.
foreshadowing: a warning or indication of future events
flashback: an insight into past evens (usually to help us to understand the
present)
changes, e.g. mood from happy to sad
developments, e.g. tension
introduce, e.g. a new character
reoccurring, e.g. a motif that repeats
pivotal moments (signposted by words, e.g. connectives), e.g. but, then,
however
juxtaposition, two aspects placed directly next to each other to contrast
resolution / climax / suspense / wonder, i.e. the end of the extract might be
one of these aspects, e.g. ‘we wonder whether…’
setting broadly, the place and era when the story takes place; specifically, an
identified location
sensory imagery or an account that conveys an experience (usually of a setting) to
language the reader; this may be augmented by alliteration, sibilance, onomatopoeia
etc.
figurative similes, metaphors, extended metaphor, personification, symbolism,
language pathetic fallacy etc.; typically used to characterise something, evoke an
emotion or convey an attitude
detailed adjectives, noun phrases, stative verbs, lists, complex sentences,
description subordinate clauses, etc.; typically used to develop a detailed impression of
the thing in focus.
tone a character might speak with a particular pitch, quality, strength; the author
might treat an event with gravity or levity
mood the emotion evoked (usually by the setting)
vocabulary
interest related to plot:
establish
false sense of security
uncanny
ominous
mystery
tension
suspense
anticipation
expect
climax
anti-climax
related to character and situation:
we wonder…
we now understand…
irony
empathy
sympathy
dislike
scorn
fear
pity
hope
other emotions felt by the reader (an infinite list, but here are some
examples):
we feel…
we see…
uncomfortable
uneasy
conflicted
confused
frustrated
delighted
thrilled
terrified
horrified
uncertain
excited
verbs implies, suggests, indicates, intimates, impression, alludes to
shows, illustrates
highlights, reveals, exposes, elucidates
transfers, conveys
creates, establishes, introduces, presents
evokes, provokes
emphasises, amplifies, augments
recalls, reminds
means, denotes, connotes
infer, interpret
sensitivity, may, might, perhaps, seems, either…or…
tentative somewhat, quite
evaluation ostensibly
clear
whilst
yet, but, however, although, despite
regardless, nevertheless
so, thus, therefore
critical view more, most, less, least, worse, worst, better, best
interestingly (and all other adverbs that provide a commentary on the
construct of the text)
significance, importance
writing tasks
describe… you have freedom to write a more expressive piece, focused on the thoughts
and feelings of a character, and using methods that might be considered
more poetic
you can also describe an event, so do not feel limited by this task
either way, ensure you have a very specific purpose – related to genre or
impression or expression etc.
write a write an episode or describe an event
story … do not simply ‘tell’ a story – ensure you consider narrator and setting, as
well as the event itself
write the establish the setting and the character
opening dependent upon genre, you can also begin to create tension, transition into a
part of a fantasy world etc.
story…
describe an write an episode or describe an event
occasion do not simply ‘tell’ a story – ensure you consider narrator and setting, as
when you well as the event itself
felt… your ‘occasion’ need not be real, but should be plausible (do not be afraid to
expand beyond the ordinary through figurative language, the freedom of
imagination etc.)
…as ensure whatever is depicted is the setting or focus of your writing, e.g.
suggested seaside setting, the character of an old man (can be the narrator)
by this do not simply identify details in a flat way; you need to be inspired by the
picture… image, and bring the image to life
