The

Analysis
of JOYCE R. CANCEJO

Fiction
TOPIC PRESENTER
Two types of

Literature
 FICTION
 NON-FICTION
 FICTION
– It refers to any narrative, in prose or in verse, that
is wholly in or part the product of imagination.

CATEGORIES: Novels, Short stories, Children’s

Literature, Narrative in verse, Poetry collections,
Movie scripts.
 NON-FICTION
- Based on Facts or Experience

CATEGORIES: Biographies, Memoirs, Historical

works, Religious and Philosophical books,
Travelogues, How-to-work books / manuals,
Reportage or journalistic accounts, books of humor
and inspiration.
Short Story
– A prose narrative of limited length.
– It’s origin may be traced to oral tradition.
– The primary interest lies in the events that make up the
narrative.
(To know what happens to the characters whose experiences
and adventures are recounted.)
- Modern short stories -> focuses on a single situation
- How short is a short story?
Novel
– The most social of all the literary genres.
– Its length provides a broad canvass -> “can mirror a whole
society”
Example: Rizal’s novels

*Novels explore the social world, while short stories explore

the inner world of its individual characters.
*Analysis involves breaking
down something into its
component parts.
 L OT SETTING
P
The Elements
CHAR IE W
ACTE
of Fiction
RIZAT
ION
POI NT O FV
 Plo
“Plot = Story”
*The story as told
according to the time-
t
sequence of events is what Beginning
a lot of people mean by plot. Middle
End
 t
“…story is the sequence in
which events occur as parts
of a happening and plot is
the sequence in which the In Literary
author arranges (narrates Criticism…
or dramatizes) them…”

-Barnet, Berman, and Burto.1971 : 83-84

Know what happened first, what
happened after, and what happened
last.
Plot
The sequencing of events satisfies our Chronological
curiosity about what transpired in the Order
story.
– “Implies the controlling
Plo
t
intelligence of an author who has
winnowed the raw facts and
incidents at his disposal and then
ordered and arranged them to
Pickering and Hoeper
suggest or expose their causal (1981 : 14)
relationship.”

A -> B -> C -> D -> E -> F -> G -> H

– Fiction works where the
Plo
events that are narrated
or dramatized do not seem
to have any causal or
t
PLOTLESS
logical connection to each
other.
 Plo
t
– A short story or novel that begins in
the middle is said to start in media
res (literally, “in the midst of
things”)
FLASHBACK
Foreshadow suggest later events, -IN MEDIA RES
thus increasing the dramatic range -FORESHADOWING
of the narrative.
– Opening section
Plo
t
– The author informs us the facts that
we need to know so that we can
follow the plot.
– Readers are given the information on
the setting and time of the story. EXPOSITION
– Situation is established, characters
are introduced.
– “Nothing is happening yet.”
– Conflict propels the plot forward.
Plo
t
– Conflict occurs when the main character
in the story opposed.

– EXTERNAL CONFLICT
The character is opposed by another COMPLICATION /
person or by other forces outside herself CONFLICT
(such as nature, society or environment)
– INTERNAL CONFLICT
The character struggles with an aspect
of her personality or within herself.
– Where the tension is most
intense, and it represents the Plot
turning point of the plot.
CLIMAX /
CRISIS
– Falling action
Where we see the tension begin to Plot
subside -FALLING
– Resolution ACTION /
Conflict is resolved. REVERSAL
-RESOLUTION /
DENOUEMENT
– STORY
Plo
t
The events are chronologically presented
* according to their sequence in time
– PLOT
Consists of the same series of events
as they are arranged in a way that shows STORY
or demonstrates the causal relationship
among them.
 a r a
– Main character is the central or leading
character.
C h
The PROTAGONIST or “ The Hero ”.
Always portrayed as a person of noble
character. Possess the positive attributes
that people cherish.
r
PROTAGONIST
- ANTAGONIST or “The Villain” AND
- The exact opposite of the hero. ANTAGONIST
- A character invested the negative
attributes.
A. FLAT

c t e r
a
Simple and dimensional.
Represent a single dominant trait or

ha r
C
characteristic and they remain essentially
unchanged throughout the story.
Acc. to the COMPLEXITY
OF THEIR
B. ROUND
CHARACTERIZATION
Complex and multidimensional.
Exhibit a number of traits, and some
of these traits may be conflicting, they
have complicated personality.
A. DYNAMIC
c t e r
They can alter the course of
ha ra
events , and are primarily responsible
for the conflict of the story. C
Acc. to their
B. STATIC ROLE IN
Characters who do not effect ADVANCING
changes in the story. THE PLOT
 a ra c
CHARACTERIZATION
The presentation and the establishment of
a character.
C h
A. EXPOSITORY
A direct and explicit way of characterizing.
te r
Through the narrator, the author gives us an
explicit commentary on a character.
B. DRAMATIC CHARACTERIZATION:
An indirect and implicit way of TWO BASIC MODES
characterizing.
Through the speech, action, or thoughts of
this character, we get to know what he or
she is like.
 “Encompasses both the
physical locale that frames the
Setting action and the time of day or
year, the climatic conditions,
(Pickering and Hoeper,
1981 : 37) and the historical period
during which the action takes
place.”
 – Locale. This relates to broad categories such
as a country, state, region, city, and town, as
well as to more specific locales, such as a
Setting neighborhood, street, house or school.

The Fundamental – Time of year. Time of year includes the

Elements of Setting
seasons, but also encompasses holidays, such
as Christmas, New Year’s Eve, and Halloween.
 – Time of day. Scenes need to play out
during various times or periods during a
day or night, such as dawn or dusk.

Setting Mood and atmosphere. Characters and

The Fundamental
events are influenced by weather,
Elements of Setting
temperature, lighting, and other tangible
factors, which in turn influence the
emotional timbre, mood, and atmosphere of
a scene.
 – Geography. This refers to specific
aspects of water, landforms, ecosystems,
and topography in your setting.
– Man-made geography. There are few
Setting corners of the planet that have not been
influenced by the hand of humankind. It is
The Fundamental
in our man-made influences that our
Elements of Setting
creativity and the destructiveness of
civilization can be seen.
– The author is the person who wrote
the short story or the novel.
Point of
View
– The narrator is the person who is Narrator
recounting the events in the novel or vs.
short story. Author
– Innocent Eye - The story is told through the
eyes of a child (his/her judgment being
different from that of an adult) .
– Stream of Consciousness - The story is told
Point of
so that the reader feels as if they are inside View
the head of one character and knows all their
thoughts and reactions. Point of View
– First Person - The story is told  by the
protagonist or one of the characters who
interacts closely with the protagonist or
other characters.
– Omniscient- He can move from character to character,
event to event, having free access to the thoughts,
feelings and motivations of his characters and he
introduces information where and when he chooses.  Point of
– a)  Omniscient Limited -   We know only what the
character knows and what the author allows him/her to
tell us. We can see the thoughts and feelings of
View
characters if the author chooses to reveal them to us. Point of View
– b)  Omniscient Objective – It appears as though a
camera is following the characters, going anywhere,
and recording only what is seen and heard.  There is no
comment on the characters or their thoughts. No
interpretations are offered. 
 The
Evaluation
of the
LITERARY ANALYSIS
– It involves breaking a work into its component
parts.
– It also involves seeing how the various parts
connect to each other and to the whole.
– An evaluation is essentially a judgment, an on
opinion about a work formulated as a
conclusion. We may agree or disagree with
the father's forgiveness or the elder
of
brother's complaint in "The Prodigal Son".
We may confirm or deny the models of
Fiction
behavior illustrated in stories. However
we evaluate them, though, we invariably
measure the story's values against our
own.