CREATIVE WRITING

Module 4

REPORTED BY: LLANA VENICE P. TABLO &

MEMBERS
 ELEMENT, TECHNIQUES AND LITERARY
DEVICES OF VARIOUS MODES OF FICTION
Elements Techniques and devices
1.Character 1. Mood
a. Setting b. point of view c. diction
2. Setting and Atmosphere 2. Tone
3.Plot 3. Symbolism and motif
4. Point of view (POV) 4. Foreshadowing
5. Conflict 5. Euphemism
6. Theme 6. Imagery
7. Irony 7. Metaphor
8. Allusion
9. Epigraph
Elements of Fiction

The table gives you a hint about topics covered in

this module. A writer need to craft his ideas
creatively in order to leave a lasting imprint in the
heart and mind of readers. In this module, you are
introduced about the elements, techniques and
literary devices of fiction. As a finale, you will be
asked to exercise your writing skills to craft fiction
journal entries exploring key elements of fiction.
ELEMENTS OF FICTION

CHARACTER is an important element of fiction. Without a

central character, there Is no story.
Characterization is the means by which writers present and
reveal characters Types of Characters

Types of characters

Protagonist. The protagonist is the central figure around

whom the story revolves, like Katniss Everdean in The
Hunger Games
Antihero
The antihero can also be the main character in a story. Typically, we
imagine our main Characters to be admirable. Perhaps they’re people
we’d love to know in the “real World But, have you ever read a book
where the main character was lacking in sound Moral judgment?
2. Antagonist

Good, bad, or otherwise, most main characters will be faced with an

antagonist. Or villain. Often, this is the person that stands in the way
of antagonizes – whatever the main character is trying to achieve.
Antagonists will set out all kinds of roadblocks and be the source of
several drama-filled scene.
3. Foil. What would a story be without several juicy
bits of drama? A foil is a character (often the
antagonist) whose qualities stand in stark contrast to
another character (often the protagonist). This contrast
provides the reader with a better understanding of each
character.
For example, if the protagonist is loyal, brave, and
morally sound, each of those qualities will be
augmented every time we read more about the foul
character who’s disloyal, cowardly, and selfish.
4 Dynamic. A dynamic character is one who evolves or
changes significantly over time. This label is often
reserved for the main character, given the conflict
they’re trying to overcome. If they come out the other
side, they’ve typically grown or evolved in some way
5 Static .In contrast to a dynamic character, a static character does not
change over Time. Perhaps this is someone like the main character’s
father or mentor. They might Be consistently wise, or abrasive, or
enlightening. This label is often reserved for Peripheral characters

6. Round. Have you ever encountered a character with a difficult

mother or spouse? You can’t tell whether they love or hate them. If so,
you could consider that “difficult person” a round character This is
someone with a complex personality. They’re neither overtly kind nor
innately cruel. They may act inconsistently, rather than follow a smooth
are Somewhere deep down, they’re most likely conflicted and, to the
main character and the readers, perhaps even a little contradictory .
7 Flat. A flat character is the opposite of the round character.
These characters may “be overtly kind or inanely cruel and it
shows When you think of a flat character, you’ll immediately
perceive one characteristic and that will, essentially, define
who they are. In contrast to the complex nuance of a round
character, a flat character is simple and obvious.

B SETTING. The setting initiates the main backdrop of

fiction by providing both the historical time and the
geographic location wherein your story takes place.
C. PLOT The sequence of actions and events in the story To put it
simply you can’t have a story without a plot It doesn’t matter if you
have a strong concept, an incredible cast of characters, an important
message, or all three. If you don’t have a plot, you don’t have a story.
So how do you ensure you not only have a plot, but a good one? Let’s
start from the beginning

Plot point- An event or scene in your story

Plot-The chain of events that make up your story, or the combination

of plot points

Narrative are- The order of plot points in your story.

The Five Elements of Plot

1.Exposition

This is your book’s introduction, where you introduce your characters,

establish the setting, and begin to introduce the primary conflict of
your story. Often, the exposition of a story only lasts for a few
chapters because readers are eager to dive into the conflict of the story.
Don’t wait too long to introduce your inciting incident and get the ball
rolling Many authors make the mistake of having their exposition be
full of interesting but ultimately unnecessary information about the
world in their book
2.Rising Action. The rising action normally begins with an inciting
incident, or a moment that sets your story into action. As it progresses,
you’ll have multiple moments of conflict that escalate and create tension
as the story moves toward the climax

3.Climax. The climax is the peak of tension, plot, and character in your
story. It’s the moment that your reader has been waiting for-so make it
exciting Often, this is the point in the story that everything changes, or
where your main character is forced to make a life-altering decision. It
should be the point where the reader is unsure where your story is going
to go next. To use our roller coaster analogy, imagine you’re at the top of
the peak and everything stops what’s going to happen? A great climax
will leave the readers with this feeling, forcing them to keep reading until
the end.
4.Falling Action. Now that you’ve reached the peak of your
story, it’s time to start moving toward a more satisfying
conclusion. This is the time to start resolving conflicts and
subplots so your story doesn’t feel rushed in the last few
chapters. This is also where any conflicts that arose as a result of
the climax can start being resolved

5.Resolution/Denouement. The resolution is the end of your

story where you can tie up the final loose ends and bring your
story to its happy or tragic ending. Or, if you’re writing a series,
now would be the time to write a cliff hanger and leave them
eager for the next installment!
D. POINT OF VIEW. In a story, the point of view is the narrator’s
position in the description of events

The 4 Types of Point of View

Here are the four primary Point of View types in fiction:

First person point of view. First person is when “I am telling the
story. The character is in the story, relating his or her experiences
directly

Second person point of view. The story is told to “you” This POV
is not common in fiction, but it’s still good to know (it is common in
nonfiction)
Third person point of view, limited. The story is about
“he” or “she.” This is the most common point of view in
commercial fiction. The narrator is outside of the story
and relating the experiences of a character

Third person point of view, omniscient The story is

still about “he” or “she,” but the narrator has full access
to the thoughts and experiences of all characters in the
story
E. CONFLICT – Creates tension and interest to the plot.it
refers to the different drives and interest of the characters and
forces involved in the story A conflict may be internal that is,
a psychological conflict arises from two opposite emotions or
desires felt by the lead character, an internal disagreement
between virtue and vice, good and evil, which causes the
character to suffer mental agony A conflict may also be
external in nature. It is marked by an involvement of another
character or forces in the story which put the lead character in
struggle.
 Types of Conflict

Conflict 1. Man Versus Self

These are internal battles that characters wage within

themselves; these are internal issues that affect their actions,
motivations and interactions with other characters. The conflict
can be a recurring theme throughout the story or at a particular
point in time. In Julius Caesar, Brutus constantly struggles with
his feeling towards his friend Caesar and his country.
Man versus self
Example of Man Versus Self Conflict
The below excerpt from Gora by Tagore is an example of a
momentary internal conflict. As the cab drove away, the girl
joined her hands in a brief namaskar. Utterly unprepared for
this gesture, Binoy remained frozen, unable to respond. Back
home he repeatedly cursed himself for this minor lapse
Scrutinizing his own conduct ir their company from their
first encounter to the moment of parting, he felt that his
manner had been rather uncivil He tormented himself with
futile thoughts of what he could have said or done at specific
moments.”
Conflict 2. Man Versus Society
These are conflicts where your characters’ firm beliefs are against norms that the
entire society as a whole endorses. It could be social evils or discrimination
practiced by society that is opposed by a minority.

Example of Man Versus Society Conflict

The excerpt below is from To Kill a Mockingbird by Harper Lee. It is the story
set in a fictional town in America at a time when racial discrimination was at its
height. “Scout,” said Atticus, “nigger lover is just one of those terms that don’t
mean anything. It’s hard to explain – ignorant, trashy people use it when they
think somebody is favouring Negroes “You aren’t over and nigger above
themselves. Are really lover you?” “I certainly am. I do my best to love
everybody. It’s never an insult to be called what. Somebody thinks is a bad
name. It just shows you how poor that person is, it doesn’t hurt you. So don’t let
Mrs. Dubose get you down…
. Man Versus Society
Conflict 3. Man Versus Man

By or will oppose the actions, reactions, motivations of another

character or characters.

These sort of conflicts are the most common Your characters will be
opposed As a writer you can choose to use this sort of conflict to
provide comic relief to your narrative.

Example of Man Versus Man Conflict

Consider the example below; an excerpt from one of my favorites –
Swami and Friends by the legendary R K Narayanan.
“Oh wretched idiots!,” the teacher said, clenching his fists, “Why do
you worship dirty, lifeless, wooden idols and stone images? Can they
talk? No. Can they see? No. Can they take you to heaven? No. What did
your Gods do when Mohammed of Gazni smashed them to pieces, trod
upon them, and constructed out of them steps for his Lavatory?
Now see our Lord Jesus He could cure the sick, relieve the poor, and
take us to heaven. He was a real God….
Did our Jesus go about dancing with girls like your Krishna? Did our
Jesus go about stealing butter like that arch-scoundrel Krishna?* The
teacher paused for breath. Swaminathan’s blood boiled. He got up and
asked, “If He did not, why was he crucified?”
Conflict 4. Man Versus Nature

Nature serves as the obstacle for characters You could choose

to write a particular scene around a natural calamity such as a
typhoon or tsunami. There are many stories waiting to be
explored because, in my opinion, an inspirational story such
as the triumph of human spirit over adversity will never go
out of fashion.
Example of Man Versus Nature Conflict

The excerpt below is from Life of Pi by Yann Martel and a great part of the book
is set in the middle of the sea.
The ship sank. It made a sound like a monstrous metallic burp Things bubbled at
the surface and then vanished. everything was screaming: the sea, the wind, my
heart. From the lifeboat something I saw
in the water I cried, “Richard Parker, is that you? It’s so hard to sec. Oh, that this
rain would stop!
Richard Parker? Richard Parker? Yes, it is you!” I could see his head. He was
struggling to stay at the surface of the water. “Jesus, Mary, Muhammad and
Vishnu, how good to see you, Richard Parker! Don’t give up, please. Come to the
lifeboat. Do you hear this whistle? TREEEEEE! TREEEEEE! TREEEEEE!
Conflict 5. Man Versus Supernatural
Supernatural elements are typically those that defy the
laws of nature and are beyond scientific understanding.
Such a setting adds gravitas and drama to the story If
you are using super natural elements you might want to
make sure what genre you are writing in
Example of Man Versus Supernatural Conflict Excerpt from Vikram
and Baital, an Indian fairytale.

Remember the old saying, mighty Vikram said the Baital, with a sneer,
“that many a tongue has cut many a throat. I have yielded to your
resolution and I am about to accompany you, bound to your back like a
beggar’s wallet.
But pay heed to my words, as we set out upon the way. I am in
talkative mood, and it is well near an hour’s walk between this tree and
the place where your friend sits Therefore, I shall try to distract my
thoughts, which otherwise might not be of the most pleasing nature, by
means of sprightly tales and profitable reflections. The great king
nodded
Remember that conflicts can be a recurring theme
throughout the story or a momentary and
Temporary obstacle
Consider the above examples from literature.
Observe how the conflict is introduced sometimes
through dialogue and sometimes through
narration are there other conflicts that would
affect characters? Do write to us; an example
would be Great. We’d love to hear from you
F. THEME
The theme in a story is its underlying message, or “big idea. In other
words, what critical belief about life is the author trying to convey in the
writing of a novel, play, short story or poem? This belief, or idea,
transcends cultural barriers. It is usually universal in nature. When a
theme is universal, it touches on the human experience, regardless of race
of language. It is what the story means. Often, a piece of writing will
have more than one theme

G IRONY
As conflicts create contraindication events in the story may appear to be
radically different from what they actually are.
Kinds of Irony

1.Verbal irony. Verbal irony is close to sarcasm Sometimes it works by

understatement, other times by overstatement. The words we hear do not
carry the intended meaning. In fact, they may be the very opposite
2 Dramatic irony Then there’s a more substantive type of trony: dramatic
More is at stake here because this land of irony relates to character. When
we hear Pap in The Adventures of Huckleberry Finn proclaim seriously
that he would have voted on election day if I warn’t too drunk to get
there,” we know we’re in the presence of a character who is incredibly –
and laughably Every word out of Pap’s mouth condemns him, but he never
realizes it 3. Situational irony. The third type of irony, situational, is surely
the most frequently used. You think things are going one way, but suddenly
they make a hard 180-degree deluded. We know it, but he doesn’t turn.
TECHNIQUES AND DEVICES OF FICTION

Fiction may very well be the most embellished form of

writing. Even with only its elements working together, it
may still achieve coherence and structure. However,
more often than not, employing all the elements alone
may actually result in a bland story. It is on this premise
that a writer must be able to embellish fiction by up with
a narrative prose of deep beauty and great significance.
1. Mood is a literary element that evokes
certain feelings or vibes in readers through
Words and descriptions. Usually, mood is
referred to as the atmosphere of A literary
piece, as it creates an emotional setting that
surrounds the readers. The mood of fiction
may be developed through the following
elements.
 A. Setting. A particular setting not only provides background and context the
contents of one’s story but also sets the mood of the reader
Example
The river, reflecting the clear blue of the sky, glistened and sparkled as it flowed
noiselessly on”
 
- Pickwick Papers (1836), Charles Dickens, Dickens effectively created a calm and
peaceful mood in the setting. The description of idyllic scenery imparts a
serene and nonviolent vibe to the readers.
 
b. Point of View. The story is observe through the narrator’s eyes. Accordingly,
the readers always rely on the writer’s point of view of the events taking place in
a story. Example
“It would have been difficult to sink to a lower ebb of disorder, but to
Raskolnikov, in his present state of mind, this was positively agreeable.
He had got completely away from from everyone, like shell, and a
tortoise in its even the sight of a servant girl who had to wait upon him
and looked sometimes into his room made him writhe with nervous
irritation. He was in the condition that overtakes some monomaniacs
entirely concentrated upon one thing His landlady had for the last
fortnight given up sending him in meals, and he had not yet thought of
expostulating with her, though he went without his dinner Nastasya, the
cook and only servant, was rather pleased at the lodger’s mood and had
entirely given up sweeping and doing his room, only once a week or so
she would stray into his room with a broom. She waked him up that
day”.
Crime Punishment (1866) Fyodor Dostoevsky

It is through the eyes of the narrator that the readers get to feel the
mood of anxiety, irritation and introversion- the common moods of the
socially inept- of Dostoesky’s character, Raskolnikov.

C. Diction refers to an author’s choice of words. When describing the

events of her story, an author never has just one word at her disposal
Rather, she must choose from many words that have similar denotative
meanings (the definition you’d find in a dictionary), but different
connotative meanings (the associations, positive or negative with a
given word).
Example

Imagine that a child in a story comes home from school and tells his
parents about his day.
Here are four separate ways he could describe his behavior at recess
Notice how selecting one italicized word over another, shifting the
diction, totally changes the
Meaning of the sentence:

1. Tommy made fun of me, so I nicked his eye with a stick with a stick
2. Tommy made fun of me, so I poked his eye Tommy made fun of me,
so I stabbed his eye with a stick
3. Tommy made fun of me, so I gouged his eye with a stick.”
The words nicked, poked, stabbed and gouged all have similar denotative
meanings, but notice how an author’s choosing one or the other would
drastically affect how we understand how well Tommy fared.
2.Allusion. An allusion is when an author refers to the events or characters
from another story in her own story with the hopes that those events will add
context or Depth to the story she’s trying to tell.

Example
One of the most alluded to texts in literature is the Bible, and specifically the
New Testament. Here is an allusion that a writes might make to the Biblical
story of Lazarus, who famously rose from the dead Notice how using the
allusion helps intensify the character’s recovery Night after night our hero lay
in bed with the flu, hacking mucus and blood and seeing behind his eyelids the
angels or devils come to collect him. But one morning, like Lazarus, he was
whole again.
It should also be noted that an allusion doesn’t have to specifically name the
Character or event it’s referring to.

3.Epigraph. A reference to another work that an author hopes will help readers
understand her own work Unlike an allusion, an epigraph stands apart from the
text itself rather than being included in it.
Let’s take a look at an epigraph from TS Eliot’s famous poem The Love Song of J.
Alfred Prufrock. The epigraph is from Dante’s Inferno, and is meant to help Eliot’s
Reader understand that the poem that follows is a kind of confession. If I but
thought that my response were made To one perhaps returning to the world,
This tongue of flame would cease to flicker But since, up from these depths, no
one has yet Returned alive, if what I hear is true,I answer without fear of being
shamed
4 Euphemism A writer wishes to describe some graphic or offensive event
using milder imagery or phrasing. When an author does this, it’s called a
euphemism.

Example

Imagine that a sports broadcaster calling the action in a baseball game has to
say into the microphone that a player has just been struck in the genitalia
with a line drive. Obviously in the interests of taste, he doesn’t wish to say
‘genitalia’ on the air, and so instead he says:

It’s a line drive up the middle and, oh my goodness, ladies and gentlemen, he
seems to have taken one below the belt…! notice how below the belt
communicates where the ball hit the player but avoids using the more
explicit term
5.Foreshadowing When an author hints at the ending of or at
an upcoming event in her story without fully divulging it.

Example
At the end of Ernest Hemingway’s famous novel A Farewell
to Arms, a key character dies while it’s raining. To hint at
that death, Hemingway earlier in the book includes a scene
where the character admits that she is afraid of the rain
because sometimes she sees herself dead in it.
While this is just an irrational vision, it also gives the reader
an ominous detail and hints at an event that might be to
come.
6. Imagery. When an author chooses words for their connotative associations
she
Chooses sensory details for the associations or tones they evoke. This is the
author’s Selection of imagery
Example
In Theodore Roethke’s famous poem, ‘My Papa’s Waltz, we see a young boy
dance with his drunken father. It’s a happy memory for the bay, but also the
poem hints at the father’s dangerous condition. One of the ways Roethke
achieves this is through his selection of imagery.

Consider the first stanza

The whiskey on your breath Could make a small boy dizzy, But I hung on like
death: Such waltzing was not easy.
While there are several examples of imagery here, think specifically about
Roethke’s choice of whiskey as the alcohol the father is drinking.
7. Metaphor. When attempting to describe an image or
event, an author often will find it useful to compare what
she’s describing to another image or event. This is called
metaphor, and it gives the reader a fresh, sometimes
startling way of imagining what’s going on.

Example
In Andrew Marvell’s famous poem, To His Coy Mistress,
the speaker uses the lowing metaphor to describe his fear
of pending death but at my back I always hear time’s
winged chariot hurrying near.
8.Tone. It is the attitude you, as the writer assume toward the theme or
subjects of the story The manner of how you tell the story, how you
presented its theme or how you approached a particular subject shows
the tone of your work. Tone can be any attitude, such as formal,
informal, serious, comic, sarcastic, sad, or cheerful

Example
Thus the young and pure would be taught to look at her, with the
scarlet letter framing on her breast at her, the child of honorable
parents. At her the mother of a babe, that would hereafter be a woman,
at her, who had once been innocent, as the figure, the body, the reality
of sin.”
-The Scarlet Letter (1850), Nathaniel Hawthorne
8.Symbolism and Motif. Symbolism gives the writer the freedom to
add double levels of meanings in fiction: a literal one that is self
evident and the symbolic one whose meaning is far more profound
than the literal one.
Motif. It can be seen as an image, sound, action or other figures that
have a symbolic significance and contribute toward other figures that
have a symbolic significance and contribute toward the development
of the theme.

Example
“When trying to use the motif of light and darkness, symbols may be
employed to signify and carry the thought of the said motif
throughout the story.
Symbols Possible meaning How it carries the motif

Storm clouds Imminent danger /

problem
Temporary darkness

Moon Guide Shades of light and darkness

shadows
A candle Glimmer of hope A lite of darkness

A ray Hope Emerging from darkness

A tunnel Trials Heading towards darkness

seeing the light at the end of
 The end…..

G1 REPORT OF CREATIVE WRITING