Post by ernesto thaddeus m. solmerano on Jun 15, 2007 7:09:42 GMT -5
The Short Story
The short story is “a piece of fiction dealing with a single incident - material or spiritual - that can be read at a sitting. It is original. It must sparkle, excite or impress; it must have unity of effect or impression and it must moved in an even line from its exposition up to its close.” (Poe, 1846) A short story can be a fable or a parable, real or fantasy, a true representation or a parody, sentimental or sarcastic, serious in intent or a light-hearted diversion – it can be any of these, but to be memorable it must catch the eternal in casual, invest a moment with the immensity of time.
The Formal Elements of Fiction
In the same way that a painter applies line, color, tone, perspective, texture and other elements or basic principles of art to paint a painting, a fiction writer uses character, setting, plot, point of view, tone, style, symbol, dialogue, theme and diction to create artistic effect in fiction. These components or building blocks of a story are known as the formal elements of fiction. An understanding of the formal elements will increase the reader’s appreciation of any work of fiction, as well as his or her ability to share his or her readings with others.
A. Character
In fiction, character refers to a textual representation of a human being (or occasionally another creature). Most fiction writers agree that character development is the key element in a story's creation, and in most pieces of fiction a close identification with the characters is crucial to understanding the story. The story's protagonist is the central agent in generating its plot, and this individual can embody the story's theme. The forces working against her/him (whether persons, things, conventions of society, or forces of nature) are the antagonists. Characters can be categorized as the following depending on their level of development and the extent to which they change in the course of the story:
1. a stock character is a stereotyped character and is known by having one personality trait (e.g. a mad scientist, the absent-minded professor, the cruel mother-in-law);
2. a flat character which remains the same from the beginning of the plot to the end;
3. a dynamic or developing character which undergoes permanent change in the course of the plot; and
4. a round character which has a complex, multi-dimensional and many-sided personalities.
Authors achieve characterization with a variety of techniques: by using the narrative voice to describe the character, by showing the actions of the character and of those reacting to her, by revealing the thoughts or dialogue of the character, or by showing the thoughts and dialogue of others in relation to the character.
Characterization in literature refers to a step-by-step process wherein a character of a story is brought to notice and then detailed upon in front of the reader. Characterization is a sort of initiation wherein the reader is introduced to the character. The initial step is to introduce the character with a marked emergence. After the arrival his behavior is discussed. This is followed by an insight into his thought-process. Then comes the part where the character voices his opinions or converses with other characters in the story. The last and finalizing part is when others in the plot respond to the character’s presence.
B. Setting
Setting is the story’s time and place. The elements making up a setting are: the geographical location, its topography, scenery, and such physical arrangements as the location of the windows and doors in a room; the occupations and daily manner of living of the characters; the time or period in which the action takes place, for example, period in history or season of the year; and the general environment of the characters, for example, religious, mental, moral, social, and emotional conditions. Setting is also one of the primary ways that a fiction writer establishes mood. It is often developed with narrative description, but it may also be shown with action, dialogue, or a character’s thoughts.
C. Plot
Plot refers to the series or sequence of events that give a story its meaning and effect. In most stories, these events arise out of conflict experienced by the main character. The conflict may come from something external or it may stem from an internal issue. As the character makes choices and tries to resolve the problem, the story's action is shaped and plot is generated. The plot is built around a series of events that take place within a definite period. It is what happens to the characters. No rules exist for the order in which the events are presented. In some stories, the author structures the entire plot chronologically, with the first event followed by the second, third, and so on, like beads on a rosary.
A unified plot has an exposition, the introductory material that creates the tone, gives the setting, introduces the characters, and supplies other facts necessary to understanding a work of literature; a rising action, the second section of the typical plot, in which the main character begins to grapple with the story's main conflict. The rising action contains several events which usually are arranged in an order of increasing importance; a climax, the point of highest interest in the story, where the reader makes the greatest emotional response; a falling action, the part of the plot after the climax, containing events caused by the climax and contributing to the resolution; and a dénouement or resolution or conclusion, the final unravelling of a plot; the solution of a mystery; an explanation of the outcome. Dénouement implies an ingenious untying of the knot of an intrigue, involving not only a satisfactory outcome of the main situation but an explanation of all the secrets and misunderstandings connected with the plot complication.
However, many other stories are told with flashback techniques in which plot events from earlier times interrupt the story's present events. All stories are unique, and in one sense there are as many plots as there are stories.
D. Point of View
Point of view in fiction refers to the source and scope of the narrative voice. In the first-person point of view, usually identifiable by the use of the pronoun "I", a character in the story does the narration. A first-person narrator may be a major character and is often its protagonist. The author's choice of point of view has a significant effect on the story's voice and on the type of information given to the reader. In first-person narration, for example, what can be shown is limited to the character's observation and thoughts, and any skewed perceptions in the narrator will be passed on to the reader. The rarest narrative voice in literature is the second-person point of view, in which the narrator refers to the reader as "you", therefore making the audience member feel as if he or she is a character within the story. Third-person point of view occurs when the narrator does not take part in the story. There are four types of third-person point of view. In third-person omniscient, the narrative voice can render information from anywhere, including the thoughts and feelings of any of the characters. This all-knowing perspective allows the narrator to roam freely in the story's setting and even beyond. In third-person limited, the narrative voice can relate what is in the minds of only a select few characters (often only one, the point-of-view character). The third-person objective employs a narrator who tells a story without describing any character's thoughts, opinions, or feelings; instead it gives an objective, unbiased point of view. Often the narrator is self-dehumanized in order to make the narrative more neutral; this type of narrative mode, outside of fiction, is often employed by newspaper articles, biographical documents, and scientific journals. This point of view can be described as a "fly on the wall" or "camera lens" approach that can only record the observable actions, but does not interpret these actions or relay what thoughts are going through the minds of the characters. Works of fiction that use this style put a great deal of emphasis on characters acting out their feelings in an observable way. Internal thoughts, if expressed, are given voice through an aside or soliloquy. While this approach does not allow the author to reveal the unexpressed thoughts and feelings of the characters, it does allow the author to reveal information that not all or any of the characters may be aware of. It is also called the third-person dramatic, because the narrator (like the audience of a drama) is neutral and ineffective toward the progression of the plot — merely an uninvolved onlooker. The third-person subjective is when the narrator conveys the thoughts, feelings, opinions, etc. of one or more characters. In third-person subjective, sometimes called the "over the shoulder" perspective, the narrator only describes events perceived and information known by a character. At its narrowest and most subjective scope, the story reads as though the viewpoint character were narrating it. Dramatically this is very similar to the first person, in that it allows in-depth revelation of the protagonist's personality, but it uses third-person grammar.
E. Tone
Tone refers to the mood or attitude that the author creates toward the story’s subject matter and its audience. It is the way an author communicates a feeling or attitude toward the subject he is writing about. To determine tone in poetry (or in other writing), you have to consider diction and syntax, the grammatical structure of the sentence. You also have to consider which details are included and which are left out. For instance, if the author is listing reasons and answering likely objections in advance, the tone is argumentative or persuasive. If the poet goes on and on about the snowy, picture-perfect holidays of childhood, nostalgia is a good bet. When you're determining tone, "hear" the poem in your head. Put yourself in the author's shoes and imagine what she feels. Examine the language closely, and bring your own experience to the poem.
F. Diction
Diction is the writer’s choice of words. The author chooses each word carefully so that both its meaning and sound contribute to the tone and feeling of the literary work. The author must consider a word's denotation - its definition according to the dictionary and its connotation - the emotions, thoughts and ideas associated with and evoked by the word.
G. Style
Style in fiction refers to the language conventions used to construct the story. A fiction writer can manipulate diction, sentence structure, phrasing, dialogue, and other aspects of language to create style. Thus a story's style could be described as richly detailed, flowing, and barely controlled or sparing and minimalist to reflect the simple sentence structures and low range of vocabulary. Predominant styles change through time, therefore the time period in which fiction was written often influences its style.
H. Symbol
A symbol means more than what it is. It has layers of meanings. While a normal image is generally used once, to complete a scene or passage, a symbol is often referred to repeatedly and carries meanings essential to the story. Some symbols are universal, like water for cleansing, but others are more culturally based. In some African societies, for example, a black cat is seen as good luck. Fiction writers use pre-existing cultural associations as well as meanings drawn from the context of the story to create multiple levels of meaning.
The ability to recognize and interpret symbols requires experience in literary readings, perception, and tact. It is easy to "run wild" with symbols - to find symbols everywhere. The ability to interpret symbols is essential to the full understanding and enjoyment of literature. Given below are helpful suggestions for identifying literary symbols:
1. The story itself must furnish a clue that a detail is to be taken symbolically - symbols nearly always signal their existence by emphasis, repetition, or position.
2. The meaning of a literary symbol must be established and supported by the entire context of the story. A symbol has its meaning inside not outside a story.
3. To be called a symbol, an object must suggest a meaning different in kind from its literal meaning.
4. A symbol has a cluster of meanings.
I. Dialogue
Dialogue is a literary and theatrical form consisting of a written or spoken conversational exchange between two or more ("dia" means through or across) people. It is the conversation between characters in a narrative. It is the lines or passages in drama which are intended to be spoken.
Functions of Dialogue
1. It moves the action along in a work and it also helps to characterize the personality of the speakers, which vary depending on their nationalities, jobs, social classes and educations.
2. It also gives literature a more natural, conversational flow, which makes it more readable and enjoyable.
3. By showcasing human interaction, dialogue prevents literature from being nothing more than a list of descriptions and actions.
4. Dialogue varies in structure and tone depending on the people participating in the conversation and the mood that the author is trying to maintain in his or her writing.
In great fiction, dialogue is not intuitive, and it does not come naturally to writers. Most importantly, for effective dialogue in fiction, authors cannot simply describe a dialogue from real experience or from an imagined scene. Basically, dialogue is always created for a purpose of story development, therefore, it cannot function as a taped recording of reality; and it must be stripped of nuances that may not be true to the story or confuse the reader.
J. Theme
Theme is the meaning or concept we are left with after reading a piece of fiction. It can be a revelation of human character or it may be stated briefly or at great length. It develops from the interplay of character and plot. A theme is the central and unifying concept of the story. It must adhere to the following requirements:
1. It must account for all the major details of the story.
2. It must not be contradicted by any detail of the story.
3. It must not rely on supposed facts - facts not actually stated or clearly implied by the story.
A theme is not the "moral" of the story. A theme is the author's way of communicating and sharing ideas, perceptions, and feelings with readers, and it may be directly stated in the text, or it may only be implied.
Literary Devices
Literary Devices
Literary devices are any unvarying techniques utilized by the writer in a narrative to convey his or her message to the audience and to develop the story in order to make it more meaningful, complex or interesting.
Although there are hundreds of literary techniques have been created, some of the most common ones are:
Allegory. A literary device that describes abstract ideas and concepts in terms of characters, figures, and events. The aim of allegory is to teach some moral lesson.
Allusion. A brief reference of a person, place, or event of historical, religious, mythological, literary, cultural, or political significance.
Conflict. Any clash of wills or ideas between two opposing forces. Conflict provides interest, suspense, and tension. At least one of the opposing forces is customarily a person. This person, usually the protagonist, may be involved in conflicts of four different kinds: (1.) A struggle against nature (man vs. nature); (2.) A struggle against another person, usually the antagonist (man vs. man); (3.) A struggle against society (man vs. society); and (4.) A struggle for mastery by two elements within the person (man vs. himself) (Harmon and Holman, 2008)
Deus ex machina. Refers to the situation in which a divine character or a far-fetched idea is inserted into a plot to resolve the conflict and obtain an amicable outcome.
Epiphany. The point in a story where a character reaches realization, understanding, or a sense of wisdom, during which actions in the story are seen through the lens of this new light.
Flashback. It is an incident in which a narrator recalls an earlier situation before the current point of the story. It is also known as analepsis.
Flash forward. A literary device in which the storyline moves ahead of time; that is, a scene that breaks the action and moves it forward in time from where it is now in the story.
Foil. A character contrasted with the protagonist to illustrate specific characteristics of the protagonist.
Foreshadowing. A literary device in which a writer gives a hint or clue what would happen later in the story. It is sometimes used at the beginning of a story or chapter to help the reader develop expectations about what will happen next.
Frame story. A literary device that often acts as a companion piece to a story within a story, in which an introduction or main narrative is introduced, at least in part, to prepare for either a more emphasized second narrative or a set of shorter stories.
In medias res. A Latin phrase translated as "in the middle of things." It is a literary and creative storytelling technique in which the telling of a story starts in the middle rather than at the beginning, establishing setting, character, and conflict through flashbacks or expository conversations about the relevant past.
Interior monologue. A literary technique in which the protagonist's thoughts, feelings, and impressions are shown
Irony. As a literary device, irony is the use of words to convey a meaning opposite to its literal meaning. It is the reversal of intention or situation. There are three types of irony: verbal, dramatic, and situational. Verbal irony occurs when a person says something completely contradictory to his or her actual meaning. Situational irony refers to a situation in which the result differs significantly from what was expected. Dramatic irony arises when the audience understands the full significance of a character's words or actions that the character is unaware of.
Juxtaposition. A literary device in which the author contrasts one person, place, concept, or theme to another. The aim of juxtaposing two related entities close together is to emphasize and compare the difference between the two.
Motif. A recurring object, image, sound, action, or concept in a literary work that contributes to the development of a theme.
Parallelism. The use of sentence components that are grammatically similar or identical in their construction, sound, meaning, or meter.
Stream of consciousness. A literary technique in which the writer writes down his thoughts s fast as they come to create an interior monologue, with jumps in syntax and punctuation that trace a character's fragmented thoughts and sensory feelings.
Symbol. An object, action, event, or word that represents another in order to convey a much deeper and more profound meaning.
The short story is “a piece of fiction dealing with a single incident - material or spiritual - that can be read at a sitting. It is original. It must sparkle, excite or impress; it must have unity of effect or impression and it must moved in an even line from its exposition up to its close.” (Poe, 1846) A short story can be a fable or a parable, real or fantasy, a true representation or a parody, sentimental or sarcastic, serious in intent or a light-hearted diversion – it can be any of these, but to be memorable it must catch the eternal in casual, invest a moment with the immensity of time.
The Formal Elements of Fiction
In the same way that a painter applies line, color, tone, perspective, texture and other elements or basic principles of art to paint a painting, a fiction writer uses character, setting, plot, point of view, tone, style, symbol, dialogue, theme and diction to create artistic effect in fiction. These components or building blocks of a story are known as the formal elements of fiction. An understanding of the formal elements will increase the reader’s appreciation of any work of fiction, as well as his or her ability to share his or her readings with others.
A. Character
In fiction, character refers to a textual representation of a human being (or occasionally another creature). Most fiction writers agree that character development is the key element in a story's creation, and in most pieces of fiction a close identification with the characters is crucial to understanding the story. The story's protagonist is the central agent in generating its plot, and this individual can embody the story's theme. The forces working against her/him (whether persons, things, conventions of society, or forces of nature) are the antagonists. Characters can be categorized as the following depending on their level of development and the extent to which they change in the course of the story:
1. a stock character is a stereotyped character and is known by having one personality trait (e.g. a mad scientist, the absent-minded professor, the cruel mother-in-law);
2. a flat character which remains the same from the beginning of the plot to the end;
3. a dynamic or developing character which undergoes permanent change in the course of the plot; and
4. a round character which has a complex, multi-dimensional and many-sided personalities.
Authors achieve characterization with a variety of techniques: by using the narrative voice to describe the character, by showing the actions of the character and of those reacting to her, by revealing the thoughts or dialogue of the character, or by showing the thoughts and dialogue of others in relation to the character.
Characterization in literature refers to a step-by-step process wherein a character of a story is brought to notice and then detailed upon in front of the reader. Characterization is a sort of initiation wherein the reader is introduced to the character. The initial step is to introduce the character with a marked emergence. After the arrival his behavior is discussed. This is followed by an insight into his thought-process. Then comes the part where the character voices his opinions or converses with other characters in the story. The last and finalizing part is when others in the plot respond to the character’s presence.
B. Setting
Setting is the story’s time and place. The elements making up a setting are: the geographical location, its topography, scenery, and such physical arrangements as the location of the windows and doors in a room; the occupations and daily manner of living of the characters; the time or period in which the action takes place, for example, period in history or season of the year; and the general environment of the characters, for example, religious, mental, moral, social, and emotional conditions. Setting is also one of the primary ways that a fiction writer establishes mood. It is often developed with narrative description, but it may also be shown with action, dialogue, or a character’s thoughts.
C. Plot
Plot refers to the series or sequence of events that give a story its meaning and effect. In most stories, these events arise out of conflict experienced by the main character. The conflict may come from something external or it may stem from an internal issue. As the character makes choices and tries to resolve the problem, the story's action is shaped and plot is generated. The plot is built around a series of events that take place within a definite period. It is what happens to the characters. No rules exist for the order in which the events are presented. In some stories, the author structures the entire plot chronologically, with the first event followed by the second, third, and so on, like beads on a rosary.
A unified plot has an exposition, the introductory material that creates the tone, gives the setting, introduces the characters, and supplies other facts necessary to understanding a work of literature; a rising action, the second section of the typical plot, in which the main character begins to grapple with the story's main conflict. The rising action contains several events which usually are arranged in an order of increasing importance; a climax, the point of highest interest in the story, where the reader makes the greatest emotional response; a falling action, the part of the plot after the climax, containing events caused by the climax and contributing to the resolution; and a dénouement or resolution or conclusion, the final unravelling of a plot; the solution of a mystery; an explanation of the outcome. Dénouement implies an ingenious untying of the knot of an intrigue, involving not only a satisfactory outcome of the main situation but an explanation of all the secrets and misunderstandings connected with the plot complication.
However, many other stories are told with flashback techniques in which plot events from earlier times interrupt the story's present events. All stories are unique, and in one sense there are as many plots as there are stories.
D. Point of View
Point of view in fiction refers to the source and scope of the narrative voice. In the first-person point of view, usually identifiable by the use of the pronoun "I", a character in the story does the narration. A first-person narrator may be a major character and is often its protagonist. The author's choice of point of view has a significant effect on the story's voice and on the type of information given to the reader. In first-person narration, for example, what can be shown is limited to the character's observation and thoughts, and any skewed perceptions in the narrator will be passed on to the reader. The rarest narrative voice in literature is the second-person point of view, in which the narrator refers to the reader as "you", therefore making the audience member feel as if he or she is a character within the story. Third-person point of view occurs when the narrator does not take part in the story. There are four types of third-person point of view. In third-person omniscient, the narrative voice can render information from anywhere, including the thoughts and feelings of any of the characters. This all-knowing perspective allows the narrator to roam freely in the story's setting and even beyond. In third-person limited, the narrative voice can relate what is in the minds of only a select few characters (often only one, the point-of-view character). The third-person objective employs a narrator who tells a story without describing any character's thoughts, opinions, or feelings; instead it gives an objective, unbiased point of view. Often the narrator is self-dehumanized in order to make the narrative more neutral; this type of narrative mode, outside of fiction, is often employed by newspaper articles, biographical documents, and scientific journals. This point of view can be described as a "fly on the wall" or "camera lens" approach that can only record the observable actions, but does not interpret these actions or relay what thoughts are going through the minds of the characters. Works of fiction that use this style put a great deal of emphasis on characters acting out their feelings in an observable way. Internal thoughts, if expressed, are given voice through an aside or soliloquy. While this approach does not allow the author to reveal the unexpressed thoughts and feelings of the characters, it does allow the author to reveal information that not all or any of the characters may be aware of. It is also called the third-person dramatic, because the narrator (like the audience of a drama) is neutral and ineffective toward the progression of the plot — merely an uninvolved onlooker. The third-person subjective is when the narrator conveys the thoughts, feelings, opinions, etc. of one or more characters. In third-person subjective, sometimes called the "over the shoulder" perspective, the narrator only describes events perceived and information known by a character. At its narrowest and most subjective scope, the story reads as though the viewpoint character were narrating it. Dramatically this is very similar to the first person, in that it allows in-depth revelation of the protagonist's personality, but it uses third-person grammar.
E. Tone
Tone refers to the mood or attitude that the author creates toward the story’s subject matter and its audience. It is the way an author communicates a feeling or attitude toward the subject he is writing about. To determine tone in poetry (or in other writing), you have to consider diction and syntax, the grammatical structure of the sentence. You also have to consider which details are included and which are left out. For instance, if the author is listing reasons and answering likely objections in advance, the tone is argumentative or persuasive. If the poet goes on and on about the snowy, picture-perfect holidays of childhood, nostalgia is a good bet. When you're determining tone, "hear" the poem in your head. Put yourself in the author's shoes and imagine what she feels. Examine the language closely, and bring your own experience to the poem.
F. Diction
Diction is the writer’s choice of words. The author chooses each word carefully so that both its meaning and sound contribute to the tone and feeling of the literary work. The author must consider a word's denotation - its definition according to the dictionary and its connotation - the emotions, thoughts and ideas associated with and evoked by the word.
G. Style
Style in fiction refers to the language conventions used to construct the story. A fiction writer can manipulate diction, sentence structure, phrasing, dialogue, and other aspects of language to create style. Thus a story's style could be described as richly detailed, flowing, and barely controlled or sparing and minimalist to reflect the simple sentence structures and low range of vocabulary. Predominant styles change through time, therefore the time period in which fiction was written often influences its style.
H. Symbol
A symbol means more than what it is. It has layers of meanings. While a normal image is generally used once, to complete a scene or passage, a symbol is often referred to repeatedly and carries meanings essential to the story. Some symbols are universal, like water for cleansing, but others are more culturally based. In some African societies, for example, a black cat is seen as good luck. Fiction writers use pre-existing cultural associations as well as meanings drawn from the context of the story to create multiple levels of meaning.
The ability to recognize and interpret symbols requires experience in literary readings, perception, and tact. It is easy to "run wild" with symbols - to find symbols everywhere. The ability to interpret symbols is essential to the full understanding and enjoyment of literature. Given below are helpful suggestions for identifying literary symbols:
1. The story itself must furnish a clue that a detail is to be taken symbolically - symbols nearly always signal their existence by emphasis, repetition, or position.
2. The meaning of a literary symbol must be established and supported by the entire context of the story. A symbol has its meaning inside not outside a story.
3. To be called a symbol, an object must suggest a meaning different in kind from its literal meaning.
4. A symbol has a cluster of meanings.
I. Dialogue
Dialogue is a literary and theatrical form consisting of a written or spoken conversational exchange between two or more ("dia" means through or across) people. It is the conversation between characters in a narrative. It is the lines or passages in drama which are intended to be spoken.
Functions of Dialogue
1. It moves the action along in a work and it also helps to characterize the personality of the speakers, which vary depending on their nationalities, jobs, social classes and educations.
2. It also gives literature a more natural, conversational flow, which makes it more readable and enjoyable.
3. By showcasing human interaction, dialogue prevents literature from being nothing more than a list of descriptions and actions.
4. Dialogue varies in structure and tone depending on the people participating in the conversation and the mood that the author is trying to maintain in his or her writing.
In great fiction, dialogue is not intuitive, and it does not come naturally to writers. Most importantly, for effective dialogue in fiction, authors cannot simply describe a dialogue from real experience or from an imagined scene. Basically, dialogue is always created for a purpose of story development, therefore, it cannot function as a taped recording of reality; and it must be stripped of nuances that may not be true to the story or confuse the reader.
J. Theme
Theme is the meaning or concept we are left with after reading a piece of fiction. It can be a revelation of human character or it may be stated briefly or at great length. It develops from the interplay of character and plot. A theme is the central and unifying concept of the story. It must adhere to the following requirements:
1. It must account for all the major details of the story.
2. It must not be contradicted by any detail of the story.
3. It must not rely on supposed facts - facts not actually stated or clearly implied by the story.
A theme is not the "moral" of the story. A theme is the author's way of communicating and sharing ideas, perceptions, and feelings with readers, and it may be directly stated in the text, or it may only be implied.
Literary Devices
Literary Devices
Literary devices are any unvarying techniques utilized by the writer in a narrative to convey his or her message to the audience and to develop the story in order to make it more meaningful, complex or interesting.
Although there are hundreds of literary techniques have been created, some of the most common ones are:
Allegory. A literary device that describes abstract ideas and concepts in terms of characters, figures, and events. The aim of allegory is to teach some moral lesson.
Allusion. A brief reference of a person, place, or event of historical, religious, mythological, literary, cultural, or political significance.
Conflict. Any clash of wills or ideas between two opposing forces. Conflict provides interest, suspense, and tension. At least one of the opposing forces is customarily a person. This person, usually the protagonist, may be involved in conflicts of four different kinds: (1.) A struggle against nature (man vs. nature); (2.) A struggle against another person, usually the antagonist (man vs. man); (3.) A struggle against society (man vs. society); and (4.) A struggle for mastery by two elements within the person (man vs. himself) (Harmon and Holman, 2008)
Deus ex machina. Refers to the situation in which a divine character or a far-fetched idea is inserted into a plot to resolve the conflict and obtain an amicable outcome.
Epiphany. The point in a story where a character reaches realization, understanding, or a sense of wisdom, during which actions in the story are seen through the lens of this new light.
Flashback. It is an incident in which a narrator recalls an earlier situation before the current point of the story. It is also known as analepsis.
Flash forward. A literary device in which the storyline moves ahead of time; that is, a scene that breaks the action and moves it forward in time from where it is now in the story.
Foil. A character contrasted with the protagonist to illustrate specific characteristics of the protagonist.
Foreshadowing. A literary device in which a writer gives a hint or clue what would happen later in the story. It is sometimes used at the beginning of a story or chapter to help the reader develop expectations about what will happen next.
Frame story. A literary device that often acts as a companion piece to a story within a story, in which an introduction or main narrative is introduced, at least in part, to prepare for either a more emphasized second narrative or a set of shorter stories.
In medias res. A Latin phrase translated as "in the middle of things." It is a literary and creative storytelling technique in which the telling of a story starts in the middle rather than at the beginning, establishing setting, character, and conflict through flashbacks or expository conversations about the relevant past.
Interior monologue. A literary technique in which the protagonist's thoughts, feelings, and impressions are shown
Irony. As a literary device, irony is the use of words to convey a meaning opposite to its literal meaning. It is the reversal of intention or situation. There are three types of irony: verbal, dramatic, and situational. Verbal irony occurs when a person says something completely contradictory to his or her actual meaning. Situational irony refers to a situation in which the result differs significantly from what was expected. Dramatic irony arises when the audience understands the full significance of a character's words or actions that the character is unaware of.
Juxtaposition. A literary device in which the author contrasts one person, place, concept, or theme to another. The aim of juxtaposing two related entities close together is to emphasize and compare the difference between the two.
Motif. A recurring object, image, sound, action, or concept in a literary work that contributes to the development of a theme.
Parallelism. The use of sentence components that are grammatically similar or identical in their construction, sound, meaning, or meter.
Stream of consciousness. A literary technique in which the writer writes down his thoughts s fast as they come to create an interior monologue, with jumps in syntax and punctuation that trace a character's fragmented thoughts and sensory feelings.
Symbol. An object, action, event, or word that represents another in order to convey a much deeper and more profound meaning.