Let's talk about the elements of story. What specific elements do succesful stories have in common? And, what elements do you want in your story?
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copyright 2008 by Gary L. Pullman The four primary elements of fiction are plot, character, setting, and theme. Associated with most of these is a cluster of related components: plot is divisible into exposition, inciting moment, rising action, turning point, falling action, moment of final suspense, and (depending upon whether the narrative is a comedy or a tragedy) resolution or catastrophe. Of course, all plots are also derived from, and developed upon, conflict. Likewise, setting is not merely a matter of a specific time and place, but it also entails the particular cultural milieu that exists in this particular time and place. Victorian London, for example, is quite different than nineteenth-century Tombstone, Arizona. Similarly, character involves motivation, various personality traits, and, usually, interrelationships among several fictional persons. Only theme is simple, rather than complex, having no subordinate constituents. Since any of these four elements is a potential starting point for a story, a writer may generate an idea for a story by considering plot, character, setting, or theme. Some writers, among them both C. S. Lewis and Stephen King, have been inspired by mental images of characters in specific situations or settings. C. S. Lewis specified the image of a fawn, or satyr, carrying an armload of parcels, as the mental picture that launched The Chronicles of Narnia, and Storm of the Century, King says, began with his imagining a strange man incarcerated in a jail cell. The placement of a character in a particular situation or setting is not a story, of course, but it is (possibly) the beginning of a story that could start by considering an interesting character. It is the starting point from which a series of questions can begin to be asked. The choice of a protagonist or an antagonist can also suggest, or even determine, the story’s counterpart as well. Once William Peter Blatty decided upon a demon—maybe Satan himself—as his story’s antagonist, an exorcist became the most logical choice of a protagonist. (Although The Exorcist is said to be based upon a true story, Blatty, as an author of fiction was free to select a character other than a priest as his protagonist, had he wished to do so; fact does not determine fiction, even when the latter is based upon the former.) Dean Koontz says he begins many of his stories by involving a character in a bizarre situation that compels him or her to react to the incidents that ensue therefrom. Many of Jesus’ parables begin as answers to his disciples’ questions concerning the meaning of the law or of right conduct in regard to particular situations. They are stories told, in other words, to impart wisdom. Their purpose is not primarily to entertain, but to instruct. Therefore, they originate as a means for expressing, in concrete terms, abstract ideas or values. They are theme-driven. The Parable of the Prodigal Son illustrates the meaning of forgiveness. The Parable of the Good Samaritan shows the meaning of loving one’s neighbor. The Parable of the Mustard Seed shows the meaning of faith. Horror stories, as cautionary tales, also often drive home a theme. Beowulf teaches the destructive and deadly effects of intertribal vengeance. The Shining shows the terrible consequences of self-absorption, self-indulgence, and child and spousal abuse. Cujo is not only about a rabid dog, but also about the devastating effects of adultery upon one’s marriage and family. Sometimes, a setting will suggest a story. It is no accident that many horror stories take place in isolated environments, total institutions, or confining spaces. What other monster but the strange troglodytes could have inhabited the cavern into which, as if into Satan’s maw, the female spelunkers enter in The Descent? What better foe could beachgoers encounter in the finny deep than the gargantuan white shark with which Peter Benchley confronts his readers in Jaws? Likewise, the rain forest in which Special Forces soldiers first encounter the camouflaged extraterrestrial in Predator fairly cries out for such a monster as its antagonist. Edgar Allan Poe’s essay, "The Philosophy of Composition," is the quintessential document, perhaps, alongside Aristotle’s Poetics, for the point of view that it is the plot that matters more than other elements (a point not always conceded by other authorities). Poe argued that a writer should commence not at the beginning of his or her story but, on the contrary, with its end, working backward in determining the sequence of actions and other details that will best lead, inevitably, toward the narrative’s climactic finale, using his own narrative poem The Raven as an example of the process. Many writers share Aristotle’s and Poe’s respect for plotting, so much so that they find themselves at a loss to put pen to paper (or, more commonly, finger to keyboard) until they have plotted the whole tale, from “A” to “Z.” (Others, such as Mark Twain, write the same way that the Who’s “Pinball Wizard” plays his game, blindly, as it were, purely “by inspiration.”) The fact that a writer can generate a story from any of the four primary elements of fiction quadruples his or her opportunities for inspiration. It does more than this, however: it also provides the writer with a way of considering, and deciding, which element he or she wants to emphasize. The author must consider whether the story highlights an individual’s actions in the face of fate (plot); personal limitations, abilities, and will (character); the effects of time, place, and culture on the understanding and development of character and the limitations imposed upon one by his or her environment (setting); or the lesson that the main character learns as a result of his or her experience, as recounted in the story (theme). The choice that the writer makes at this initial point will affect the story as a whole and how the reader understands the tale. In this sense, four possible stories confront the writer, and he or she must choose which of the four to tell. For horror story writers, Poe suggests a solution to this dilemma: pick the element that will best sustain and heighten fear and trembling. After all, that’s what horror is all about.
What is a flat character? We'll answer that question, plus look at classic examples of flat characters from film & literature. And more!
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From fantasy to western—and everything in between—we cover the major genres and subgenres available to readers today. We also included a few links to books within that subgenre if you find one that catches your interest in particular. Happy reading! Fantasy Horror Mystery Romance Science Fiction Thriller and Suspense Western Fantasy Photo by Artem Sapegin on Unsplash Alternate History This subgenre of fantasy offers a fictional account set within a real historical period, often with actual historical events included although rewritten to include some element of magic or fantasy. There are…
Here are 100 story ideas you can steal right now: An alien species that lands on earth but is only detectable through literature. A builder who specialises in magical doors, extensions, and passages.
A story problem is a simple way to envision your character's plot arc. Choose your main problem, break it down into smaller challenges, and...
This reading activity is for elementary learners of English. There is a text related to the topic family and two exercises - true or flase and to insert the correct word (mostly members of t
This is a printable about the types of the books used in my class for 4th graders. I used the ones I taught in the class. Please feel free to modify it according to your class and their needs. You might also find another worksheet which has pictures of some book covers. - ESL worksheets
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When we create fictional characters, we want them to be realistic. Use this resource to explore 123 ideas for character flaws.
Table of Contents I. Introduction II. The Jungian / Myers-Briggs Taxonomy III. Personality Type & Holland Career Interests IV. Schwartz’s Theory of Values V. The…
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Find ideas for teaching Retelling & Recounting Stories including books, activities, no-prep resources, and more.
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The 12 Jungian Archetypes Ruler The 4 Cardinal Orientations The 4 cardinal orientations that the archetypes are seeking to realise are: Ego - Leave a Mark on the World Order - Provide Structure to the World Social - Connect to others Freedom - Yearn for Paradise The 12 Archetypes in Detail Detailed Description of Desires,
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Learn the five primary types of character arc. This two-part series starts with a beat-by-beat view of the heroic arcs: Positive-Change Arc and Flat Arc.
