Dr. David S. Hogsette
College Comp II
I.
Introduction

We’ve discussed general definitions of “literature,” “meaning,” and “interpretation”

Now, let’s look more closely at a particular kind or “genre” of literature—fiction

Generally, “fiction” is any “non-prose” piece of writing that usually takes a story form.

Prose or non-fiction is expository writing, like essays, articles, lab reports, and books, that provides information

Fiction is a more literary or artistic form of writing that tells a story

Short stories and novels are common forms of “fiction”

All cultures create fiction of some sort, ranging from oral narratives or stories passed on by “story tellers” in the oral tradition to different types of print narratives to, now, electronic narratives

Story tellers and authors use certain “building blocks” or “elements of fiction” to create stories

When we better understand these building blocks or elements of fiction, we can better appreciate, understand, and interpret fiction
II.
Key Elements

Plot and Story

Plot is the most distinguishing feature of fiction

Plot is the series of events that take place in a story, the “what happens”

Story is what happens in a story and why—the actions and the motives behind or reasons for the actions

For example: “The king murdered his wife” is merely plot, and “The king murdered his wife out of jealous rage” is a story (action and motive)

Stories go through a basic plot sequence: introduction (how a story begins), complications (series of events in which there is conflict between opposing wills or desires), rising action, a climax and turning point in the action, resolutions to conflicts (to varying degrees), falling action, and ending (dénouement)

Conflict or tension is crucial for a good story; without conflict there can be no story; generally, we see conflict in three ways: internally within the mind/spirit of a character; between characters; or between a character and nature, the universe, “fate,” Providence, or God (the Divine)

“Foreshadowing” is often a function of the plot—writers sometimes give clues earlier in a story about what may happen later in the story; attentive readers can pick out foreshadowing elements and this builds anticipation for what may
(or may not) happen later; noticing and analyzing foreshadowing elements adds to the enjoyment of the reading experience and helps the author communicate meaning

Dr. Hogsette Elements of Fiction 2

Different writers engage this basic model differently, but all stories (even
“postmodern” stories that try to undermine this basic model) engage this
 general model in one way or another
By studying the plot, how an author constructs the story, establishes conflicts, resolves them (or not), and wraps up the story (or not) is a great way to begin to understand what the author is trying to accomplish in the story

Character

In order for there to be a story (series of events or plot with motives), there must be actors who have wills and desires and who carry out the actions of the plot

Characters are such actors

Protagonist: the main character of a story, the focus of the story, the one who is the center of the story

Antagonist: the character (or characters) who is opposed to the protagonist,
 who provides obstacles and tension or conflict for the protagonist
When analyzing character, look for descriptions of the character (by self or others), examine what the characters say and do, examine what they don’t say and what they don’t do, and look for change or growth in a character (or lack thereof)—authors communicate meaning through the actions and development of their characters

Dramatic irony: the difference between what a character realizes and what the reader realizes—authors communicate meaning through dramatic irony

Setting and Atmosphere

Setting is the time and location a story takes place

Natural settings, supernatural settings, mental or spiritual settings, real or
 historical settings, fantastic or imaginary settings
Settings establish a mood or atmosphere—a general feeling or tone for the story that helps communicate meaning

The setting can also establish intellectual contexts (like geography, history, culture, religion, philosophy) from which to better understand a story (e.g., a story taking place during the French Revolution will raise different questions than a science fiction story that takes place in an imaginary world of the year
2064)

Symbolism and Allegory

A symbol is an object, person, or place that stands for something more than
 itself
Symbols are generally more flexible, open-ended, and less specific in their possible meanings

E.g.: a dark forest can symbolize danger and evil; or, it can symbolize the realm of passion and the imagination; or it can symbolize the realm of the mind or the spirit

An allegory is an object, person, or place that stands for something more than itself, but the meaning is usually more specific and concrete

Often, an allegory has a specific religious or moral significance

Dr. Hogsette Elements of Fiction 3

In medieval “morality plays” there were allegorical characters that stood for certain virtues (Patience, Love, Charity, Faith) or vices/sins (Hate, Jealousy,

Envy)
Some stories are called “allegories” because they have very specific allegorical elements and a very clear religious or moral meaning. E.g.: Pilgrims Progress.

When reading, look for symbols and allegories and try to determine their significances, as they generally point toward what the author is trying to communicate or accomplish in the story

Point of View

Stories have “narrators” who are telling the stories

All stories are told from a particular narrative perspective or point of view

Third-Person Narrators
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Generally are non-participants in the story (not a character) but they are an important voice or presence in the story (they are telling the story)

A “third-party” observer who is outside of the story, observing the story, and telling the readers what happened.

Usually “objective,” telling the story from an outsider’s perspective

Omniscient narrator: all knowing and tells both the outward actions and the inward thoughts, feelings, and motives of characters; often provides commentary and editorial remarks about the characters and action; generally is trustworthy

Selective omniscient narrator: all knowing but chooses to tell only a part of the story or select elements; may reveal the thoughts of one character but not another; may be trustworthy or may not be trustworthy

First-Person Narrators

Usually a participant in the story, telling the story from his/her perspective

This narrator is subjective and limited—can only tell us what he/she observes and things; cannot tell us what is going on in the head of other characters; can only report what others say and what he/she thinks others may be thinking and feeling

Narrator Reliability:

Pay careful attention to the narrator and decide if you can trust him/her or not

The narrator can be the voice of the author, or it may be a fictional voice expressing something the author does not agree with and does not want readers to sympathize with

We can learn a lot from what we agree with and what we disagree with in a narrator

We can also study the narrative structure: how the author manipulates us emotionally with a sympathetic narrator and we realize later that we should be thinking and feeling something different (dramatic irony—the difference between what the narrator believes and what we are supposed to believe)

Dr. Hogsette Elements of Fiction

Theme

What a story is all about

The main message or thesis of a story

Stories are written by authors, and authors generally are writing for a purpose,
 for a reason—to communicate some idea or message: this is the theme
Even a story that claims to have no theme necessarily has a theme—the attempt to have no theme is itself a type of theme…

Consider how all the different elements work together to communicate this theme
III.
Conclusion

Stories are written to entertain (to delight) and to edify (to teach or to instruct)

We should read stories on both levels: read first for the pure pleasure of the story and the reading experience, then read again for the purpose of analyzing it and learning from it

Interpretation involves both aspects: articulating how and why the story delights (or does not entertain) and discussing what it means and how the story is constructed to communicate this meaning

Looking for and analyzing these elements of fiction will aid you in this kind of interpretation and enjoyment of literature
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