Emergent Literature PDF

# Emergent Literature - Emerging literature is an integration of a traditional and technological driven form of literature. - The New Emerging Genres of Literature ## I. Creative Nonfiction - Also known as literary non-fiction or narrative non-fiction. - It is a genre of writing that uses liter...

# Emergent Literature - Emerging literature is an integration of a traditional and technological driven form of literature. - The New Emerging Genres of Literature ## I. Creative Nonfiction - Also known as literary non-fiction or narrative non-fiction. - It is a genre of writing that uses literary styles and techniques to create factually accurate narratives. - Creative nonfiction can be an essay, a journal article, a research paper, a memoir, or a poem; it can be personal or not. - The creative nonfiction writer produces a personal essay, memoir, travel piece, and so forth, with a variety of techniques, writing tools, and methods. - He/She is required to use the elements of nonfiction, literary devices of fiction, and what Lee Gutkind called "the 5 Rs of Creative nonfiction." - The following is a brief explanation of each: ## Characteristics of Creative Nonfiction 1. **Fact:** The writing must be based on fact, rather than fiction. It cannot be made up. 2. **Extensive research:** The piece of writing is based on primary research, such as an interview or personal experience, and often secondary research, such as gathering information from books, magazines, and newspapers. 3. **Reportage/reporting:** The writer must be able to document events or personal experiences. 4. **Personal experience and personal opinion:** Often, the writer includes personal experience, feelings, thoughts, and opinions. For instance, when writing a personal essay or memoir. 5. **Explanation/Exposition:** The writer is required to explain the personal experience or topic to the reader. 6. **Essay format:** Creative nonfiction is often written in essay format. Example: Personal Essay, Literary Journalistic essay, brief essay. ## Elements of Creative Non-fiction 1. **Setting:** The setting is the place where the story takes place. Example: I went to the lake. It was cool. My breath escaped in ragged bursts, my quadriceps burning as I crested the summit. The lake stretched before me, aquamarine, glistening in the hot August afternoon sun. Ponderosa pines lined its shores, dropping their spicy-scented needles into the clear water. Despite the heat, the Montana mountain air tasted crisp. 2. **Descriptive Imagery:** It is the way the writer paints the scene, or image, in the mind of the reader. It usually involves descriptions of one or more of the five senses: sight, sound, smell, touch, or taste. Example: Imagine you are describing a lemon to someone who has never seen one before. How would you describe it using all five senses? Sight Sound Smell Touch Taste One might describe a lemon as yellow, sour-smelling and tasting, and with a smooth, bumpy skin. They might describe the sound of the lemon as a thump on the table if it is dropped, or squelching if it is squished underfoot. By painting a picture in the reader's mind, it immerses them in the story so that they feel they are actually there. 3. **Figurative:** Figurative language can also take the form of simile: "aunt Becky's attitude was as sour as a lemon.” By comparing an abstract concept (attitude) to an object (lemon), it imparts a feeling/meaning in a more interesting way. 4. **Plot:** Plot is one of the basic elements of every story: put simply, plot refers to the actual events that take place within the bounds of your narrative. Using our rhetorical situation vocabulary, we can identify "plot” as the primary subject of a descriptive personal narrative. Three related elements to consider are scope, sequence, and pacing. 5. **Scope:** The term scope refers to the boundaries of plot. Where and when does the story begins and ends? What is its focus? What background information and details does the story requires? 6. **Sequence:** The sequence of your plot-the order of the events-will determine your reader's experience. ## Freytag's Pyramid: Chronological a. **Exposition:** Here, you're setting the scene, introducing characters, and preparing the reader for the journey. b. **Rising action:** In this part, things start to happen. You (or your characters) encounter conflict, set out on a journey, meet people, etc. c. **Climax:** This is the peak of the action, the main showdown, the central event toward which your story has been building. d. **Falling action:** Now things start to wind down. You (or your characters) come away from the climactic experience changed—at the very least, you are wiser for having had that experience. e. **Resolution:** Also known as dénouement, this is where all the loose ends get tied up. The central conflict has been resolved, and everything is back to normal, but perhaps a bit different. 7. **Nonlinear Narrative:** A nonlinear narrative may be told in a series of flashbacks or vignettes. It might jump back and forth in time. Stories about trauma are often told in this fashion. 8. **Pacing:** While scope determines the boundaries of plot, and sequencing determines where the plot goes, pacing determines how quickly readers move through the story. In short, it is the amount of time you dedicate to describing each event in the story. Consider how the "flow" of the following examples differ: The train screeched to a halt. A flock of pigeons took flight as the conductor announced, “We'll be stuck here for a few minutes." Lost in my thoughts, I shuddered as the train ground to a full stop in the middle of an intersection. I was surprised, jarred by the unannounced and abrupt jerking of the car. I sought clues for our stop outside the window. All I saw were pigeons as startled and clueless as I. 9. **Characters:** A major requirement of any story is the use of characters. Characters bring life to the story. Keep in mind that while human characters are most frequently featured in stories, sometimes there are non human characters in a story such as animals or even the environment itself. Consider, for example, the ways in which the desert itself might be considered a character in "Bajadas" by Francisco Cantú. ## Characterization The development of characters through actions, descriptions, and dialogue. ## Types of Characters: 1. **Round characters** - are very detailed, requiring attentive description of their traits and behaviors. Your most important characters should be round: the added detail will help your reader better visualize, understand, and care about them. 2. **Flat characters**- are minimally detailed, only briefly sketched or named. Less important characters should take up less space and will therefore have less detailed characterization. 3. **Static characters** – remain the same throughout the narrative. Even though all of us are always changing, some people will behave and appear the same throughout the course of your story. Static characters can serve as a reference point for dynamic characters to show the latter's growth. 4. **Dynamic characters** – noticeably change within the narrative, typically as a result of the events. Most likely, you will be a dynamic character in your personal narrative because such stories are centered around an impactful experience, relationship, or place. Dynamic characters learn and grow over time, either gradually or with an epiphany. 10. **Point of View:** The position from which your story is told will help shape your reader's experience, the language your narrator and characters use, and even the plot itself. ## A Non-Comprehensive Breakdown of POV FIRST PERSON POINT OF VIEW – Narrator uses 1st person pronouns (I/me/mine or us/we/ours) Can include internal monologue (motives, thoughts, feelings) of the narrator. Limited certainty of motives, thoughts, or feelings of other characters. Example: • I tripped on the last stair, preoccupied by what my sister had said, and felt my stomach drop. SECOND PERSON POINT OF VIEW – Narrator uses 2nd person pronouns (you/you/your). Speaks to the reader, as if the reader is the protagonist OR uses apostrophe to speak to an absent or unidentified person Example: • Your breath catches as you feel the phantom step. • O, staircase, how you keep me awake at night. THIRD PERSON LIMITED - Narrator uses 3rd person pronouns (he/him/his, she/her/hers, they/they/theirs). Sometimes called "close" third person. Observes and narrates but sticks near one or two characters, in contrast with 3rd person omniscient. Example: • He was visibly frustrated by his sister's nonchalance and wasn't watching his step. THIRD PERSON OMNISCIENT – Narrator uses 3rd person pronouns (he/him/his, she/her/hers, they/they/theirs). Observes and narrates from an all-knowing perspective. Can include internal monologue (motives, thoughts, feelings) of all characters. Example: • Beneath the surface, his sister felt regretful. Why did I tell him that? she wondered. STREAM-OF-CONSCIOUSNESS – Narrator uses inconsistent pronouns, or no pronouns at all. Approximates the digressive, wandering, and ungrammatical thought processes of the narrator. Example: • But now, a thousand empty where? and she, with head shake, will be fine AHH! 11. **Dialogue:** The communication between two or more characters. For example: "Hate to break it to you, but your story is boring." "What? Why do you say that?" he stuttered as his face reddened. "Because you did not include any dialogue," she laughed. Think of the different conversations you've had today, with family, friends, or even classmates. Within each of those conversations, there were likely pre-established relationships that determined how you talked to each other: each is its own rhetorical situation. A dialogue with your friends, for example, may be far different from one with your family. These relationships can influence tone of voice, word choice (such as using slang, jargon, or lingo), what details we share, and even what language we speak Good dialogue often demonstrates the traits of a character or the relationship of characters. From reading or listening to how people talk to one another, we often infer the relationships they have. ## The 5'Rs of Creative Nonfiction - Lee Gutkind, who is a writer, professor, and expert on creative nonfiction, wrote an essay called “The Five R's of Creative Nonfiction." - In this essay, he identified five essential elements of creative nonfiction. These include: 1. Creative nonfiction has a “real life" aspect. The writer constructs a personal essay, memoir, and so forth, that is based on personal experience. He also writes about real people and true events. 2. Creative nonfiction is based on the writer engaging in personal "reflection" about what he/she is writing about. After gathering information, the writer needs to analyze and assess what he/she has collected. He then must evaluate it and expression his thoughts, views, opinions. Personal opinion is permissible and encouraged. 3. Creative nonfiction requires that the writer complete research. The writer needs to conduct research to learn about the topic. The writer also needs to complete research to discover what has been written about the topic. Even if a writer is crafting a personal essay, he will need to complete secondary research, such as reviewing a personal journal, or primary research, such as interviewing a friend or family member, to ensure that the information is truthful and factual. 4. The fourth aspect of creative nonfiction is reading. Reading while conducting research is not sufficient. The writer must read the work of the masters of his profession. 5. The final element of creative nonfiction is writing. Writing creative nonfiction is both an art and craft. The art of creative nonfiction requires that the writer uses his talents, instincts, creative abilities, and imagination to write memorable creative nonfiction. The craft of creative nonfiction requires that the writer learn and deploy the style and techniques of creative nonfiction in his/her work. ## Types of Creative Nonfiction - Creative nonfiction is about fact and truth. - The truth can be about a personal experience, event, or issue in the public eye. - The following is a list of the most popular types of creative nonfiction: 1. **Personal Essay:** The writer crafts and essay that is based on personal experience or a single event, which results in significant personal meaning or a lesson learned. The writer uses the first person “I.” 2. **Memoir:** The writer constructs a true story about a time or period in his/life, one that had significant personal meaning and a universal truth. The writer composes the story using the first person “I.” 3. **Literary journalism essay:** The writer crafts an essay about an issue or topic using literary devices, such as the elements of fiction and figurative language. 4. **Autobiography:** The writer composes his/her life story, from birth to the present, using the first person "I.” 5. **Travel Writing:** The writer crafts articles or essays about travel using literary devices. 6. **Food writing:** The writer crafts stories about food and cuisine using literary devices. 7. **Profiles:** The writer constructs biographies or essays on real people using literary devices. ## Guidelines for Writing Creative Nonfiction - Not only must the aspiring writer of creative nonfiction learn the techniques, but he/she also requires a good understanding of the guidelines. - The following are 12 guidelines for writing any type of creative nonfiction: - Research the topic. Both primary (interview, personal experience, or participant observation) and secondary research (books, magazines, newspaper, Web) - Never invent or change facts. An invented story is fiction. Provide accurate information. Write honestly and truthfully. Information should be verifiable. • Provide concrete evidence. Use facts, examples, and quotations. - Use humor to make an important point. - Show the reader what happened, don't tell them what happened. To do this, dramatize the story. • Narrate the story. A story has an inciting incident, goal, conflict, challenges, obstacles, climax, and resolution. - Write about the interesting and extraordinary. Write about personal experiences, interesting people, extraordinary events, or provide a unique perspective on everyday life. - Organize the information. Two common techniques are chronological or logical order. • Use literary devices to tell the story. Choose language that stimulates and entertains the reader, such as simile, metaphor, imagery. - Introduce the essay or other work with a hook. Its purpose is to grab the readers' attention and compel them to reader further. Popular hooks include a quotation, question, or thought-provoking fact. • End the creative nonfiction piece with a final, important point. Otherwise, the reader will think, “So what!” “What was the point? It was an interesting story, but how does it apply to me or my life?" ## II. Hyper Poetry - Hyper poetry is a form of digital poetry that uses links using hypertext mark-up. - It is a very visual form, and is related to hypertext fiction and visual arts. - The links mean that a hypertext poem has no set order, the poem moving or being generated in response to the links that the reader/user chooses. - It can either involve set words, phrases, lines, etc. that are presented in variable order but sit on the page much as traditional poetry does, or it can contain parts of the poem that move and / or mutate. - It is usually found online, though CD ROM and diskette versions exist. - The earliest examples date to no later than the mid-1980s. ## Description: - Hypertext poetry, is a subgenre of digital poetry. - Digital poetry is sometimes referred to as e- poetry, electronic poetry, and cyberpoetry. - The genre mostly falls into two subgenres: interactive poetry and hypertext poetry (Poetry Beyond Text). - Hypertext poetry utilizes the components of hypertexts. Hyperlinks are embedded, throughout, or in some cases "each word, phrase or line." Each link brings the reader to another page "that defines or expands on the idea represented by the text of the poem" (Hypertext Poetry And Fiction). The links most often stem from the "primary text. However, some hypertext poems that do not have a primary text. In these works, the reader of the poem chooses the way he navigates the poem through the amount and pattern he chooses with the hyperlinks (Montecino). ## Example of Hyper Poetry: ## Do You Believe? > I was that kid who has read a lot of fairy tale books > Princess with glass slippers, peter pan who fights captain hook > Fascinated, I remember each story my mom read to me > I believed one day; they will appear for me to see. > We all knew a lady who glows in a white silky dress > The one with pretty wings and a gentle caress > I eagerly wait for her looking out my window, > But she always exchanges my teeth with coins under the pillow. > A big, chubby, good, old man in red > The one who gives us gifts riding his sled > Along with the help of his elves and reindeers > The time for enjoyment is here, let go of your fears! > Now who could've forgotten this man with and hourglass? > Nope, he doesn't come when we sleep in class. > He guards us in our sleep to avoid nightmares > Like the ones with zombies, witches or grizzly bears. > Lastly, the cute little guy who loves a good hunting game > Colorful eggs, baskets... You know him and his name! > In the time of the year called “Easter” > He's the first one you will remember. > As the years pass, their story becomes untold > Sweet old myths that's good as gold > Tooth fairy, Santa Claus, Sandman, and the Easter bunny > Do you believe in them? Do you believe like me? ## Elements of Hyper Poetry: 1. **Kairos:** With the digital revolution, there is a growing number of writers using electronic media to create and publish their works (Kendall). Many writers in using electronic format expanded to include the format of the hypertext, which is interactive in nature. Writers are able to break away from the restrictions of paper (Kendall) and use content and features to create nonlinear poems that are associated with the medium. The hypertext also allows writers to experiment with elements like hyperlinks, images, sounds, and video (Kendall). 2. **Audience:** The audience plays an interactive role in the navigating and reading a hypertext poem. Astrid Ensslin argues hypertext poetry, which she terms hyperpoetry, is the "most creative and trans-artistic genre" out of all the hypertext genres because it offers the most "multisensory textual experience." She argues this because it incorporates "nomadism" and brings the reader away from the "verbal narrative” (Ennslin). 3. **Content:** Hypertext poems can include the traditional components of a poem which are: words, lines, and stanzas. Most are in the form of free verse. However, the genre also includes other multimedia components including: sounds, visual images, and three-dimensional letters, which makes it hard to identify most of the formal poetic conventions (Hypertext Poetry And Fiction). 4. **Formal Features:**Hypertext poems include "hypertextual features" which are mostly composed of hyperlinks that lead to a nonlinear reading of the text (Ensslin). Hypertext poetry also includes hypermedia poetry. It moves beyond linking text to other websites, and adds features such as, "image, sound, video and animation" (Millan). An example of these features could be a sound "of a lawn mower" with words like "'mowing', 'stop', 'Sunday' and 'morning'" in succession across the readers screen (Hypertext Poetry And Fiction). These types of features, or multimedia elements, make it hard to link hypertext poetry to any formal poetry conventions (Hypertext Poetry And Fiction). 5. **Ancestral Genres:** One ancestral genre to hypertext poetry is the hypertext. Hypertexts allow a nonlinear reading of the text in which an audience is able to have an interactive experience with the text through the use of hyperlinks, which when clicked on, bring the reader to another website (Christopher Funkhouser). Usually hyperlinks are in the form of highlighted or "underlined" (Montecino) words within the text, which when clicked bring the viewer to another website that provides an expansion on the concept. Christopher Funkhouser expands on the audience's interactive role with the hypertext, and how based on his, "interest, engagement, and curiosity" he can control his navigation of the text. ## Notable Examples of Hypertext Poetry: • **Penetration:** Is a well-known example of a hypertext poem. The poem is from the collection The Seasons, which was published in 2000 by Eastgate. The collection consists of two poems: Dispossession and Penetration. The poem is set up so that the reader has choice to begin the poem through different perspectives. For example, by clicking on "daylight" the poem is in the perspective of the daughter (Di Rosario). Then the path of the poem is dictated by the what the reader chooses after each passage, by clicking on one of the series of choices below the passage (Di Rosario). • **Low Probability of Racoons:** Is a website set up by Peter Howard, a well-known digital poet, for some of his works, some of which includes hyperlinks his own hypertext poetry. ## III. CHICK LIT / CHICK LITERATURE - It consists of heroin-centered narratives that focus on the trials and tribulations of their individual protagonists. - It often addresses issues of modern womanhood – from romantic relationships to female friendships to matters in the workplace – in humorous and lighthearted ways. - There are certain elements all chick lit novels have in common. - They all feature a woman in her twenties or thirties as a protagonist - The novels are mostly set in urban environments, most notably New York or London. - The protagonists are career-women - The protagonists are often single although they usually all end up with someone. - Fashion often plays a big role in a chick-lit novels. The characters can either be obsessed with it or the plot itself can be centered around fashion industry. - The book covers often reflect this trend - they may feature articles of clothing, martinis, parties and other symbols of a glamorous lifestyle. ## IV. ILLUSTRATED NOVEL - Generally, 50% of the narrative is presented without words. - The reader must interpret the images in order to comprehend the complete story. - Textual portions are presented in traditional form. - Some illustrated novels may contain no text at all. - Illustrated novels span all genres. ## Elements of Illustrated Novel: 1. **Panel:** A distinct segment of the comic, containing images and text 2. **Frame:** The lines and borders that contain the panels 3. **Gutter:** The space between framed panels 4. **Bleed:** An image that extends to and/or beyond the edge of page 5. **Captions:** Boxes containing a variety of text elements (setting, description) 6. **Speech Balloon:** Enclose dialogue that comes from a specific speaker's mouth and can vary in size, shape and layout 7. **External Dialogue:** Dialogue between two or more characters 8. **Internal dialogue:** Thought enclosed by a balloon that has a series of dots or bubbles leading up to it 9. **Special-effect lettering:** Lettering that draws attention to text; often highlights onomatopoeia and impact words (wow, bang) 10. **Closure:** The reader's completion of meaning between panels 11. **Long shot:** Images that show objects fully from top to bottom 12. **Extreme long shot:** Images that show images or characters in a really small scale 13. **Close-Up:** Images shown in a large view 14. **Extreme close-up:** Image shown in a very large view 15. **Splash page:** A panel that takes up the whole page of a comic 16. **Splash panel:** A panel that takes up the space of several panels in a comic 17. **Palette:** The colors used in a comic 18. **Emanata:** Text or icons that represent what is going on in the character's head 19. **Spread:** Two facing pages in a printed book 20. **Inset:** A panel contained within a larger panel 21. **Speed lines:** Lines that represent motion 22. **Reverse:** Images in the opposite position from the previous panel 23. **Signs:** Text labels written on objects in comics 24. **Voice over:** A narratory block in which a narrator or character shares special information with the reader ## V. GRAPHIC NOVEL - Graphic novels use a sequence of illustrations to tell a story. - They use the same text bubble and image panel format that we find in comics, but unlike comics which are serialized, graphic novels are published in book format, and usually tell a stand-alone, complete story. This again makes them different from comic books which are usually just a bound collection of comic strips which were previously published as a periodical serial. Graphic novels, are also very diverse because they are a format – so they can cover any genre and any topic. ## Elements such as: • linguistic (written language) • visual (mood through colours, shading, composition etc.) • gestural (body and facial language) • spatial (panels, layout ...) • symbolic (icons, balloons, visual representations and emanata). - In addition, graphic novels contain precise and rich language. - They demand the authors to be concise. - They don’t have long paragraphs and the constraints of the page demand that the dialogue is kept to a minimum. As with a picture book no word can be wasted, which forces the writer to be incredibly precise with the written word. This models excellent writing and offers rich vocabulary because every word matters. ## Advantages of reading graphic novels include: • They engage those readers, particularly reluctant boys, who can read but haven't yet been hooked! • Provide scaffolding for ESL students. • Increase reading comprehension and vocabulary. • Serve as a bridge between low and high levels of reading. • Provide an approach to reading that embraces the multimedia nature of today's culture • Serve as an intermediary step to more difficult disciplines and concepts. • Present complex material in a way that makes it easier to understand • Develop skills such as inference and deduction which play a vital part in the reading experience • Develop analytical and critical thinking skills. • Offer another avenue through which students can experience art - In summary, graphic novels are an excellent resource for use in schools. - They attract readers with their visuals and actually encourage reading because they don't seem as daunting as a whole book filled with words. - They are generally fast paced, and the word-to-picture correlation provides an easy way for children to expand their vocabularies. - The visual elements help early readers to decode text and derive meaning whilst the relative speed and immediate enjoyment that the children receive when reading these books also helps build reading confidence. - More importantly, comics extend the reading for advanced readers with the interaction of the written and visual narratives adding complex layers of meaning. - Another plus: the number of titles is expanding rapidly every year, so there's something for every child's interests. - Last, but not least, graphic novels positively impact on children's visual literacy skills, which are more essential than ever in a digital age. ## VI. TEXT-TALK NOVELS - The story was told through dialogues in the social network. - The information of the whole work can be read at the websites, and exchange by chat or using any. - Stories told almost completely in dialogue simulating social network exchanges. ## Characteristics of a Text-talk Novel: 1. Cliff hangers are common. 2. Vowels are not written in SMS slang. 3. Plots are usually about love and passion. 4. There are times that you need to pay for the next episodes. ## VII. MANGA - In Japan, Manga art is highly respected for its ability to create distinctive characters and imaginative stories. - It is a pop culture phenomenon that has spun off from simply art and comic stories to Anime fairs, merchandise, and movies. - The characteristics of Magna characters have made all this possible. - From the faces and hair to the clothing, accessories, and over exaggerated emotions, Manga is in a world all to its own. ## Types of Manga • Shônen- Boy's Manga (Pronounced Show-Nen) • Shôjo- Girl's Manga (Pronounced Show-Joe) • Seinen- Men's Manga (Pronounced Say-Nen) • Josei- Women's Manga (Pronounced Joe-Say) • Kodomo- Children's Manga (Kow-Dow-Mow) ## Elements of a Manga: 1. **Face:** The face is the first characteristic you notice on a Manga character. With oversized eyes, an almond shaped face, and a very small mouth, the face stands out over the rest of the body. With the rapid switch from distance to close-up shots, the face is key to drawing you into the character and keeping you in the emotion of the story. 2. **Hair:** A Manga character's hair is a key characteristic, and therefore needs to be elaborate and eye catching. It is not uncommon for the character's hair to be long with many lines and of an abnormal color. This is the look of traditional Japanese Magna characters and creates a visual dynamism that separates these characters from mainstream animation that comes out of the United States. 3. **Clothing and Accessories:** The way a Manga character dresses and accessorizes represent who and what they are. For example, if the character is of a spiritual nature, then they might wear a cloak or a piece of cloth that floats to represent the spiritual plane. This represents who they are. For Magna warrior characters, accessories are what define the character. Swords, spears and other weapons represent what they are. These details are important and should not be ignored. 4. **Exaggerated Emotions:** Manga characters are known for their over exaggerated emotions. When a cartoon character cries, visible tears fall from their face, but when a Magna character cries, it rains down in buckets. Eyes reduce in size, and the mouth either reduces in pain or expands if the character cries out. The same can be said for anger. Magna evokes intense color in the face and steam coming off the body. Magna characters become consumed by emotion. ## VIII. DIGI FICTION - Digi-fiction is a literary experience that combines three media; book, movie/video, and Internet website. - In order to get the full story, students must engage in navigation, reading, viewing, in all three formats. ## Why did digi-fiction emerge? 1. People's attention span was becoming shorter and shorter and that it was important to give people more options on how they consumed entertainment and books. 2. There has been a technological paradigm shift (from sit back media to lean forward media). ## What do we need to know? 1. It can mean that the entire book can only be found online. 2. Sometimes works include passcodes so that there will access to more information. ## IX. DOODLE FICTION - A literary presentation where the author incorporates doodle drawings and hand-written graphics in place of traditional font. - Drawings enhance the story, often adding humorous elements that would be missing if the illustrations were omitted. ## Characteristics of a Doodle fiction: • Simple drawings that can have concrete representational meaning or may just be composed of random and abstract lines. • Doodling engages the brain's "executive resources” – processes that help us plan, multi- task and concentrate. • It also acts as a mediator between the spectrum of thinking too much or thinking too little and helps focus on the current situation. ## Elements of a doodle fiction: 1. **Plot:** – in fiction, the structure of interrelated actions, consciously selected and arranged by the author. 2. **Characters:** – is a person in a narrative work of art (such as a novel, play, television series, or movie). The character can be completely fictional or based on a real-life person. 3. **Setting:** – the setting is both the time and geographic location within a narrative or within a work of fiction. 4. **Person Point of View:** – is essentially the eyes through which a story is told. It is the narrative voice through which readers follow the story's plot, meet its characters, discover its setting, and enter into its relationships, emotions, and conflicts. 5. **Theme:** – in works of fiction, a theme is the central idea or ideas explored in the story. 6. **Style:** - doodles are simple drawings that can have concrete representational meaning or may just be composed of random and abstract lines, generally without ever lifting the drawing device from the paper, in which case it is usually called a "scribble". ## X. FLASH FICTION - Flash fiction goes by many names, including micro-fiction, micro-stories, short-shorts, short-short stories, very short stories, sudden fiction, postcard fiction and nano-fiction. - While it can be difficult to pinpoint an exact definition of flash fiction based on word count, consideration of several of its features can help provide clarity, like its brevity, length, background and purpose. ## What Are the Rules of Flash Fiction? - Flash fiction is the modern term given to a very short story, usually one under 500 words in length. There is no standard definition and some people argue the term only applies to stories of less than 300 words and others say that any story under 1,000 words qualifies. Whatever the agreed length of flash fiction, it should still contain all the elements that you would expect to find in a longer story. ## Elements of Flash Fiction Explained: • Flash fiction must have a beginning, middle and an end. • For the story to have impact there should be some change in action or motivation of the protagonist. • The reader needs to feel that there is some kind of resolution by the end of the story. • Writing to such a tight brief is difficult. It is a different skill to that of writing a novel. Flash fiction requires brevity. • An author needs to convey character and plot in a succinct manner and make every word count. ## The Essentials of Flash or Micro Fiction 1. The story is short in length. This could be as brief as 6 words, or as long as 1,000. 2. The tale must engage with a reader's emotions. Your characters must be fully developed and not cardboard cut-outs. 3. Good fiction includes a surprise or plot twist. The ending should be unexpected and not predictable. 4. The story should mark a change or epiphany for the main character. This could be a physical change, or a change of mind that has lifechanging impact. ## Characteristics of a flash fiction: - If you're writing a flash fiction story, it's important to know how they are similar—and different-to longer stories. Flash fiction is shorter, but it should not feel too short. - Here are some traits of strong flash fiction stories. 1. **Story Structure:** A flash fiction story is not the shortened version of a longer story; it still follows the elements of plot, including a beginning, middle and end, as well as a conflict and satisfying resolution. 2. **Setting:** Most flash fiction stories take place in one setting, as moving between locations uses up too much space. It allows the writer and reader to focus on the plot. 3. **Characters and Backstory:** Flash fiction pieces are plot-driven and include no more than three or four characters. They may include some character development, but too much backstory can use valuable space. 4. **Description:** One may think that flash fiction stories are short on description to save space. However, a strong piece can balance vivid descriptions with a quick-moving plot. Stories that lack description are not satisfying to read, and a flash fiction piece should feel complete. ## XI. SIX WORD FLASH POETRY - Six-Word Stories are especially challenging to write. They have no beginning, middle, or end, but tell an entire story in only six words. - The most famous example of a six-word story is attributed to Ernest Hemingway: "For sale: Baby shoes, never worn." - With Hemingway's example, the story structure manages to establish character, conflict, and tone without direct exposition. - Readers are left to their own tragic interpretation when it comes to the words that are not present. - There are four elements that every flash fiction piece needs to have if you want it to be good. - And if you mix them just right, your flash fiction might even end up great. 1. **Realistic Characters/Settings** The obvious concern in flash fiction is "how do I make my characters and setting real in 1,000 words or less?" I have a few suggestions for you. - Show us things about your characters/settings that make them unique. In other words, skip the boring stuff-your readers can fill that in on their own. - Keep your number of characters and settings low. One major or supporting character per every 300-500 words is a good metric, and most flash fiction stories only have one setting. - Stick with one-character point of view if possible, or maybe two. - Whenever possible, write dialogue that both advances the story and reveals character. 2. **Solid Plot/Structure** Adding story structure and having a recognizable plot can help you get published instead