Creative Writing Study Guide PDF

Unit 3: Reading and Writing Fiction Lesson 3.1 Elements in Fiction Contents Introduction 1 Learning Objectives 2 Let’s Begin 3 Discover 4 Narrative Modes in Fiction 4...

Unit 3: Reading and Writing Fiction Lesson 3.1 Elements in Fiction Contents Introduction 1 Learning Objectives 2 Let’s Begin 3 Discover 4 Narrative Modes in Fiction 4 Exposition 5 Action 7 Description 9 Monologue 10 Dialogue 11 Elements in Fiction 13 Character 13 Setting 16 Point of View 18 Plot 19 Conflict 21 Theme 22 Wrap-Up 23 Try This! 24 Practice Your Writing Skills 25 Bibliography 37 Unit 3: Reading and Writing Fiction Lesson 3.1 Elements in Fiction Introduction One morning, while Carlo was having coffee with his friend, they discussed some things that were related to their hobbies and interests. When it was Carlo’s friend’s turn to comment about his passion for reading books, he said, “I will only read them if the events happened in real life.” Carlo did not get mad nor shocked about what he said. He just asked him, “What’s wrong with reading fiction?” He replied, “Well, fiction is not real, so I will not get anything from it. It’d be better to read about things that actually happened.” Carlo didn’t condemn him because he thought that way. He figured that it was an opportunity to teach him why one should also read and write fiction. 3.1. Elements in Fiction 1 Unit 3: Reading and Writing Fiction Even if fiction describes imaginary events and people, it is often based on reality. In one of her interviews in Masterclass, Margaret Atwood (2018) shared, “When I wrote The Handmaid’s Tale, nothing went into it that had not happened in real life somewhere at some time. The reason I made that rule is that I didn’t want anybody saying ‘You certainly have an evil imagination; you made up all these bad things.’ I didn’t make them up.” Indeed, some fragments of fiction are based on reality. Fiction is neither written nor read solely for entertainment. It is often also a gateway for seeing the world in a different way. Ironic as it may be, sometimes, fiction is even more realistic than our actual reality. This is the beginning of your quest in the realm of creative writing. But before writing fiction, you should recall the elements that form its structure. Through this, you will become adept at creating an imaginary world that might change how people perceive reality. Learning Objectives DepEd Learning Competency This lesson serves as an enrichment lesson for the In this lesson, you should be able to do the following competency: following: identify the various elements, techniques, and literary devices in various modes of Identify the different narrative fiction (HUMSS_CW/MPIg-i-11); and modes in fiction. Determine various modes of fiction (HUMSS_CW/MPIg-i-12). Analyze the elements in fiction. Let’s Begin 3.1. Elements in Fiction 2 Unit 3: Reading and Writing Fiction What Makes up Fiction? 10 minutes This activity will help you recall the elements that make up fiction. Instructions 1. Recall an interesting or memorable fictional short story you read before. 2. With a partner, share your insights, realizations, and conclusions about the short story. 3. Answer the following guide questions and share your answers in class. Guide Questions 1. What makes the story different from a nonfiction text like a biography? __________________________________________________________________________________________ __________________________________________________________________________________________ ____________________________________________________________________________________ 2. How much of reality does the story capture? What is the writing style used? __________________________________________________________________________________________ __________________________________________________________________________________________ ____________________________________________________________________________________ 3. What makes the short story engaging for you to read? __________________________________________________________________________________________ __________________________________________________________________________________________ ____________________________________________________________________________________ Discover Based on the previous activity, there is a clear difference between fiction and nonfiction. The 3.1. Elements in Fiction 3 Unit 3: Reading and Writing Fiction former stretches the truth while the latter tells the factual truth. In the literary arts, readers often encounter the disclaimers “based on a true story” and “inspired by true events.” These statements show that fiction tells some shreds of truth; however, fiction writers add some elements from their imagination and delete some elements from reality. Thus, there is no such thing as hard truth in fiction. Even without the disclaimers, one can say that fiction may reflect reality. The knight who fought against the red dragon cannot be real, but the person who battled against his greatest fear is. The astronaut who fell in love with a Martian is just a product of one’s imagination, but loving someone unconditionally is real. How about the wizard who wanted to become a knight? Wizards do not exist; nonetheless, there is an engineer who wants to become a painter, a dentist who wants to become a singer, or a teacher who wants to become a fashion designer. Inspiring people is one of the reasons why fiction writers exist. They want to help their readers recognize their strengths and weaknesses. They want to become catalysts for change. Do you want to master fiction writing? In this lesson, you will be familiar with the elements in fiction writing, which will serve as the first step to motivate people through this form of writing. How can the different narrative modes and elements in fiction help in delivering the author’s message to the readers? Narrative Modes in Fiction Fiction writing is a form of storytelling. When you tell a story, whether you are aware or not, you are conveying its plot to your audience. A plot is an arrangement of the story’s events. To deliver a plot effectively, a fiction writer should be familiar with the different modes in fiction. A narrative mode is a means used by fiction writers to tell a story. The types of narrative 3.1. Elements in Fiction 4 Unit 3: Reading and Writing Fiction modes are exposition, action, description, monologue, and dialogue. Studying these modes is essential because the story’s point of view, tense, and voice are determined by how these modes are executed. Exposition An exposition informs readers about the story’s characters, setting, and mood. This mode is usually found in the initial part of a plot. It is important because the facts that it provides are the basic elements in fiction. It also prepares the readers to absorb the actions that will happen as the story progresses. Exposition is also used whenever a transition takes place within a plot to explain to the readers the changes that happen in the story. For instance, the focus of the setting, mood, and characters might change in a single transition. Here, its goal is to help the readers not to be lost as they read. To understand how exposition works in a text, analyze the excerpt below. It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer. A colonial mansion, a hereditary estate, I would say a felicity haunted house, and reach the height of romantic (noun): great felicity—but that would be asking too much of fate! happiness Still I will proudly declare that there is something queer untenanted about it. (adjective): not occupied by a Else, why should it be let so cheaply? And why have stood so tenant long untenanted? John laughs at me, of course, but one expects that in marriage. 3.1. Elements in Fiction 5 Unit 3: Reading and Writing Fiction John is practical in the extreme. He has no patience with scoffs (verb): faith, an intense horror of superstition, and he scoffs openly shows contempt at any talk of things not to be felt and seen and put down in figures. John is a physician, and perhaps—(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)—perhaps that is one reason I do not get well faster. You see, he does not believe I am sick! hysterical And what can one do? (adjective): exhibiting If a physician of high standing, and one’s own husband, unmanageable assures friends and relatives that there is really nothing the emotional excess matter with one but temporary nervous depression—a slight hysterical tendency—what is one to do? tonics (noun): refreshing̀ My brother is also a physician, and also of high standing, and and invigorating he says the same thing. substances (i.e., drugs) So I take phosphates or phosphites—whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to “work” until I am well again. congenial Personally, I disagree with their ideas. (adjective): pleasant Personally, I believe that congenial work, with excitement and change, would do me good. But what is one to do? 3.1. Elements in Fiction 6 Unit 3: Reading and Writing Fiction I did write for a while in spite of them; but it does exhaust me a good deal—having to be so sly about it, or else meet with heavy opposition. An excerpt from The Yellow Wallpaper Charlotte Perkins Gilman The character, the narrator, is a woman and has a husband who is a physician. The story happens in a rented colonial mansion that looks like a haunted house. The narrator and her husband plan to stay there for the summer. The narrator feels that there is something strange about the place they choose to stay in, but her husband does not listen to her. Moreover, the mood of the story is set when the narrator reveals that she believes that there is something wrong with her, but her husband insists that it is only a temporary nervous depression, and it can be treated by not doing anything but resting. The text implies that the narrator is an obedient wife to her adamant husband, and is forced to stay in a strange house and do nothing but sleep and relax. After reading the exposition, did you feel scared, anxious, or isolated? The feeling(s) you have after reading show(s) the power of this narrative mode. Action An action narrative mode allows the characters to move or act in the story. Without action, a plot will not progress. It reveals more about the characters’ nature and traits in the story. Fiction writers embellish this narrative mode through gestures, activities, and dialogues that will help the readers know the characters better. To see how an action works in a text, read the following excerpt. 3.1. Elements in Fiction 7 Unit 3: Reading and Writing Fiction It is so hard to talk with John about my case, because he is so wise, and because he loves me so. But I tried it last night. It was moonlight. The moon shines in all around, just as the sun does. I hate to see it sometimes, it creeps so slowly, and always comes in by one window or another. John was asleep and I hated to waken him, so I kept still and watched the moonlight on that undulating wallpaper till I undulating felt creepy. (adjective): forming or moving The faint figure behind seemed to shake the pattern, just as in waves if she wanted to get out. I got up softly and went to feel and see if the paper did move, and when I came back John was awake. An excerpt from The Yellow Wallpaper Charlotte Perkins Gilman Did you notice the difference between exposition and action? While the former informs, the latter features a series of movements that helps a plot gradually progress. Instead of merely writing that the narrator stares at the wallpaper one night, Gilman used words that make the readers imagine every action of the narrator as she notices the strangeness of the wallpaper on the walls of the room where she and her husband sleep. These actions also contribute to the mood of the story. 3.1. Elements in Fiction 8 Unit 3: Reading and Writing Fiction Description A fiction text in description mode illustrates the story’s characters, setting, and objects. It gives the readers a picture of how someone or something looks, behaves, or functions. Examine how this mode is reflected in the following example. It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playground and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls. The paint and paper look as if a boys’ school had used it. It is stripped off—the paper—in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life. flamboyant One of those sprawling flamboyant patterns committing (adjective): every artistic sin. strikingly elaborate and It is dull enough to confuse the eye in following, pronounced colorful enough to constantly irritate, and provoke study, and when you follow the lame, uncertain curves for a little distance they suddenly commit suicide—plunge off at outrageous angles, destroy themselves in unheard-of contradictions. The color is repellant, almost revolting; a smouldering, smouldering unclean yellow, strangely faded by the slow-turning sunlight. (adjective): showing It is a dull yet lurid orange in some places, a sickly sulphur suppressed tint in others. emotion 3.1. Elements in Fiction 9 Unit 3: Reading and Writing Fiction No wonder the children hated it! I should hate it myself if I had to live in this room long. An excerpt from The Yellow Wallpaper Charlotte Perkins Gilman The narrator initially describes the room where she is and the wallpaper that sticks on its walls. According to her, the wallpaper “is repellant, almost revolting; a smouldering, unclean yellow, strangely faded by the slow-turning sunlight.” The rich and vivid description of the wallpaper implies that it disgusts her. Reading the entire excerpt might make the readers feel that the room, because of its wallpaper, is truly revolting. Monologue Monologue is the narrative mode that uses self-talk. The main character or the narrator who ponders about a situation he or she is currently experiencing may do self-talk. A monologue might reveal something about the nature of the character who speaks, allowing readers to understand his or her thoughts, feelings, and actions better. An example monologue is presented below. I am glad my case is not serious! dreadfully But these nervous troubles are dreadfully depressing. (adverb): extremely John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him. Of course it is only nervousness. It does weigh on me so not to do my duty in any way! I meant to be such a help to John, such a real rest and comfort, and here I am a comparative burden already! comparative 3.1. Elements in Fiction 10 Unit 3: Reading and Writing Fiction (adjective): Nobody would believe what an effort it is to do what little I relative am able—to dress and entertain, and order things. An excerpt from The Yellow Wallpaper Charlotte Perkins Gilman In the excerpt, the narrator is talking to herself, thinking about her current mental state. She also convinces herself that there is nothing seriously wrong with her. However; she feels like she is being a burden to her husband. This narrative mode enables readers to see how the narrator thinks of herself. It also helps determine the narrator’s true intentions, revealing who she really is without the help of the other characters in the story. Dialogue A dialogue narrates through conversations between characters in the story. It helps the characters involved in the conversation to evolve. It also guides the readers to see if the characteristics the text says about the characters reflect on the way they talk. An example dialogue is provided below. “What is it, little girl?” he said. “Don’t go walking about like that—you’ll get cold.” I thought it was a good time to talk, so I told him that I really lease (noun): was not gaining here, and that I wished he would take me a type of contract away. that contains the terms under which “Why darling!” said he, “our lease will be up in three weeks, a person agrees to and I can’t see how to leave before. rent a property of the other person “The repairs are not done at home, and I cannot possibly leave town just now. Of course if you were in any danger I 3.1. Elements in Fiction 11 Unit 3: Reading and Writing Fiction could and would, but you really are better, dear, whether you can see it or not. I am a doctor, dear, and I know. You are gaining flesh and color, your appetite is better. I feel really much easier about you.” “I don’t weigh a bit more,” said I, “nor as much; and my appetite may be better in the evening, when you are here, but it is worse in the morning when you are away.” “Bless her little heart!” said he with a big hug; “she shall be as sick as she pleases! But now let’s improve the shining hours by going to sleep, and talk about it in the morning!” “And you won’t go away?” I asked gloomily. “Why, how can I, dear? It is only three weeks more and then we will take a nice little trip of a few days while Jennie is getting the house ready. Really, dear, you are better!” stern (adjective): harsh, “Better in body perhaps”—I began, and stopped short, for he gloomy sat up straight and looked at me with such a stern, appearance reproachful look that I could not say another word. “My darling,” said he, “I beg of you, for my sake and for our child’s sake, as well as for your own, that you will never for temperament one instant let that idea enter your mind! There is nothing so (noun): mode of dangerous, so fascinating, to a temperament like yours. It is emotional a false and foolish fancy. Can you not trust me as a physician response when I tell you so?” So of course I said no more on that score, and we went to 3.1. Elements in Fiction 12 Unit 3: Reading and Writing Fiction sleep before long. He thought I was asleep first, but I wasn’t,—I lay there for hours trying to decide whether that front pattern and the back pattern really did move together or separately. An excerpt from The Yellow Wallpaper Charlotte Perkins Gilman Observe how the narrator and her husband communicate. The conversation suggests that the narrator is submissive to her husband and that her husband is uncompromising about his decision to stay at the estate even if it is against the will of his wife. Check Your Progress Why are the narrative modes in fiction significant? ________________________________________________________________________ ________________________________________________________________________ __________________________________________________________________ Elements in Fiction Imaginative writers create fiction by remembering the six known elements in fiction. These elements are t character, setting, point of view, plot, conflict, and theme. Character A character inhabits and gives meaning to the story. Without a character, there is no story. It might be in the form of a human being, an animal, a plant, an inanimate object, or a supernatural being. Characters are divided according to the roles they play in a story. Table 1. Character roles in fiction 3.1. Elements in Fiction 13 Unit 3: Reading and Writing Fiction Character role Description The protagonist is the main character of the story. As the chief protagonist or player, the story is often told from his or her point of view. He or hero she is also expected to behave outstandingly. If his or her behavior does not conform to the standard of society, he or she is considered an antihero or antiheroine. antagonist or The antagonist opposes or contradicts the main character; hence, villain he or she is considered an enemy, a rival, or an opponent. A deuteragonist is the second most important character in the deuteragonist story. It is difficult to figure out who the deuteragonist is because the role sometimes overlaps with the antagonist, the confidante, the foil, and the love interest. confidant or A confidant is a close friend to the main character. Though he or confidante she does not have a big part in the story, he or she knows the protagonist’s intimate thoughts and intentions. A foil has the traits or characteristics that contrast with the main foil character’s. Nevertheless, he or she is not the villain of the story but helps highlight the qualities of the main character. A love interest is a character for whom the main character love interest develops romantic feelings. In some stories, the confidante also functions as the protagonist’s love interest. tertiary characters Tertiary characters are not directly connected to the main or background storyline. However, they are important to make a plot more characters realistic. The characters in a story can also be divided according to their traits and the changes that might happen to these traits. First is the dynamic character who changes his or her 3.1. Elements in Fiction 14 Unit 3: Reading and Writing Fiction personality or worldview as the story goes. Second is the static character whose personality remains unchanged as the story continues. Third is the round character who has varied and contrasting traits. Lastly, a flat character has one personality. The characters in a story, no matter what roles they play, affect others’ actions and behavior. Consider the excerpt below. She brought the stranger, who seemed ill at ease, into the room. He gazed at her furtively, and listened in a furtively preoccupied fashion as the old lady apologized for the (adverb): appearance of the room, and her husband's coat, a garment secretively which he usually reserved for the garden. She then waited as patiently as her sex would permit, for him to broach his business, but he was at first strangely silent. stooped "I—was asked to call," he said at last, and stooped and (verb): bent one’s picked a piece of cotton from his trousers. "I come from head forward and 'Maw and Meggins.'" downward The old lady started. "Is anything the matter?" she asked, breathlessly. "Has anything happened to Herbert? What is it? What is it?" Her husband interposed. "There, there, mother," he said, interposed hastily. "Sit down, and don't jump to conclusions. You've not (verb): said brought bad news, I'm sure, sir;" and he eyed the other something to wistfully. interrupt someone "I'm sorry—" began the visitor. "Is he hurt?" demanded the mother, wildly. assent The visitor bowed in assent. "Badly hurt," he said, quietly, (noun): expression "but he is not in any pain." of agreement "Oh, thank God!" said the old woman, clasping her hands. "Thank God for that! Thank—" She broke off suddenly as the sinister meaning of the assurance dawned upon her and she saw the awful averted 3.1. Elements in Fiction 15 Unit 3: Reading and Writing Fiction confirmation of her fears in the other's averted face. She (adjective): caught her breath, and turning to her slower-witted expression of husband, laid her trembling old hand upon his. There was a agreement long silence. An excerpt from The Monkey’s Paw W. W. Jacobs There are four characters used in the story—the stranger, the woman, her husband, and the child. Though the stranger is only a background character, he has an important role in the story. He acts as the doomsayer or the one who tells the woman and her husband that their son is already dead. What are other significant characters’ actions in the example? Writing Tip A character sketch (or a character profile) is a detailed description in prose of a character you imagined. The sketch should contain the character's backstory, traits, and appearance. It should also include other important details that will make the character unique, like his or her hopes, dreams, or aspirations. Setting The setting is the time, place, and conditions in which the story takes place. According to Harmon and Holman (1996), there are four elements that make up the setting of the story. First is the geographical location or the setting of the place, which includes everything that makes up the physical environment of the characters in the story, including the topography, scenery, and the room where the characters are located. Second is the profession and mode of living of the characters, including the things that they habitually do every day. The third is the time or period in which the action takes place or the setting of time. Fourth is the general conditions the characters experience that are not related to the physical 3.1. Elements in Fiction 16 Unit 3: Reading and Writing Fiction conditions of the place, like emotional, mental, moral, social, religious, and political aspects of the society. Describe the setting of the excerpt below. A Child was standing on a street-corner. He leaned with one shoulder against a high board-fence and swayed the other to and fro to and fro, while kicking carelessly at the gravel. (adverb): in a constant Sunshine beat upon the cobbles, and a lazy summer wind movement raised yellow dust which trailed in clouds down the avenue. backward and Clattering trucks moved with indistinctness through it. The forward child stood dreamily gazing. An excerpt from A Dark Brown Dog Stephen Crane The excerpt is a good example of how a writer can introduce the setting using exposition. The action takes place on a street corner of an unnamed avenue on a windy summer morning. Writing Tip A vignette is a short and descriptive writing that uses imagery to describe a subject, such as a place, in greater detail. You may create one before creating an actual setting for your story. Point of View The point of view of a story refers to the angle of narration. It tells who the narrator is. There are three types of points of view. 3.1. Elements in Fiction 17 Unit 3: Reading and Writing Fiction Table 2. Types of point of view Point of View Description The first-person point of view has the main character (or one of the characters) as the narrator of the story. A multiple-person point of first person view, where multiple characters act as first-person narrators, allows the readers to be exposed to the narrator’s inner thoughts and emotions. The second-person point of view has the reader as the focal point of second person the narrator’s story. Writers use this point of view to allow the readers to be part of the narrative they created. The third-person point of view is an outside observer, not a character, in the story he or she narrates. There are two subtypes. First is the third-person limited point of view where the narrator only narrates the actions and the speech of the characters. The third person second is the third-person omniscient point of view where the narrator shares everything about the characters in the story, including their thoughts and feelings as if he or she is an omniscient or all-knowing being. Writers use this point of view to make the readers see the complexity of all the characters in a narrative. This point of view has more freedom in accessing characters’ thoughts and feelings than other points of view. Plot A plot presents the arrangement of incidents and actions in a story. However, it does not always have to be chronological. There are writers who experiment with plot structures to demonstrate a different way of narration. The elements in a plot are shown in the figure 3.1. Elements in Fiction 18 Unit 3: Reading and Writing Fiction below. Fig. 1. Elements in a plot To have a clearer understanding of the differences and uses of the elements in a plot, read the following table. Table 3. Descriptions of the elements in a plot Element Description The exposition introduces the story’s characters, setting, and mood exposition or atmosphere. The rising action is the incident or the set of incidents that leads to a crisis and/or complication. This part of the story is where the crisis takes place. The crisis refers to the difficulty that the protagonist(s) rising action endure(s), while the complication is the result of the events that happen in the rising action. This is where the conflict develops. climax This is also known as the highest point of tension in the story because this is where the conflict comes to a head. This includes the section where the story’s tension decreases and falling action the other unsettled issues are solved. The readers will feel that the story is nearing completion at this point. 3.1. Elements in Fiction 19 Unit 3: Reading and Writing Fiction This is also known as a denouement—a part of the story where the main problem has been resolved and the end of a plot is told. A resolution cliffhanger might be introduced here if the writer wants the readers to make their own conclusion of the narrative. Aside from the elements, the plot structures are vital in establishing an effective development of ideas in a story. Table 4. Types of plot structure Plot Structure Description A linear plot shows the chronological order of events that happen linear plot in the story. It is also known as the organic, dramatic, or progressive plot. An episodic plot is a set of connected incidents that forms a bigger episodic plot plot. It is also told in chronological order. Novelists often use this type of plot structure. A parallel plot is a combination of two or more linear plots that happen simultaneously. The characters in these plot structures, parallel plot even if they have their own adventures, always have a chance to meet each other because of varied connections. A circular plot starts and ends in a similar fashion. The things that circular plot happened inside the story make the characters return to the situation they experienced at its beginning. An in medias res plot starts at the middle of the story. It provides in medias res flashbacks for the readers to determine what happened before a plot’s initial action. 3.1. Elements in Fiction 20 Unit 3: Reading and Writing Fiction in extrema res An in extrema res plot starts at the end of the story. Like in medias res, it contains a lot of flashbacks. Conflict The conflict is the struggle that exists in the story. The table below shows the six types of conflict. Table 5. Types of conflict Conflict Description self versus self the struggle between the protagonist and his or her self self versus man the struggle between the protagonist and another character self versus nature the struggle between the protagonist and natural forces (e.g., water, earth, wind, fire, diseases, etc.) self versus a the struggle between the protagonist and someone who has an supernatural ability beyond human nature (e.g., gods and goddesses, demigods, etc.) self versus the struggle between the protagonist and technology or product of technology technology self versus society the struggle between the protagonist and a group of people who belongs to a social institution (e.g., government, religion, etc.) Read the excerpt below and analyze how conflict can be introduced in a story. One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he vermin 3.1. Elements in Fiction 21 Unit 3: Reading and Writing Fiction lifted his head a little he could see his brown belly, slightly (noun): an animal domed and divided by arches into stiff sections. The bedding or insect that is was hardly able to cover it and seemed ready to slide off any harmful to crops; moment. His many legs, pitifully thin compared with the size pest. of the rest of him, waved about helplessly as he looked. “What’s happened to me?” he thought. It wasn’t a dream... An excerpt from The Metamorphosis Franz Kafka In the example, the main character, Gregor Samsa, becomes an insect. This will lead to an internal conflict, or a struggle of a man versus his self, since Gregor tries to maintain his humanity while being an insect. Also, this might imply a struggle against society because Gregor’s relatives, friends, and acquaintances might know his current condition. Hence, the excerpt shows that a story may contain a lot of conflicts that writers can use as an advantage to improve his or her work. Theme A theme represents the focus or main point of a literary work. A theme is commonly associated with a work’s statement, central idea, or controlling idea. The theme, therefore, is the idea or statement that unifies the text. There are various themes within a story because a plot may contain interconnected psychological and social issues. For example, in Charlotte Perkins Gilman’s short story, The Yellow Wallpaper, the story is centered on how ignoring or mistreating a mental illness will lead to it getting worse. However, the story also reflects other issues, like the absolute authority of the husband over his wife, the desire for freedom from confinement and idleness, and the power of literature and writing to help a person self-actualize. Check Your Progress 3.1. Elements in Fiction 22 Unit 3: Reading and Writing Fiction Why are the elements in fiction important? ________________________________________________________________________ ________________________________________________________________________ __________________________________________________________________ Wrap-Up _____________________________________________________________________________________________ Fiction is an imaginative text. A narrative mode is a procedure used by fiction writers to tell a story. The types of narrative modes are exposition, action, description, monologue, and dialogue. The elements in fiction are character, setting, plot, point of view, conflict, and theme. These elements have different roles in a story. A character can be a protagonist, antagonist, deuteragonist, confidant, foil, love interest, tertiary, dynamic, static, round, or flat. A point of view can be in the first, second, and third person. A conflict can be classified as self versus self, another self, nature, supernatural, technology, or society. A plot has the following elements: exposition, rising action, climax, falling action, and resolution. The types of plot structure are linear, episodic, parallel, circular, in medias res, and in extrema res. _____________________________________________________________________________________________ Try This! A. Identification. Identify what is being described below. Write the correct answer in the provided space before each number. 3.1. Elements in Fiction 23 Unit 3: Reading and Writing Fiction _____________________ 1. It is the narrative mode that introduces the story’s characters, setting, and mood. _____________________ 2. It is an element in fiction that acts as the primary mover in the story. _____________________ 3. It is a type of plot that begins in the middle of the story. _____________________ 4. It is an element of a plot that contains the crisis and the complication of the story. _____________________ 5. It is the narrative mode that uses self-talk. _____________________ 6. It is an element in fiction that focuses on the angle of the story’s narration. _____________________ 7. It is the type of conflict about the struggle between a person and a being that has power beyond human nature. _____________________ 8. It is an element of a plot where the conflict is resolved. _____________________ 9. It is the narrative mode of talking with other people in the story. _____________________ 10. It is a type of point of view where the narrator and the main character are the same. B. Short-Response Essay. Answer the following questions in no more than three sentences. 1. What is a character? What are its types? ______________________________________________________________________________________ ______________________________________________________________________________________ 3.1. Elements in Fiction 24 Unit 3: Reading and Writing Fiction ________________________________________________________________________________ 2. What are the elements that make up the setting of a story? ______________________________________________________________________________________ ______________________________________________________________________________________ ________________________________________________________________________________ 3. Are crisis and conflict similar? Explain your answer. _____________________________________________________________________________________ _____________________________________________________________________________________ _______________________________________________________________________________ Practice Your Writing Skills Read the Japanese fairy tale below and do the task that follows. My Lord Bag of Rice Yei Theodora Ozaki Long, long ago there lived, in Japan a brave warrior known to all as Tawara Toda, or "My Lord Bag of Rice." His true name was Fujiwara Hidesato, and there is a very interesting story of how he came to change his name. One day he sallied forth in search of adventures, for he had the nature of a warrior and could not bear to be sally idle. So he buckled on his two swords, took his huge (verb): to bow, much taller than himself, in his hand, and slinging suddenly burst his quiver on his back started out. He had not gone far out; go forth to when he came to the bridge of Seta-no-Karashi battle 3.1. Elements in Fiction 25 Unit 3: Reading and Writing Fiction spanning one end of the beautiful Lake Biwa. No sooner had he set foot on the bridge than he saw lying right across his path a huge serpent-dragon. Its body was so big that it looked like the trunk of a large pine tree and it took up the whole width of the bridge. One of its huge claws rested on the parapet of one side of the bridge, while its tail lay right against the other. The monster parapet seemed to be asleep, and as it breathed, fire and smoke (noun): low came out of its nostrils. defensive wall At first Hidesato could not help feeling alarmed at the sight of this horrible reptile lying in his path, for he must either turn back or walk right over its body. He was a brave man, however, and putting aside all fear went forward dauntlessly. Crunch, crunch! he stepped now on the dragon's body, now between its coils, and without even one glance backward he went on his way. He had only gone a few steps when he heard some one calling him from behind. On turning back he was much surprised to see that the monster dragon had entirely disappeared and in its place was a strange-looking man, who was bowing most ceremoniously to the ground. His red hair streamed over his shoulders and was surmounted by a crown in the shape of a dragon's surmount head, and his sea-green dress was patterned with (verb): to place shells. Hidesato knew at once that this was no ordinary on top of mortal and he wondered much at the strange occurrence. Where had the dragon gone in such a short space of time? Or had it transformed itself into this man, and what did the whole thing mean? While these thoughts passed through his mind he had come up to 3.1. Elements in Fiction 26 Unit 3: Reading and Writing Fiction the man on the bridge and now addressed him: "Was it you that called me just now?" "Yes, it was I," answered the man: "I have an earnest request to make to you. Do you think you can grant it to me?" "If it is in my power to do so I will," answered Hidesato, "but first tell me who you are?" "I am the Dragon King of the Lake, and my home is in these waters just under this bridge." "And what is it you have to ask of me?" said Hidesato. "I want you to kill my mortal enemy the centipede, who lives on the mountain beyond," and the Dragon King pointed to a high peak on the opposite shore of the lake. "I have lived now for many years in this lake and I have a large family of children and grand-children. For some time past we have lived in terror, for a monster centipede has discovered our home, and night after night it comes and carries off one of my family. I am powerless to save them. If it goes on much longer like this, not only shall I lose all my children, but I myself must fall a victim to the monster. I am, therefore, very unhappy, and in my extremity I determined to ask the help of a human being. For many days with this intention I have waited on the bridge in the shape of the horrible serpent-dragon that you saw, in the hope that some strong brave man would come along. But all who came this way, as soon as they saw me were terrified 3.1. Elements in Fiction 27 Unit 3: Reading and Writing Fiction and ran away as fast as they could. You are the first man I have found able to look at me without fear, so I knew at once that you were a man of great courage. I beg you to have pity upon me. Will you not help me and kill my enemy the centipede?" Hidesato felt very sorry for the Dragon King on hearing his story, and readily promised to do what he could to help him. The warrior asked where the centipede lived, so that he might attack the creature at once. The Dragon King replied that its home was on the mountain Mikami, but that as it came every night at a certain hour to the palace of the lake, it would be better to wait till then. So Hidesato was conducted to the palace of the Dragon King, under the bridge. Strange to say, as he followed his host downwards the waters parted to let them pass, and his clothes did not even feel damp as he passed through the flood. Never had Hidesato seen anything so beautiful as this palace built of white marble beneath the lake. He had often heard of the Sea King's palace at the bottom of the sea, where all the servants and retainers were salt-water fishes, but here was a magnificent building in the heart of Lake Biwa. The dainty goldfishes, red carp, and silvery trout, waited upon the Dragon King and his guest. Hidesato was astonished at the feast that was spread for him. The dishes were crystallized lotus leaves and flowers, and the chopsticks were of the rarest ebony. As soon as they sat down, the sliding doors opened and ten lovely goldfish dancers came out, and behind them followed ten red-carp musicians with the koto and the 3.1. Elements in Fiction 28 Unit 3: Reading and Writing Fiction samisen. Thus the hours flew by till midnight, and the koto beautiful music and dancing had banished all thoughts (noun): of the centipede. The Dragon King was about to pledge traditional the warrior in a fresh cup of wine when the palace was Japanese string suddenly shaken by a tramp, tramp! as if a mighty army instrument had begun to march not far away. played with two Hidesato and his host both rose to their feet and rushed hands to the balcony, and the warrior saw on the opposite mountain two great balls of glowing fire coming nearer samisen and nearer. The Dragon King stood by the warrior's side (noun): trembling with fear. traditional "The centipede! The centipede! Those two balls of fire Japanese string are its eyes. It is coming for its prey! Now is the time to instrument kill it." resembling a guitar; also Hidesato looked where his host pointed, and, in the dim spelled light of the starlit evening, behind the two balls of fire ‘shamisen’ he saw the long body of an enormous centipede winding round the mountains, and the light in its hundred feet glowed like so many distant lanterns moving slowly towards the shore. Hidesato showed not the least sign of fear. He tried to calm the Dragon King. "Don't be afraid. I shall surely kill the centipede. Just bring me my bow and arrows." The Dragon King did as he was bid, and the warrior noticed that he had only three arrows left in his quiver. He took the bow, and fitting an arrow to the notch, took 3.1. Elements in Fiction 29 Unit 3: Reading and Writing Fiction careful aim and let fly. The arrow hit the centipede right in the middle of its head, but instead of penetrating, it glanced off harmless and fell to the ground. Nothing daunted, Hidesato took another arrow, fitted it to the notch of the bow and let fly. Again the arrow hit the mark, it struck the centipede right in the middle of its head, only to glance off and fall to the ground. The centipede was invulnerable to weapons! When the Dragon King saw that even this brave warrior's arrows were powerless to kill the centipede, he lost heart and began to tremble with fear. The warrior saw that he had now only one arrow left in his quiver, and if this one failed he could not kill the centipede. He looked across the waters. The huge reptile had wound its horrid body seven times round the mountain and would soon come down to the lake. Nearer and nearer gleamed fireballs of eyes, and the light of its hundred feet began to throw reflections in the still waters of the lake. Then suddenly the warrior remembered that he had heard that human saliva was deadly to centipedes. But this was no ordinary centipede. This was so monstrous that even to think of such a creature made one creep with horror. Hidesato determined to try his last chance. So taking his last arrow and first putting the end of it in his mouth, he fitted the notch to his bow, took careful aim once more and let fly. This time the arrow again hit the centipede right in the 3.1. Elements in Fiction 30 Unit 3: Reading and Writing Fiction middle of its head, but instead of glancing off harmlessly as before, it struck home to the creature's brain. Then with a convulsive shudder the serpentine body stopped moving, and the fiery light of its great eyes and hundred feet darkened to a dull glare like the sunset of a stormy day, and then went out in blackness. A great darkness now overspread the heavens, the thunder rolled and the lightning flashed, and the wind roared in fury, and it seemed as if the world were coming to an end. The Dragon King and his children and retainers all crouched in different parts of the palace, frightened to death, for the building was shaken to its foundation. At last the dreadful night was over. Day dawned beautiful and clear. The centipede was gone from the mountain. Then Hidesato called to the Dragon King to come out with him on the balcony, for the centipede was dead and he had nothing more to fear. Then all the inhabitants of the palace came out with joy, and Hidesato pointed to the lake. There lay the body of the dead centipede floating on the water, which was dyed red with its blood. The gratitude of the Dragon King knew no bounds. The whole family came and bowed down before the warrior, calling him their preserver and the bravest warrior in all Japan. Another feast was prepared, more sumptuous than the first. All kinds of fish, prepared in every imaginable way, raw, stewed, boiled and roasted, served on coral trays 3.1. Elements in Fiction 31 Unit 3: Reading and Writing Fiction and crystal dishes, were put before him, and the wine was the best that Hidesato had ever tasted in his life. To add to the beauty of everything the sun shone brightly, the lake glittered like a liquid diamond, and the palace was a thousand times more beautiful by day than by night. His host tried to persuade the warrior to stay a few days, but Hidesato insisted on going home, saying that he had now finished what he had come to do, and must return. The Dragon King and his family were all very sorry to have him leave so soon, but since he would go they begged him to accept a few small presents (so they said) in token of their gratitude to him for delivering them forever from their horrible enemy the centipede. As the warrior stood in the porch taking leave, a train of fish was suddenly transformed into a retinue of men, all wearing ceremonial robes and dragon's crowns on their heads to show that they were servants of the great Dragon King. The presents that they carried were as retinue follows: (noun): a group of people accompanying First, a large bronze bell. someone important Second, a bag of rice. Third, a roll of silk. Fourth, a cooking pot. Fifth, a bell. Hidesato did not want to accept all these presents, but 3.1. Elements in Fiction 32 Unit 3: Reading and Writing Fiction as the Dragon King insisted, he could not well refuse. The Dragon King himself accompanied the warrior as far as the bridge, and then took leave of him with many bows and good wishes, leaving the procession of servants to accompany Hidesato to his house with the presents. The warrior's household and servants had been very much concerned when they found that he did not return the night before, but they finally concluded that he had been kept by the violent storm and had taken shelter somewhere. When the servants on the watch for his return caught sight of him they called to every one that he was approaching, and the whole household turned out to meet him, wondering much what the retinue of men, bearing presents and banners, that followed him, could mean. As soon as the Dragon King's retainers had put down the presents they vanished, and Hidesato told all that had happened to him. The presents which he had received from the grateful Dragon King were found to be of magic power. The bell only was ordinary, and as Hidesato had no use for it he presented it to the temple near by, where it was hung up, to boom out the hour of day over the surrounding neighborhood. The single bag of rice, however much was taken from it day after day for the meals of the knight and his whole family, never grew less—the supply in the bag was inexhaustible. 3.1. Elements in Fiction 33 Unit 3: Reading and Writing Fiction The roll of silk, too, never grew shorter, though time after time long pieces were cut off to make the warrior a new suit of clothes to go to Court in at the New Year. The cooking pot was wonderful, too. No matter what was put into it, it cooked deliciously whatever was wanted without any firing—truly a very economical saucepan. The fame of Hidesato's fortune spread far and wide, and as there was no need for him to spend money on rice or silk or firing, he became very rich and prosperous, and was henceforth known as My Lord Bag of Rice. Write a three-paragraph analytical text about the fairy tale using one of the writing prompts below. This task will determine your knowledge about a particular element in fiction. Write your essay on a separate sheet of paper. Write an essay that focuses on the characters of the fairy tale. Classify them according to their roles and their traits. Write an essay that focuses on the plot structure of the fairy tale. Create a plot diagram that will show the story’s progression. Write an essay that focuses on the thematic issues integrated into the fairy tale. Provide at least three issues that you will elaborate on and analyze. 3.1. Elements in Fiction 34 Unit 3: Reading and Writing Fiction Writing Tip In creating the analytical essay, you should remember the following: 1. The first paragraph should introduce your focus or thesis statement. It should also grab the reader’s attention. 2. The second paragraph should contain your analysis of the short story based on your chosen writing prompt. 3. End your analysis with a paragraph that summarizes all of the data you presented in your essay. 4. Include citations and references after your essay. Suggested Rubric for Grading The rubric below is a suggested one. Your teacher may modify the rubric based on your needs. Consult your teacher for the final rubric. Performance Levels 1 2 3 Suggested Criteria Score Beginning Proficient Advanced Weight Proficiency Proficiency Thesis The thesis statement The thesis statement The thesis statement vaguely conveys the sufficiently conveys clearly and ×3 Statement text’s main point and the text’s main point effectively conveys 3.1. Elements in Fiction 35 Unit 3: Reading and Writing Fiction purpose. and purpose. the text’s main point and purpose. Organization The ideas and The ideas and The ideas and elements of the text elements of the text elements of the text ×3 are vaguely written. are clearly written. are clearly and effectively written. Development The supporting details The supporting details The supporting or evidence and or evidence and details or evidence of Ideas reasoning are reasoning are and reasoning are ×3 insufficient. sufficient. complete and specific. Clarity The text lacks The text is The text is comprehensibility, satisfactorily outstandingly coherence, and logic. comprehensible, comprehensible, ×3 coherent, and logical. coherent, and logical. Style The text lacks The text is The text is conciseness, satisfactorily outstandingly ×2 consistency, and concise, consistent, concise, consistent, creativity. and creative. and creative. Grammar and The text has more The text has one to The text is free from than five grammar, five grammar, grammar, spelling, Mechanics ×2 spelling, and spelling, and and punctuation punctuation errors. punctuation errors. errors. Total Possible Score 48 Teacher’s Feedback __________________________________________________________________________________________________ __________________________________________________________________________________________________ ______________________________________________________________________________________ Bibliography Harmon, William and C. Hugh Holman. A Handbook to Literature. Upper Saddle River, NJ: Prentice Hall, 1996. 3.1. Elements in Fiction 36 Unit 3: Reading and Writing Fiction “How to Master the Art of Plot Development,” Masterclass (May 5, 2021), accessed on May 9, 2021, https://www.masterclass.com/articles/how-to-master-the-art-of-plot-development. International Association of Professional Writers and Editors. “The Five Narrative Modes Fiction Writers Use to Craft Their Stories,” IAPWE (January 16, 2017), accessed on May 9, 2021, https://iapwe.org/the-five-narrative-modes-fiction-writers-use-to-craft-their-stories, last. “Margaret Atwood Teaches Creative Writing,” MasterClass (July 11, 2018), accessed on May 9, 2021. https://www.youtube.com/watch?v=lbMPDk7C. Menoy, Jesus Z. Creative Writing. Mandaluyong City, Metro Manila: Books Atbp. Publishing Corp., 2016. Venturino, Steven J. The Complete Idiot’s Guide to Literary Theory and Criticism. New York, NY: Penguin Group, 2013. Yei Theodora Ozaki, "My Lord Bag of Rice," Japanese Fairy Tales, Project Gutenberg, (1908), accessed May 27, 2021, https://www.gutenberg.org/files/4018/4018-h/4018-h.htm#rice. 3.1. Elements in Fiction 37  Unit 3:Reading and Writing Fiction 3.1. Elements in Fiction Let’s Begin 1. What makes the story different from a nonfiction text like a biography? Answers may vary. Students’ answers may depend on the kind of story they will share. They can say that the story they read used magical or extraordinary elements that people do not normally experience in real life. 2. How much of reality does the story capture? What is the writing style used? Answers may vary. Students’ answers may depend on the kind of story they will share. They can mention a certain part that is real about the story and they may justify this by mentioning how the same story also happened to others. They may also answer that the writer used fictional elements to forward a specific theme in the story. 3. What makes the short story engaging for you to read? Answers may vary. Students may cite the elements in fiction such as the catchy plot, the extraordinary characters, the magic setting that made the story exciting for them. Check Your Progress 1. Why are the narrative modes in fiction significant? Answers may vary. Students’ answers may revolve around the use and effects of narrative modes in fiction writing. 2. Why are the elements in fiction important? Answers may vary. Students’ answers may be related to the functions of the elements in fiction in delivering the story’s main point. 3.1. Elements in Fiction 38  Unit 3:Reading and Writing Fiction Try This! A. Identification. Identify what is being described below. Write the correct answer in the provided space before each number. exposition 1. It is the narrative mode that introduces the story’s characters, setting, and mood. character 2. It is an element in fiction that acts as the primary mover in the story. in medias res 3. It is a type of plot that begins in the middle of the story. rising action 4. It is an element of a plot that contains the crisis and the complication of the story. monologue 5. It is the narrative mode that uses self-talk. point of view 6. It is an element in fiction that focuses on the angle of the story’s narration. man versus a 7. It is the type of conflict about the struggle between a person and a supernatural being that has power beyond human nature. climax 8. It is an element of a plot where the conflict is resolved. dialogue 9. It is the narrative mode of talking with other people in the story. first-person 10. It is a type of point of view where the narrator and the main point of view character are the same. B. Short-Response Essay. Answer the following questions in not more than three sentences. 1. What is a character? How do we classify them? Answers may vary. Students may say that a character is an imaginary person 3.1. Elements in Fiction 39  Unit 3:Reading and Writing Fiction who gives life to the story. Characters are divided according to the roles they play in a story. They can also be divided according to their traits and the changes that might happen to these traits in the course of time. 2. What are the elements that make up the setting of a story? Answers may vary. Students may explain that the elements in a setting include the story’s geographical location, its topography, scenery, and physical arrangements, the occupations and daily manner of living of the characters, the time or period in which the action takes place, and the general environment of the characters. 3. Are crises and conflicts similar? Explain your answer. Answers may vary. Students may argue that the crisis is the problem that arises in the story while the conflict is the situation or struggle that arises because of the crisis. 3.1. Elements in Fiction 40