Eng 215 Final

Front 2

"The cow was milked by Bob."

Back 2

Passive Voice - Emphasis on object

Front 3

"Bob milked the cow"

Back 3

Active voice - Emphasis on subject

Front 4

Figurative Language

Back 4

Language used to express something that is not the literal meaning. Connect to mood

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Uses words is was to connect two disparate elements

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Metaphor

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A comparision using "like" or "as"

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Simile

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– in which the story is told using third person pronouns and delves into the thoughts and feelings of more than one character. Third person limited omniscient –

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Third person omniscient

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point of view – in which the story is narrated with the pronoun “I” used by the narrator.

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First person

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– in which the narrator is the protagonist of the first person narrative.

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Central narrator

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in which the narrator is telling the story of another character who is the protagonist.

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Peripheral narrator

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in which the story is told using third person pronouns and does not delve into any of the characters’ thoughts or feelings.

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–Third person objective

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Narrates only external, observable facts. in which the story is told using third person pronouns and limits the narration to the thoughts and feelings of a single character.

Back 12

Third Person Limited omniscient

Front 13

in which the story is told using the second person pronoun to mimic the feeling of a first person narration (“You” as “I” effect).

Back 13

Second person –

Front 14

the level of intimacy created by the writer between the reader and the protagonist’s thoughts and feelings.

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Psychic distance – The more “subjective” the narrative, the closer the psychic distance

Front 15

in which a third person limited POV is self-consciously stylized to closely mimic a first person point of view

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Free Indirect Style –

Front 16

in which a first person narrator “thinks” to another character (“I” to “You”) within the storyworld as the form of narration. Ex. “X-Mas, Jamaica Plain” by Melanie Rae Thon. (vs. traditional monologue, in which the narration is spoken.)

Back 16

Stylized Monologue –

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– a key element tocharacterization which drives the conflict (conflict being the problem createdby the character’s desire and the obstacles standing in the way of him/hergetting what he/she wants.)

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Motivation/desire –

Front 18

a detail which gives information about a character’s internal self – belief systems, fears, hopes, goals, desires, emotions.

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Significant detail –

Front 19

What the character speaks, verbatim, as indicated by quotation marks and a first person pronoun. Ex. “But I love you. Don’t you know? Can’t you see?

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Direct dialogue

Front 20

”in which the character’s speech is filtered through the narration, often using a third person pronoun but being loyal to the speech as it would sound in direct dialogue. Does not use quotation marks. Ex. He told her he loved her. He asked, didn’t she know? Couldn’t she see?

Back 20

Indirect dialogue –

Front 21

in which a long conversation is summarized in narration. Ex. They talked about how he had loved her.

Back 21

Summary dialogue –

Front 22

a detail which gives information about a character that is sensory, external, observable.

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Concrete details –

Front 23

the main character of a short story is called the protagonist.

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Protagonist –

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characters which are recognizable/familiar to us from various masterplots in fiction, e.g. the hero, the mentor, the guide, the love interest, the villain.

Back 24

Archetypical characters -

Front 25

archetypical characters written ineffectively with clichés and unoriginal, sometimes offensive generalizations, e.g. the snotty cheerleader, dumb jock, good-hearted detective, etc.

Back 25

Stereotypes –

Front 26

the effect created by the combination of setting and tone.

Back 26

SETTING Atmosphere –

Front 27

the attitude of the narrator/implied author toward the subject (as intimated by word choice, syntax, etc.).

Back 27

Tone –

Front 28

details of setting which become significant, informing our understanding of the character’s internal world/the story’s conflict/larger themes and meaning.

Back 28

Imagery –

Front 29

the first event in the frontstory that “kicks off” the rising action, leading us to the crisis action.

Back 29

Inciting incident (Trigger) –

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the problem of the story, created by the tensions with the character

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Conflict –

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(internal conflict

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- character vs. him/herself)

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and between the character and the outside world

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(external conflict – character vs. another character, nature, etc.)

Front 33

Complications/Rising action/Emotional Reckonings

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the events in plot happening in the frontstory to lead the character from the inciting incident to the crisis action.

Front 34

term coined by James Joyce to describe the moment in the story when the character comes to a recognition or understanding as a result of the events of plot or frontstory. Typically, this moment is emotionally complicated – not an “epiphany” as we traditionally understand it, but a seeing anew.

Back 34

Crisis action –

Front 35

"seeing anew" Zora Neale Hurston calls this moment, “a movement through the mind.” .

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Epiphany

Front 36

a moment, typically a happy or positive one, in which a character comes to realize something about him/herself previously unknown. The word originates in Christian tradition with a coming to Christ.

Back 36

Epiphany

Front 37

the close of a short story, following the crisis action. Typically a denouement does not provide “resolution” as we traditionally understand it

Back 37

Denouement –

Front 38

the latin term meaning “God Machine.” Used to describe a plot technique in which a third party force outside of the storyworld comes in to resolve the conflict. (Usually an undesirable plot device.)

Back 38

Deus ex machina -

Front 39

En media res describe the technique of beginning the story in the middle of a scene already well into the action.

Back 39

- “in the middle.” A term used to

Front 40

the level of “believability” in a story created by the use of specific, accurate details to enable the reader to suspend his/her disbelief.

Back 40

Verisimilitude –

Front 41

backstory or background information about the protagonist and storyworld characters.

Back 41

Exposition –

Front 42

a scene which takes place in the “past” or in the backstory.

Back 42

Flashback –

Front 43

the larger, broader sense of subject matter in a story, e.g. “family relationships,” “revenge,” “coming of age.”

Back 43

Theme –

Front 44

the rate at which the writer reveals pertinent information to the reader throughout the plot.

Back 44

Rate of Reveal –

Front 45

in which the writer begins a story by withholding information from the reader to create a (false) feeling of suspense. (An ineffective technique.)

Back 45

False Tension –

Front 46

a moment related to the reader in a feeling of “real time,” as experienced by the character as he/she is experiencing it.

A sense of time happening along “with” the character.

story time = narrative time.

Back 46

Scene –

Front 47

in which long periods of time are summed up by the writer in a rather short paragraph or series of paragraphs.

Scene: Summary: storytime > narrative time.

Back 47

summary

Front 48

– a narrative structured with the use of letters, diary entries, or other written documents. Pacing – the sense of movement created by the relationship unfolding (movement of plot in frontstory) and infolding (thinking, memory, exposition, meditation, backstory, etc. that serves to “pause” the unfolding).

Back 48

Epistolary narrative

Front 49

language used to express something that is not the literal meaning, to convey abstract ideas, to add complexity and implications, to appeal to the reader’s associative powers, to complete and connect with all sensations around it. Connects to mood.

Back 49

Figurative language –

Front 50

using the word “is” or “was” to connect two disparate elements to create a greater sense of meaning.

Back 50

Metaphor

Front 51

a comparison using “like” or “as.”

Back 51

Simile –

Front 52

– a certain detail in the story which, over the course of the storytelling, begins to stand in for a larger, meaningful abstraction. E.g. Martha’s stone in “The Things They Carried.”

Back 52

Symbol

Front 53

an image or idea repeated in the story and in its repetition gaining a sense of symbolism/significance.

Back 53

Motif –

Front 54

the use of short sentences versus long sentences, syntax, and diction to reinforce the moment’s setting, mood, or conflict.

Back 54

Prose Rhythm –

Front 55

words, phrases, or concepts that are common, overused, and dead in terms of originality.

Back 55

Cliché -

Front 56

an incomplete sentence used purposefully in the prose to create a sense of rhythm.

Back 56

Fragment –

Front 57

the repetition of a particular phrase/series of words throughout a story to lyrical effect.

Back 57

Refrain -

Front 58

commonly used expressions, such as “kicked the bucket,” “a penny for your thoughts,” “once in a blue moon,” etc.

Back 58

Idioms -

Front 59

the language/vocabulary of a particular time and place.

Back 59

Vernacular -

Front 60

the writer’s depiction of the character’s use of regional or time-period specific syntax (ordering of words in a sentence) and diction (choice of words).

Back 60

Dialect –

Front 61

narratives in which “the recognizably realistic merges with the unexpected and the inexplicable and in which elements of dreams, fairy story, or mythology combine with the everyday, often in a mosaic or kaleidoscopic pattern of refraction and recurrence.” From the Oxford Companion to Literature. Ex. “The Ceiling” by Kevin Brockmeier

Back 61

Magical realism –

Front 62

“The indispensable air of consequence, or causation, in which the incidents, and especially the tone at all points, tend to the development of the intention.” In other words, the feeling of unity/cohesiveness achieved by the story’s purposeful echoes of details, lack of tangents/digressions, feeling of momentum/significance, etc. T.S. Eliot’s

Back 62

Edgar Allen Poe’s Unity of Effect/Impression -

Front 63

- the use of a series of events or objective details to stand in for an abstract emotion. (Ex. The pole/sticks in George Saunders’ story “Sticks.”)

Back 63

Objective Correlative

Front 64

narrative techniques including the use of memory, moving off topic, meditation, and possible worlds in order to deepen characterization/close psychic distance specifically during scene.

Back 64

Thickening –

Front 65

archetypical characters written ineffectively with clichés and unoriginal, sometimes offensive generalizations, e.g. the snotty cheerleader, dumb jock, good-hearted detective, etc.

Back 65

Stereotypes

Front 66

the effect created by the combination of setting and tone.

Back 66

Atmosphere –

Front 67

the attitude of the narrator/implied author toward the subject (as intimated by word choice, syntax, etc.).

Back 67

Tone –

Front 68

details of setting which become significant, informing our understanding of the character’s internal world/the story’s conflict/larger themes and meaning.

Back 68

Imagery –

Back 69

Finish