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Definition. Story is a sequence of events, which can be true or fictitious, that appear in prose, verse or script, designed to amuse or inform an audience. [1] Story structure is a way to organize the story's elements into a recognizable sequence. It has been shown to influence how the brain organizes information. [2]
Climax (narrative) The climax (from Ancient Greek κλῖμαξ (klîmax) 'staircase, ladder') or turning point of a narrative work is its point of highest tension and drama, or it is the time when the action starts during which the solution is given. [1][2] The climax of a story is a literary element. [3]
Plot (narrative) Plot is the cause‐and‐effect sequence of main events in a story. [1] Story events are numbered chronologically while red plot events are a subset connected logically by "so". In a literary work, film, or other narrative, the plot is the sequence of events in which each event affects the next one through the principle of ...
Chapter X, Part 5. Climax he defines here as, "the apex of interest and emotion; it is the point of the story." when quoting "Short Story Writing 1898, Charles Raymond Barrett, p 171" but further expounds here as, "rise of interest and in power to its highest point."
Three-act structure. The three-act structure is a model used in narrative fiction that divides a story into three parts (acts), often called the Setup, the Confrontation, and the Resolution. It was popularized by Syd Field in his 1979 book Screenplay: The Foundations of Screenwriting. Based on his recommendation that a play have a "beginning ...
Cinderella, Aladdin, Jane Eyre (Charlotte Brontë), A Little Princess (Frances Hodgson Burnett), Great Expectations (Charles Dickens), David Copperfield (Charles Dickens), Moll Flanders (Daniel Defoe), The Red and the Black (Stendhal), The Prince and the Pauper (Mark Twain), "The Ugly Duckling" (Hans Christian Andersen), The Gold Rush, The Jerk.
Act Three: Rising action and climax; Act Four: Falling action; Act Five: Resolution (For tragedies, a catastrophe is added before it.) A similar five-part structure is also used in traditional Japanese Noh drama, particularly by Zeami Motokiyo. Zeami, in his work Sandō (The Three Paths), originally described a five-part (five dan) Noh play as ...
This is the crux of the story, the yama (ヤマ) or climax. If the narrative takes several turns, this is the biggest one. Conclusion (ketsu), also called ochi (落ち) or ending, wraps up the story. The same pattern is used for arguments. For example, a discussion about the usage of photocopying machines could be analyzed as follows: [5]