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The key thesis of the book: "However many characters may appear in a story, its real concern is with just one: its hero. It is the one whose fate we identify with, as we see them gradually developing towards that state of self-realization which marks the end of the story.
[2] [3] In the narrative sense, the term highlights important points which have consequences within the story, according to American science fiction writer Ansen Dibell. [1] The term plot can also serve as a verb, referring to either the writer's crafting of a plot (devising and ordering story events), or else to a character's planning of ...
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] Story structures can vary culture to culture and throughout history. The same named story structure may also change over time as the culture also changes.
This aids in the suspension of disbelief and engages the reader into the story as it develops. [1] A classic structure of narrative thread often used in both fiction and non-fiction writing is the monomyth, or hero's journey, with a beginning, a middle, and an end. First, typically the harmony of daily life is broken by a particularly dramatic ...
At some point, a plot summary is likely to be edited by someone else; editors do not own their golden prose. At the same time, changes should be closely monitored. Well-meaning editors may be unaware of prior discussions or conventions regarding plot summary length. Plot bloat is thus a serious problem.
The story itself is considered a performance so there is a synergy among the aforementioned elements. [1] In the story, the narrator may draw attention to the narrative or to himself as storyteller. [2] The structure often includes the following: Tell riddles to test the audience. Audience becomes a chorus and comments on the story.
The three-act structure is a model used in narrative fiction that divides a story into three parts , often called the Setup, the Confrontation, and the Resolution. It has been described in different ways by Aelius Donatus in the fourth century A.D. and by Syd Field in his 1979 book Screenplay: The Foundations of Screenwriting .
The underlying message of the story being told, can be understood and interpreted with clues that hint to a certain interpretation. [44] In order to make meaning from these stories, elders in the Sto:lo community for example, emphasize the importance in learning how to listen, since it requires the senses to bring one's heart and mind together ...
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