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Each character should have their distinctive voice. [14] To differentiate characters in fiction, the writer must show them doing and saying things, but a character must be defined by more than one single topic of conversation or by the character's accent. The character will have other interests or personality quirks as well. [15]
Fantasy (including comics and magazines) is a speculative fiction that use imaginary characters set in fictional universes inspired by mythology and folklore, often including magical elements, magical creatures, or the supernatural. Examples: Alice’s Adventures in Wonderland (1885) and the Harry Potter books. [1] Action-adventure Heroic; Lost ...
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
Literary fiction is often used as a synonym for literature, in the exclusive sense of writings specifically considered to have considerable artistic merit. [6] Literary fiction is commonly regarded as artistically superior to genre fiction, the latter being a form of commercial fiction written to provide entertainment to a mass audience. [7] [8 ...
Don Quixote and his sidekick Sancho Panza, as illustrated by Gustave Doré: the characters' contrasting qualities [1] are reflected here even in their physical appearances. In any narrative, a foil is a character who contrasts with another character, typically, a character who contrasts with the protagonist, in order to better highlight or differentiate certain qualities of the protagonist.
Name Definition Example Setting as a form of symbolism or allegory: The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may be interpreted.
If you watch a lot of design shows, you’ve probably noticed books styled this way in, well, just about every major reveal. You rarely see covers or spines; it’s always pages.
The second act, or confrontation, is considered to be the bulk of the story. Here, the characters' conflict is most developed (particularly between the protagonist and antagonist) as well as any changes in values and personality one or more characters may undergo (known as character development, or a character arc). This leads to the second ...