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| prose writing that tells an imaginary story |
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| the sequence of related events that make up a story. |
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| introduces the characters and the conflicts they face. |
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| occurs after the exposition and introduces the central conflict within the story. |
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| following the introduction of the central conflict; complications arise as the characters struggle with the conflict. |
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| the turning point, point of maximum interest, and highest tension in the plot of a story, play, or film |
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| the end of the central conflict in a story, when the action starts to wind down. |
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| occurs after the climax and is where conflicts are resolved and loose ends are tied up. |
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| the time, place, physical details, and circumstances in which a story occurs. |
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| perspective from which a story is told |
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| the person telling the story is one of the characters in the story. It is the “I” point of view. It is the most limited among the types because the narrator can only state what he or she sees, feels, and hears. He or she cannot go into the minds of the other characters. |
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| the person telling the story is not one of the characters in the story. He or she is an outside observer. The reader can only know what one character learns through interaction with other characters or through overheard conversations. The narrator cannot supply the thoughts or feelings of other characters in the story. |
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| the narrator is not a character in the story, but the events in the story are seen through the eyes of more than one of the characters. The narrator is considered to be “all knowing” and cannot only see and hear everything that is happening to all characters in the story, but can also enter their minds and tell the reader what each is thinking and feeling. This is the least limited point of view because the narrator has knowledge of all the characters |
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| Narrator outside of the story |
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| the tension or problem in the story; a struggle between opposing forces. |
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| the problem or struggle that takes place in the main character’s mind (person vs. self). |
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| the problem or struggle that exists between the main character and an outside force. (ex: person vs. person, person vs. society, person vs. nature, person vs. the supernatural, person vs. technology, etc.) |
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| a common thread or repeated idea that is incorporated throughout a literary work. A _____ is a thought or idea the author presents to the reader about life or human nature |
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| The main character of the story |
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| Force/character against protatonist |
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| One who narrates or tells a story |
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| a character who does not change or who changes very little in the course of a story. |
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| is a character who is fully described by the author (several character traits, background information, etc.) |
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| a character about whom little information is provided. |
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| a character who changes throughout the course of the story. |
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| all of the techniques that writers use to create characters. |
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| the author directly states a character’s traits or makes direct comments about a character’s nature. |
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| Indirect Characterization |
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| the author does not directly state a character’s traits; instead the reader draws conclusions and discovers a character’s traits based upon clues provided by the author. |
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| Methods of Indirect Characterization |
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| Through a character's apperance, words, actions, or through the reaction of the other characters to the same character |
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| the writer’s attitude or feeling about his or her subject. |
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| atmosphere is the feeling that a literary work conveys to readers. ____ is created through the use of plot, character, the author’s descriptions, etc. |
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| when the writer provides clues or hints that suggest or predict future event in a story. |
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| an interruption of the chronological sequence (as in a film or literary work) of an event of earlier occurrence. A flashback is a narrative technique that allows a writer to present past events during current events, in order to provide background for the current narration. |
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| a recurring object, concept, or structure in a work of literature. A _____ may also be two contrasting elements in a work, such as good and evil. A _____ is important because it allows one to see main points and themes that the author is trying to express, in order that one might be able to interpret the work more accurately. |
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| is a person, place, object or action that for something beyond itself. |
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| the use of words and phrases that appeal to the five senses. Writers use sensory details to help readers imagine how things look, feel, smell, sound, and taste. |
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| Expressions that are not literally true |
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| a type of figurative language in which a comparison is made between two things that are essentially unalike but may have one quality in common |
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| type of figurative language that makes a comparison between two otherwise unlike objects or ideas by connecting them with the words "like" or "as." |
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| a figure of speech where animals, ideas or inanimate objects are given human characteristics |
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| a figure of speech in which the truth is exaggerated for emphasis or humorous effect. |
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| a reference in a literary work to a person, place, or thing in history or another work of literature. ____ are often indirect or brief references to well-known characters or events |
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| a story in which people, things and actions represent an idea about life; ____ often have a strong moral or lesson. |
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| Contains a second narrative, in order to provide a context or setting for it |
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| occurs when the speaker means something totally different than what he or she is saying and often times the opposite of what a character is saying is true. |
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| occurs when facts are not known to the characters in a work of literature but are known by the audience |
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| the difference between what is expected to happen and the way events actually work out. |
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| Pervasive irony created by a structural feature such as a naive protagonist whose viewpoint is consistently wrong, shared by neither author or audience |
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| a feeling of growing tension and excitement. Writers create ______by raising questions in readers’ minds about what might happen. |
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| the idea and feeling associated with a word as opposed to its dictionary definition or denotation. |
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| is the opposite of connotation in that it is the exact or dictionary meaning of a word. |
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| a type of figurative language containing an overused expression or a saying that is no longer considered original. |
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| a literary technique in which ideas or customs are ridiculed for the purpose of improving society |
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| a broad generalization or an oversimplified view that disregards individual differences. |
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| is a logical guess based on evidence based on evidence in the text. |
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| how a writer says something; many elements contribute to _____, including word choice, sentence length, tone and figurative language |
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| a sudden moment of understanding that causes a character to change or to act in a certain way. |
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| Coming-of-Age (Bildungsroman) |
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| •A novel about the education and maturing of a young person. |
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