Terms : Hide Images
| 5150967927 | Literature | A work involving words and has a meaning. Often a mark of artistic merit. | 0 | |
| 5150988283 | Romance Formula | Love is the major interest. Steer away from complex issues (social, political, etc.) Heroine and Hero, 3rd POV, Love Scene | 1 | |
| 5150999849 | Adventure Formula | Emphasis on physical action. Constant action | 2 | |
| 5151003751 | Plot | Author's arrangement of incidents in a story. Some authors begin at the end. | 3 | |
| 5151014666 | in media res | In the middle of things (The beginning of a story is in the middle of the action or conflict) | 4 | |
| 5151016671 | Flashback | Informs about before the story | 5 | |
| 5151019435 | Characters | An imagined person. Encounters a problem and resolves it | 6 | |
| 5151024580 | Exposition | Background information | 7 | |
| 5151026321 | Rising Action | Complication | 8 | |
| 5151026322 | Conflict | Problem or struggle | 9 | |
| 5151028344 | Foreshadowing | Hint of what's to come | 10 | |
| 5151030224 | Protagonist | Central character/hero | 11 | |
| 5151031675 | Antagonist | Force opposing the protagonist | 12 | |
| 5151031676 | Suspense | Reader interest in what happens next | 13 | |
| 5151034276 | Climax | Moment of largest tension. Conflict resolved or unresolved | 14 | |
| 5151040366 | Resolution/Denoument | Character resolves problem at hand | 15 | |
| 5151048290 | Setting | Context in which action occurs: time and location, physical features, important to overall purpose social environment | 16 | |
| 5151077589 | Characterization | The methods by which a writer creates people in a story so that they seem to actually exist Dickens: from Hard Times | 17 | |
| 5151084984 | Symbol | A person, object, or event that suggest more than its literal meaning | 18 | |
| 5151087669 | Conventional Symbols | Widely recognized by a society or culture | 19 | |
| 5151090332 | Literary Symbols | traditional, conventional, or public meanings, but it may also be established internally by the context of the work | 20 | |
| 5151096562 | Metafiction | Used to describe a work that explores the nature, structure, logic, status, and function of storytelling | 21 | |
| 5151103552 | Point of View | Refers to who tell us the story and how it's told | 22 | |
| 5151105384 | Narrator | Teller of the story | 23 | |
| 5151114922 | Realism | A realistic view of society is portrayed and pragmatic actions are taken by the protagonist | 24 | |
| 5151117323 | Style | The way the writer writes | 25 | |
| 5151119516 | Diction | The writer's choice of words | 26 | |
| 5151121109 | Tone | The author's attitude towards people, places, and events | 27 | |
| 5151123169 | Irony | Different from what appears to be true | 28 | |
| 5151126530 | Theme | Central idea or meaning of the story. Provides unifying point around which plot, characters, setting, POV, symbols, and their elements are organized | 29 | |
| 5151158565 | Story of an Hour | Kate Chopin, 1894 A woman receives news that her husband has died, cries, and realizes she is free from the suppression exerted by her husband. Upon seeing her husband alive and well, she dies of a heart attack, presumably of joy. In reality, she died of disappointment/shock of her husband returning. | 30 | |
| 5151158566 | Secret Sorrow | Karen Van der Kee, 1981 Kai and Faye are in a relationship; Faye can't have children and feels that she will let Kai down in marriage, whose dream it is to have children with her. After a lot of dramatic tension, they get married and adopt children. | 31 | |
| 5151160607 | A Sorrowful Woman | Gail Godwin, 1971 A woman becomes increasingly isolated because of her son and husband. Her husband continuously makes a sleeping draught for her. They hire a baby sitter that is energetic, but she is promptly fired. The husband then resumes all responsibility for the things the mother would have done. The isolation gets to the point where the mother doesn't want to see her family anymore. The mother eventually dies because she went back to working. | 32 | |
| 5151160608 | from Tarazan of the ApesAl | Edgar Rice Burroughs, 1914 Tarzan fights the leader of the apes, Terkoz, and ultimately wins. He then romantically takes Jane away. | 33 | |
| 5151163365 | All That You Love Will Be Carried Away | Stephen King, 2002 Alfie sells frozen food for a living. He pulls into a hotel and considers suicide. He worries that his notebook of graffiti will make him appear insane to someone who finds him. He decides that if the lights behind a motel reappear by the time he counts to 60, he will write a book, and if not, he will shoot himself. The story ends with him counting. | 34 | |
| 5151163366 | A Rose For Emily | William Faulkner, 1931 Five Parts: 1-Starts with Emily's death. 2-Town's pity when she dies 3-How she rarely goes outside of the house. Meets Homer Barron. Town frowns upon this. "A Fallen Woman". Buys arsenic 4-Town thought she would kill herself with arsenic. Hair turned gray and she was increasingly secluded 5-She is dead. It is revealed that she killed Homer Barron and slept with his corpse. | 35 | |
| 5151163367 | Killings | Dubus, 1979 Frank was murdered by Richard because he was dating Richard's ex. Frank's father and his friend carried out a detailed and well-planned out plan that ultimately ended up in Richard's death. | 36 | |
| 5151165230 | from Hard Times | Dickens, 1854 Character sketch about a principle obsessed with facts. | 37 | |
| 5151165231 | Battle Royal | Ralph Ellison, 1947 Black dude tries to give a speech, but is subject to the will of the white people first. He has to fight in a boxing ring against the biggest dude and, when he finally gives his speech, he is humiliated by the white crowd. It is noteworthy that he mentions equality, and that turned heads. | 38 | |
| 5151167315 | Soldier's Home | Hemingway, 1925 The disembodiment of soldiers after returning from war - there is a disconnect between the wants of the soldier and his family. Hard to get back into the rhythm of daily life. Shift of attitude from on of ambitiousness to lack thereof. No one knows what they've been through. Town ignorant and unchanging, even though he's changed. | 39 | |
| 5151168569 | How to Tell a True War Story | Tim O'Brien, 1990 Each time someone tells a war story, it is different. Rat Kiley blows up and gets stuck in a tree. | 40 | |
| 5151168570 | An Ounce of Cure | Nameless person takes pledge to not get drunk. She was dating this guy and he breaks up with her. Depression, and went baby sitting. Saw the alcohol, and drank. It didn't hit until she drank a lot. The parents came back and she was drunk and looked like she was at a party. Irresponsible. | 41 | |
| 5151168571 | Love in LA | Dude crashes into a lady because he was thinking of his dreams. Tries to charm his way out of any responsibility by giving a fake number and insurance information. Reality check on how people don't make it. | 42 | |
| 5151170315 | Popular Mechanics | Parents were splitting and they were fighting about who would get the baby. | 43 | |
| 5151172347 | The Lady with a Pet Dog | A man sees a lady with a pet dog. Although both of them are married, they have a secret love affair. | 44 | |
| 5151173749 | The Things They Carried | Tim O'Brien, 1990 Showing us the characters and their features through what they carry. Methodical and chaotic at times, depending, Descriptions interspersed with philosophy. | 45 | |
| 5151173750 | Love | O'Brien Postwar story about | 46 | |
| 5151173751 | Spin | O'Brien Foreshadowing of later in the story. Vignettes written like a memory | 47 | |
| 5151179073 | On the Ramy River | O'Brien Confession - he was a dilemma between his being drafted against his beliefs and being a coward/fear of exile. He had a great future (full ride to Harvard, etc.) | 48 |
