Terms : Hide Images
| 8456637316 | Title | Original title that is descriptive and informative | 0 | |
| 8456637317 | Thesis | Thesis that asserts a claim and states it's significance | 1 | |
| 8456637318 | Tense | Writes consistently in 3rd person present tense (he goes to the park) | 2 | |
| 8456637319 | Plot and structure | The sequence of incidents or events through which an author constructs a story | 3 | |
| 8456637320 | Conflict | Clash of actions, ideas, desires, or wills-conflict may be physical, mental, emotional, or moral | 4 | |
| 8456637321 | Protagonist | Central character in conflict-simply the central character, not always the hero | 5 | |
| 8456637322 | Suspense | Increases a readers curiosity combined with the fate of a likeable, sympathetic character- closely linked with the elements of surprise | 6 | |
| 8456637323 | More suspense | Proportional to the unexpectedness of what happens, when the story departs radically from expectations, surprise ending one that features a sudden unexpected turn or twist | 7 | |
| 8456637324 | Writers use two common devices | Mystery and dilemma | 8 | |
| 8456637325 | Mystery | An unusual set of circumstances for which the reader craves an explanation | 9 | |
| 8456637326 | Dilemma | A position In which a character must choose between two courses of action, both undesirable, whether a story has a surprise ending it almost always has a happy ending | 10 | |
| 8456637327 | If fiction is to mirror human life | It must acknowledge human defeat as well | 11 | |
| 8456637328 | We need to expect and understand | Defeat as well as victory | 12 | |
| 8456637329 | Artistic unity | Does not include irrelevant information that does not contribute to the meaning or advance the central intention of the story, they don't select but arrange and must form a logical progression | 13 | |
| 8456637330 | Plot manipulation | When an author includes a turn in the plot that is unjustified by the situation of characters, such as an unmotivated action | 14 | |
| 8456637331 | Deus ex machina | Latin for god from machine, Greek practice of having a god descend from heaven at the last minute to rescue the protagonist, not convincing resolution in fiction, action should grow out of the plot rather than end with a chance resolution | 15 | |
| 8456637332 | Chance | The occurrence of an event that has no apparent cause in previous events or in predisposition of character, if the author uses an improbable chance event | 16 | |
| 8456637333 | Coincidence | The chance occurrence of two events that may have a peculiar correspondence, more problematic than chance, since it is chance compounded, may be used to initiate a story and to occasionally complicate it, but not resolve it | 17 | |
| 8456637334 | indirect characterization | Author subtly reveals the character through actions and interactions | 18 | |
| 8456637335 | Direct method usually has.. | Little emotional impact unless bolstered by the indirect | 19 | |
| 8456637336 | Stock character | Flat character, stereotyped figures who have recurred so often in fiction that we recognize them at once | 20 | |
| 8456637337 | Static character | Remains the same person from start to finish | 21 | |
| 8456637338 | Dynamic character | Undergoes distinct changes on outlook, character, and personality | 22 | |
| 8456637339 | Epiphany | A moment of spiritual insight into life or into the characters own circumstances | 23 | |
| 8456637340 | Theme | The controlling idea or insight to a piece of literature | 24 | |
| 8456637341 | Theme 2 | Unifying generalization about life stated or implied in a story, not all stories have a significant theme | 25 | |
| 8456637342 | Theme exists when | Author tries to reveal some truth in describing life, introduces a concept or theory of life that the story illuminates | 26 | |
| 8456637343 | Omniscient | Third person narrative who knows the whole story | 27 | |
| 8456637344 | third person limited | in third person limited the narrator only knows the thoughts and feelings of one character | 28 | |
| 8456637345 | first person point of view | a character in the story is actually telling the story himself/herself | 29 | |
| 8456637346 | Objective | Narrator can go anywhere but can't comment, intercept, or go into a characters mind | 30 | |
| 8456637347 | HTRLLAP violence | Symbolic, thematic, biblical, Shakespearean, romantic, allegorical, transcendent-relationship with the universe | 31 | |
| 8456637348 | Two examples of violence | Specific injury, physical to self or others very gory Narrative violence, suffering/death in the plot all have purpose | 32 | |
| 8456637349 | Allegories have one mission: | Convey a certain message | 33 | |
| 8456637350 | Tone | an attitude of a writer toward a subject or an audience Formal, informal, serious, comical, sarcastic, sad, cheerful, etc. | 34 | |
| 8456637351 | Diction | A style of speaking or writing determined by the choice of words by a speaker or writer | 35 | |
| 8456637352 | Syntax | The arrangement of words and phrases to create well-formed sentences in a language. | 36 | |
| 8456637353 | Imagery | Fig language to help create a mental picture | 37 |
