Writer's Glossary, Part I:
Elements of Fiction Construction
By Stephanie Lenz (Baker)

Welcome to the first of Toasted Cheese's new "Writer's Glossary" series.

This article defines elements of fiction construction (characters and story elements). These are some of the most common storytelling elements, ones that writers and readers use when speaking about the story. If you don't know what an editor meant when she said "the narrative didn't work for me" or "I enjoyed the relationship between the nemesis and the antagonist," this article might be the resource you've been hoping to find. Of course this glossary is not all-inclusive but it should give you a good foundation for you to perform further research.

The second Writer's Glossary is scheduled for October 2009 and will be about the business of writing and publishing.

People in the Story

Narrator: the voice within the work telling the story.

Protagonist: the main character.

Antagonist: a main character (or group) working against the protagonist.

Foil: a character whose contrast with another character, usually the protagonist, underscores aspects of the other character's personality. The characteristics they share are often superficial, such as appearance or a shared history.

Archetype: a generalization about individuals as created and reflected by the whole of a culture.

Stereotype: a generalization about a group of people, which varies among cultures often based on prejudice. Common stereotypes tend to be applied to ethnic, racial or economic groups or classes.

Stock character: more narrowly defined than archetypes, stock characters can act as shorthand for an author to introduce a character about whom the reader already has an expectation or knowledge.

 

Elements of the Story

Narrative: the telling of the events of the story by the narrator; the way in which the narrator communicates the story to the reader

Prose: a free form writing style which uses full sentences and paragraphs, reflective of everyday language.

Voice: the unique way in which a writer uses elements like syntax (word order), character development, plot structure, etc.

Plot: The main sequence of events. (See also.)

Act: a unit of the overall story. There are usually three acts: the first act establishes character, place and scenario, the second introduces and perpetuates conflict and the third includes the climax and dénouement (ending). Acts tend to take up ¼, ½ and ¼ of the story respectively.

Pace: the rate of flow for the action.

Theme: an idea or message conveyed in the work, usually conveyed in an abstract way. Themes may be simple or complex and there may be several minor themes in addition to a main theme in a long work.

Atmosphere: the mood of the story

Symbolism: something in your story used to evoke something else. Symbolism may be cultural/universal or contextual/authorial.

Tone: the feel of the work.

Cliché: a saying or expression that is so common it lacks substantial meaning.

Dialogue/dialog: words spoken by characters; written conversations.

Dialect: speech patterns, determined by factors like region or social class, including vocabulary, pronunciation and grammar.

Flashback: shifts the action of the story to a previous point in time and then back to current action.

Foreshadowing: hinting at an event which will come later in the story.

Frame: "surrounds" the main story as a narrative technique that provides context for the story within.

Metaphor/simile: connects seemingly unrelated objects (simile uses "like" or "as" to accomplish this). Specific metaphor types include:

Persona: usually refers to a unifying force throughout a book, linking different situations and narratives and guiding the reader through the work, sometimes subtly suggesting conclusions or opinions the reader should have about characters or situations, in the opinion of the author. The persona is not the same as the narrator.

Exposition: Opening narrative used to orient readers in the story.

Rising action: Narrative leading up to the climax.

Crisis: a turning point; a moment of decision; there may be several crises in long works of fiction or drama.

Climax: The height of action, the ultimate crisis or turning point where several elements combine to create "fireworks" (even though the climax may be a quiet moment with little action).

Falling action: Narrative following the climax, leading to the dénouement.

Dénouement: the resolution of the plot (sometimes called "catastrophe" in tragedy).

Catharsis: purification, cleansing or purging, often symbolic in literature.

POV: Point of view. Point of view is either first person ("I" or "we"), second person (narrative voice addresses the reader as "you") or third person (calls characters by name). Third-person POV may be limited (action shown through one character) or omniscient (action may be shown through any character's experiences). 

Narrative mode: encompasses POV and includes elements like stream of consciousness or the reliability of the narrator

Sequel/prequel: The events of a sequel fall after the events in a previous work. The events of a prequel come before the events of the previous work.

Info dump: A chunk of information, usually exposition, not integrated into the story, usually superfluous to the action

AYKB: "As you know, Bob…" Implausible dialogue often used to explain something to the reader that the characters already know; an "info dump" disguised as dialogue. Here are some examples from Dracula:

"It is the eve of St. George's Day. Do you not know that to-night, when the clock strikes midnight, all the evil things in the world will have full sway? Do you know where you are going, and what you are going to?" She was in such evident distress that I tried to comfort her, but without effect. Finally, she went down on her knees and implored me not to go; at least to wait a day or two before starting. –Bram Stoker, Dracula, Ch 1

When all was ready, Van Helsing said, "Before we do anything, let me tell you this. It is out of the lore and experience of the ancients and of all those who have studied the powers of the Un-Dead. When they become such, there comes with the change the curse of immortality. They cannot die, but must go on age after age adding new victims and multiplying the evils of the world. For all that die from the preying of the Un-dead become themselves Un-dead, and prey on their kind. And so the circle goes on ever widening, like as the ripples from a stone thrown in the water. Friend Arthur, if you had met that kiss which you know of before poor Lucy die, or again, last night when you open your arms to her, you would in time, when you had died, have become nosferatu, as they call it in Eastern Europe, and would for all time make more of those Un-Deads that so have filled us with horror. The career of this so unhappy dear lady is but just begun. Those children whose blood she sucked are not as yet so much the worse, but if she lives on, Un-Dead, more and more they lose their blood and by her power over them they come to her, and so she draw their blood with that so wicked mouth. But if she die in truth, then all cease. The tiny wounds of the throats disappear, and they go back to their play unknowing ever of what has been. But of the most blessed of all, when this now Un-Dead be made to rest as true dead, then the soul of the poor lady whom we love shall again be free. Instead of working wickedness by night and growing more debased in the assimilating of it by day, she shall take her place with the other Angels." –Bram Stoker, Dracula, Ch 16

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