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In fiction, style is the manner in which the author tells the story.
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There is little consensus regarding the number and composition of the fundamental elements of fiction, but style is sometimes included. Among other elements cited are character, plot, setting, and theme. Debate continues regarding the elements of fiction. [1]
There appears to be little consensus regarding the subject of style in fiction. The topics listed below are among the subjects listed as aspects of style, or of a writer\'s voice.
Fiction is a form of narrative, one of the four rhetorical modes of discourse. Fiction-writing also has destinct forms of expression, or modes, each with its own purposes and conventions. Agent and author Evan Marshall identifies five fiction-writing modes: action, summary, dialogue, feelings/thoughts, and background (Marshall 1998, pp. 143-165). Author and writing-instructor Jessica Page Morrell lists six delivery modes for fiction-writing: action, exposition, description, dialogue, summary, and transition (Morrell 2006, p. 127). Author Peter Selgin refers to methods, including action, dialogue, thoughts, summary, scene, and description (Selgin 2007, p. 38). Currently, there is no consensus within the writing community regarding the number and composition of fiction-writing modes and their uses. [2]
Summarization (also referred to as summary, narration, or narrative summary) is the fiction-writing mode whereby story events are condensed. The reader is told what happens, rather that having it shown (Marshall 1998, pp. 144-146). In the fiction-writing axiom "Show, don\'t tell" the "tell" is often in the form of summarization.
Summarization has important uses:
The main advantage of summary is that it takes up less space (Selgin 2007, p. 31). According to author Orson Scott Card, either action or summarization could be right, either could be wrong. Factors such as rhythm, pace, and tone come into play. The objective is to get the right balance between telling versus showing, action versus summarization (Card 1988, pp. 140-142). The appropriate use of summarization is a matter of ongoing discussion among fiction writers and writing coaches.[3]
Introspection (also referred to as internal dialogue, interior monologue, self-talk) is the fiction-writing mode used to convey a character\'s thoughts. As explained by Renni Browne and Dave King, "One of the great gifts of literature is that it allows for the expression of unexpressed thoughts . . ." (Browne and King 2004, p. 117). According to Nancy Kress, a character\'s thoughts can greatly enhance a story: deepening characterization, increasing tension, and widening the scope of a story (Kress 2003, p. 38). As outlined by Jack M. Bickham, thought plays a critical role in both scene and sequel (Bickham 1993, pp. 12-22, 50-58). Among authors and writing coaches, there appears to be little consensus regarding the importance of introspection [4] and how it is best presented. [5]
The narrator is the teller of the story, the orator, doing the mouthwork, or its in-print equivalent. A writer is faced with many choices regarding the narrator of a story: first-person narrative, third-person narrative, unreliable narrator, stream-of-consciousness writing. A narrator may be either obtrusive or unobtrusive, depending on the author\'s intended relationship between himself, the narrator, the point-of-view character, and the reader [6].
Point of view is from whose consciousness the reader hears, sees, and feels the story.
Allegory is a work of fiction in which the symbols, characters, and events come to represent, in somewhat point-by-point fashion, a different metaphysical, political, or social situation.
Symbolism refers to any object or person which represents something else. Allegory is the representation of ideas or principles by characters, figures, or events in a story.
Tone refers to the attitude that a story creates toward its subject matter. Tone may be formal, informal, intimate, solemn, somber, playful, serious, ironic, condescending, or many other possible attitudes. Tone is sometimes referred to as the mood that the author establishes within the story.
Diction, in its original, primary meaning, refers to the writer\'s or the speaker\'s distinctive vocabulary choices and style of expression. Literary diction analysis reveals how a passage establishes tone and characterization; for example, a preponderance of verbs relating physical movement suggests an active character, while a preponderance of verbs relating states of mind portrays an introspective character.
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