Literary Genres

- Categories used to group different types of literary works, such as nonfiction, fiction, fantasy,
informational and poetry.

THREE MAJOR CATEGORIES

1. Fiction

2. Nonfiction

3. Others

GENRE – FICTION

- Fantasy - Historical Fiction - Horror

- Humor - Mystery/ Suspense - Realistic Fiction
- Science Fiction - Historical Fiction -Traditional Literature

FANTASY

- A story based on things that could not happen in real life. (talking animals, magic, etc.)

Ex: Harry Potter, The Wizard of Oz, Artemis Fowl, Twilight

HISTORICAL FICTION

- A fictional story that takes place in a particular time/ period in the past. Often the settings is real
, but the characters are made up from the authors imagination.

EX: Louis Lowry, Little House on the Prairie, Anne of Green Gables, A Christmas Carol

HORROR

- A story which is intended to, or has the capacity to frighten its readers, including its feelings of
horror and terror. It creates an eerie atmosphere.

Ex: Frakenstein, Dracula, Dr. Jekyll and Mr. Hyde

HUMOR

- A story full of fun, fancy, and excitement meant to entertain the reader.

Ex: The Adventures of Captain Underpants, Junie Jones and Her Big Fat Mouth.

MYSTERY/ SUSPENSE

- A suspenseful story about a puzzling event that is not solved until the end of the story.
Ex: The Tower Treasure, Sherlock Holmes

REALISTIC FICTION

- A story using a made-up characters that could happen in real life

Ex: Crossing the Wire, Hatchet, Holes

SCIENCE FICTION

- A story in which the imaginary elements could be scientifically possible. (robots, time machines,
etc.)

Ex: Transformers, Star Wars, The Adventure of Superman

SHORT STORY

- A work of fiction that presents a sequence of events or plot that deals with a conflict.

Ex: A Tell-Tale Heart

TRADITIONAL LITERATURE

- A stories that are passed down from one group to another in history. This includes folktales,
legends, fables, parables, fairy tales and myths from different culture.

Ex: Three Little Pigs, Cinderella, Rapunzel

GENRE- NONFICTION

1. Essay

2. Informational

3. Literary Nonfiction

ESSAY

- A short literary composition on a single subject.

Ex: Women’s Letters

INFORMATIONAL

- Text that provides facts and information about a variety of topics

Ex: Tutankhamun

LITERARY NONFICTION
 - A nonfiction that tells a story.

Ex: Diary of Anne Frank

OTHER GENRES

1. Drama

2. Poetry

DRAMA

- Literature that is intended to be performed before an audience; a play or an opera.

Ex: Hamlet, Romeo and Juliet, Phantom of the Opera

POETRY

- A verse written to create a response of thoughts, and feelings from the reader. It often uses
rhythm and rhyme to help convey its meaning.

Ex: Annabel Lee

WHAT IS CREATIVE NONFICTION?

- It involves writing about personal experience, a real people, or events. It is writing about facts
rather than fiction. The writer can create about anything, such as personal experiences, current
events, or issues in the public eye. The writer can also inject personal thoughts, feelings, or
opinions into the writing. Often, the writer can also uses the first person “I”. Popular types of
creative nonfiction includes the personal essay, memoir, autobiography, literary journalistic
essay, travelogue, and food writing. Creative Nonfiction is also known us LITERARY JOURNALISM

HOW TO WRITE CREATIVE NONFICTION?

- The creative nonfiction writer produces a personal essay, memoir, travel piece, and so forth
with a variety of techniques, writing tools, and methods. He/She is required to use the elements
of nonfiction , literary device of fiction and what Lee Gutkind called “The 5R’s of creative
nonfiction”. The following a brief explanation of each.

ELEMENTS OF CREATIVE NONFICTION

- The creative nonfiction writer of ten incorporates several elements of nonfiction when writing a
memoir, personal essay, travel writing and so on. The following is a brief explanation of the
most common elements of nonfiction.

1. FACT

- The writing must be based on fact, rather than fiction. It cannot be made.
 2. EXTENSIVE RESEARCH

- The piece of writing is based on primary research, such as interview on personal experience,
and often secondary research such as gathering information from books, magazines, and
newspapers.

3. REPORTAGE/ REPORTING

- the writer must be able to document events or personal experiences.

4. PERSONAL EXPERIENCE AND PERSONAL OPINION

- Often, the writer includes personal experience, feelings, thoughts, and opinions. For instance,
when writing a personal essay or memoir.

5. EXPLANATION/ EXPOSITION

- The writer is required to explain the personal experience or topic to the reader.

6. ESSAY FORMAT

- Creative nonfiction is often written in essay format.

Ex: Personal essay, journalistic essay, brief essay

LITERARY ELEMENTS

- Creative Nonfiction is the literature of fact. Yet, the creative nonfiction writer utilizes many of
the literary device of fiction writing. The following is a list of the most common literary devices
that the writer incorporates to their nonfiction writing.

1. STORY TELLING/ NARRATION

- The writer needs to be able to tell his/her story. A good story includes an exciting incident, a
goal, challenges and obstacles, a turning point and resolution of the story.

2. CHARACTER

- the nonfiction piece often requires a main character.

Ex: if a writer is creating his/her memoir, then the writer is the central character.

3. SETTING AND SCENE

- the writer creates scenes that are action oriented; includes dialogue and contains a vivid
description.

4. PLOT AND PLOT STRUCTURE

 - these are the main events that makes up the story. In a personal essay, there might only be
one event. In a memoir, there are often several significant events.

5. FIGURATIVE LANGUAGE

- The writer often uses simile, metaphor to create an interesting piece of creative nonfiction.

6. IMAGERY

- the writer constructs “word picture” using sensory language. Imagery can be literal or
figurative.

7. POINT OF VIEW

- often, the writer uses the first person “I”

8. DIALOGUE

- these are the conversation spoken between people. It is an important component of creative
nonfiction.

9. THEME

- There is a central idea that is weaved through the essay or work. Often, the theme reveals the
universal truth.

THE 5R’S OF CREATIVE NONFICTION

Lee Gutkind, who is a writer, professor, and expert in creative nonfiction, wrote an essay called
“The 5R’s of Creative Nonfiction”. In this essay he identified five essential elements of creative
nonfiction. These includes”

1. CREATIVE NONFICTION HAS A “REAL-LIFE”ASPECTS

- The writer constructs a personal essay memoir and so forth , that is based on personal
experience. He also writes about real people and true events.

2. CREATIVE NONFICTION IS BASED ON THE WRITER ENGAGING IN PERSONAL “REFLECTION”

- about what he/she I writing about. After gathering information, the writer needs to analyze
and assess what he/she has collected. He then must evaluate it and express his thoughts, views, and
opinion. Personal opinion is permissible and encouraged.

3. CREATIVE NONFICTION REQUIRES THE WRITER’S COMPLETE RESEARCH

- The writer needs to conduct research to learn about the topic. The writer also needs to
complete research to discover what has been written about the topic. Even if the writer is crafting a
personal essay, he will need to complete a secondary research , such as reviewing a personal journal or
primary research, such as interviewing a friend to ensure that the information is truthful and factual.

4. FOURTH OF ASPECT IS READING

- Reading while conducting research is not sufficient. The writer must read the work of the
master’s of his profession.

5. WRITING

- Writing creative nonfiction is both an art and craft. The art of creative nonfiction requires that
the writers use his talents, instinct, creative abilities and imagination to write memorable creative
nonfiction. The craft of creative nonfiction requires that the writer learn and deploy the style an
techniques of creative nonfiction in his/ her work.

WHAT IS THEME?

- What makes a story linger in our hearts and minds long after we’re read it often is the idea on
which the story is built. – its THEME

THEME

- The central idea, or insight about life or human behavior that a story reveals
- * Living a simple life leads to greater personal freedom
- * The deepest loneliness is sometimes felt when he are among friends.
- In most stories, the theme is not stated directly. Instead, it is revealed to us through the
character’s experiences.

UNIVERSAL THEME

Different writers from different cultures often express similar themes.

- A theme is a generalization about life or human nature.

- Certain types of experiences are common to all people everywhere.
- It come up again and again in literature.
- Deal with the basic human concerns – good and evil, life and death, love and loss.
- Shine a light on our common experiences.
- Can help guide us through our lives.

FINDING THE THEME

Keep the following guidelines in mind when you want to find and state the theme of a work.

Note: The theme is not the same thing as subject.

1. The subject is simply the topic. It can be stated in a single word such as loyalty.

2. The theme makes some revelation about the subject and should be expressed in a sentence.

Ex: “Loyalty to a leader is not always noble.”

3. Writers often express theme through what they learned as characteristics.

- Does the main character change?

- Does a character realized something he/she did not know before.

CONFLICTS HELP REVEAL THE THEME

- What is the conflict or struggle between opposing forces that the main character faces?
- How is the conflict resolved?

Ex:

Conflict: Two friends find a wallet. One friend wants to return it to the owner, the other wants to keep
it.

Resolution: They return the wallet and share a small reward.

Theme: People are often rewarded for making the right decision.

FINDING THE THEME…..

- Sometimes the title gives clues

 Does the title have a special meaning?
 Does it point to the theme?
- The theme applies to the entire work
 Test your statement of the theme. Does it apply to the whole work, not just to parts of it?
- There is no single way to state theme.
 People may express the same theme in different words.
 There may be different opinions about what the main theme is.
 The most meaningful literary works often have more than one theme.

TEACHING PLOT STRUCTURE THROUGH SHORT STORIES

Climax Falling Action

Beginning/Exposition Rising action End/ Resolution

PLOT
 - Is a literary element that describes the structure of a story. It shows the usual arrangement of
events and actions within the story.

TYPES OF LINEAR PLOT

Plot can be told in:

 Chronological order
 Flashback
 En Medias Res (in the middle of the things) when the story starts in the middle of the action
without exposition.

PYRAMID PLOT STRUCTURE

- The most basic and traditional form of plot is the pyramid-shaped.

- This structure has been described in more detail by Aristotle and by Gustav Freytag.

ARISTOTLE UNIFIED PLOT

Middle

Beginning End

- The basic triangle- shaped plot structure was described by Aristotle in 350 B.C.E. Aristotle used
the beginning, middle, and end structure to described a story that moved along a linear path,
following a chain of cause and effect as it works towards a solution of a conflict or crisis.

Freytag’s Plot Structure

- Freytag modifies Aristotle system by adding a rising action (or complication) or a falling action to
the structure. Freytag used five part design shown above to describe a story’s plot.
 - Freytag’s pyramid is often modified so that it extends slightly before and after the primary rising
action and falling action.

PLOT COMPONENTS

1. EXPOSITION

- the start of the story, the situation before the action starts.

2. RISING ACTION

- The series of conflicts and crisis in the story that leads to the climax.

3. CLIMAX

- The turning point; the most intense moment, either mentally or in action.

4. FALLING ACTION

- All of the action which follows the climax.

5. RESOLUTION

- The conclusion, the tying together of all threads.

CONFLICT

 Is a dramatic struggle between two forces in a story. Without conflict, there is no plot.

TYPES OF CONFLICT

1. INTERPERSONAL CONFLICT

- Man vs. Man

- Man vs. Nature

- Man vs. Society

2. INTERNAL CONFLICT

- Man vs. Himself

CHARACTERS AND CHARACTERIZATION

All stories have characters….

 Characters are fictive or real persons that think, act, or are acted upon in a narrative.
 The term plot-driven is sometimes used to describe fiction in which a preconceived storyline
is the main thrust, with the characters behavior being molded by this inevitable sequence of
 events. Plot-driven is regarded as being the opposite of character-driven, in which the
characters are the main focus of the work.

NOT ALL CHARACTERS ARE PEOPLE

 Characters can be any psychological presence or personality.

*Animals *Artificial Intelligence *Even Objects
*Robots *Magical Beings
*Aliens *Spirits/Ghosts

CHARACTERIZATION

 Is the many that characters are constructed for the audience member. The narrator can
explicitly provide character information or can provide information that implies things about
a character.

MEANS OF CONVEYING CHARACTER`S INFORMATION TO THE AUDIENCE.

 The narrator can describe the character directly:

* “She was tall and muscular, but with dark eyes and soft voice.”
 Other characters can describe her
*To another character
*To himself (internal focalization)
 The character can describe herself
*To another character
*Internal focalization (VO)
 A character`s action and thought can provide clues to the character`s personality, etc.
*Actions and thoughts can be revealed directly or through focalization techniques, other
characters talk, etc.

FLAT VS. Round Characters

 The depth with which the character is presented determines whether the characters is
“round” (deep) or “flat (shallow).

Round Characters

 Round character are fully developed by an author, physically, mentally, and emotionally and
are detailed enough to seem real.
 Rarely can more than a flow character`s be “round’
 *Too much detail, time spent in development, etc.
*Stereotypic characters are efficient
*Usually only main characters are round

Flat Characters

 Flat characters are distinguished by their lack of detail and depth

 Supporting characters are usually flat, as most minor roles do not require a great deal of
complexity.

Stock Characters

 A number of stereotypical, or ‘stock’ characters, have developed throughout the history of

drama.
*E.g. , country bum plan, con artist ,city slicker.
 Stock characters are often flat characters, though elements of stock character can be found in
round character as well.
 Stock characters are defined more by their role in the narrative than by their personality.
*The sidekick
*The prostitute with a heart of gold
*The head killer
*The well-meaning but clueless parents
*The unknown soldier brought along just to be killed

Propp`s Character Roles

 Propp concluded that all the characters could be resolved into ONLY 1 brood character types in
the 100 Russian Folks Tales he analyzed.
 The villain-struggles against hero.
 The donor-prepares the hero or gives the hero some magical objects.
 The (magical) helper-helps the hero in the quest.
 The princess and her father-gives the task to the hero, identifies the false hero, marries the
hero, often fought for during the narrative.
*Propp noted that functionally, the princess and the father cannot be clearly distinguished.
 The dispatcher-characters who make the lack known and sends the hero off.
 The hero or victim/anti-hero/usurper-takes credit for the hero’s action or tries to marry the
princess.
 These roles can sometimes be distributed among various characters.
*E.g. , the hero kills the villain dragon ,and the dragon`s sisters take on the villainous roles
of chasing him.
 A single character could take on more than one role
*E.g. , a father could send his son on a quest and give him a sword acting as both
dispatcher and donor.
DYNAMIC VS STATIC CHARACTERS

 A dynamic character is one who changes significantly during the course of the story.
*change in insight or understanding
*changes in commitment
*changes in values
 Protagonist are often dynamic characters
*being changed by a quest
*coming of age
*gaining insight and wisdom

DIMENSIONS OF CHARACTERIZATION

* Physical Appearance * Personality * Relationship

* Capabilities * Behavior

* Demographics * Role

WHAT MAKES A GOOD CHARACTER?

 Audience members can relate to him

*One of the most important influences over the emotion generated in watching a
narrative is whether the audience members can identify with the characters.

*Different audience members may identify with different characters.

NARRATOR`S PERSPECTIVE (POINT OF VIEW)

-The author makes a deliberate choice in which point of view to use.

-The point of view influences the plot. It affects how much information and the type of information
that is revealed to the audience.

NARRATOR

The one who tells the story.

CHARACTERS
 Everyone else in the story.

First-Person Narration

THE STORY

CHARACTERS I or WE the

NARRATOR

The narrator is involved in the story.

FIRST -Person tells “me” or “my” story.

Example: I went to the state with my friend. The clerk said, “Hi” we bought candy left.

Who is telling the story?

 In FIRST –Person the narrator is “ I “ or “ WE”

Second-Person Narration

The Story

Characters
You
If Any
The Reader

The reader`s actions are narrated.

Second-Person tells “your” story.

 Example: YOU stayed up late last night and now YOU`RE tired, but YOU need to pass class.

From whose perspective is the story told?

 In Second-Person the perspective of “YOU” is narrated.

 It is mainly used for instruction or directions.

Third-Person Narration

The Story

Characters

Narrator “He”

“She”

“They”

The narrator is outside of the story.

Third-Person tells “his” or “her” story. Also will refer to character by name.

Example: Chris loved basketball. Every day he played after school when it got dark, he watched it
on TV.

From whose perspective is the story told?

 In Third-Person the perspective of “he” or “she” is narrated.

DIALOGUE AND NARRATION

Dialogue-When characters speak.

Narration-When the narrator’s speaks.

I went home, my mom said, “Did you get out early?” I said “No.”

ONLY LOOK AT THE Narration, or YOU`LL GET CONPUSED.

 STORY SETTING
 You can start your story by thinking about the setting.

Where does your

story take place?

What is the Is it inside or

What time of
weather like? outside?
day is it?

MANIPULATE THE READER WITH THE SETTING

Use place as well as the weather, time of the day and season, to create a setting. After all, a
walk along a lane on a summery afternoon creates one atmosphere but the same lane on a dark wintry
night would feel very different.

USE DETAIL TO BRING THE SETTING ALIVE-BASE THIS ON SENSE IMPRESSIONS

 What can be seen, heard, smell, touched, and tasted?

 If the reader is to enter your world, s/he needs to be able to:
*see it *touch it *smell it
*hear it *taste it

BASE SETTING ON PLACES THAT YOU KNOW-PLUS SOME INVENTED DETAIL

 Think of places where you have been

  Close your eyes and look at all the details around you. What can you see?
 Now use your imagination to change the place. Add some interesting details.

 Do you want details to make your setting seem:

*dangerous? *safe?
*frightening? *peaceful?
*fun? *strange/imaginary?

USE THE SETTING TO CREATE ATMOSPHERE

 For instance, you might use a frightening place such as an empty house, or you can take a very
ordinary place and make it seem story by making it see in visual, dark and cold.

REMEMBER: Do not get bogged down in too much description or you will lose the pace of the narrative.

USE REAL OR INVENTED NAMES THAT BRING PLACES ALIVE

 Names help to make your setting more real and more believable.
 A boy walked down a street shows vs. nothing but “Legs o Noil lumped down butcher`s row”
starts to catch our imagination.

Once you have built the setting you can bring in the characters. Who is there and why?

SYMBOLISM

Where DO we get Symbols?

What does each of these symbols stands for? Why do you think they have?

JUSTICE LOVE LUCK

 SYMBOLS OF LITERATURE
WRITERS USE SYMBOL TO:

 Suggest layers of meaning that a simple, literal statement could never convey.
 Speak more powerfully to the reader`s emotions and imagination.
 Make their stories rich and memorable.

SYMBOL

-is ordinary object, events, person, or animal to which we have attached a special meaning.

 Symbolism is a 19th-century movement in which art became infused with exaggerated sensitivity
and a spooky mysticism. It was a continuation of the ROMANTIC tradition, which include such
artists as John Henry Fuseli and Caspar David Friedrich.
 The leading symbolism included Gustave Moreau, Puvis de Chavannes and Odilon Redon.

WHAT ARE THE SOME EXAMPLE OF SYMBOLISM

The following are common symbols used in literary works:

 Symbols referring to domination:

FIRE, FLAMES, HEAT, HOT TEMPERATURE
 Symbols referring to salvation:
CROSSES, ANGELS, HALDES, CLOUDS, CHURCHES
 Symbols referring to reincarnation or reinvention:
PHOENIX, RISING FROM FLAMES, CROSSES, RAINBOWS, PASSING, STORM, DAWN,
SUNRISE, BROKEN CHAINS
 Symbols referring to death or ending:
GRAVE STONES, CEMENTARIES, GRIM REAPPER, DAY OF THE DEAD SKULLS, CANDLE
BLOWING OUT, COFFIN, RINGING OF BELL

HOW DO WRITERS USSE SYMBOLS?

  Writers insert symbols into their writing to allude to a feeling, mood or attitude without directly
stating the perspective or mood intended.
SYMBOLISM is supplement to the story.
 Encourage your students to try using symbolism to supplement their work as they write short
stories or poetry. Help them weave the symbols into the stories so that the symbols support the
story line, and mood, rather staying out like an obvious literary device.

Symbolism in Writing

 Symbolism is used to provide meaning to the writing beyond what is actually being describe.
 Plot and action are one level in the story, symbolism is another level.
 The theme is represented on a physical level.
Example:
A storm occurring when there is conflict or high emotions.
Transition from day to night might move from goodness to evil.

Examples from Literature

Harry Potter

Could be seen as containing a lot of symbolism, although there are many interpretations as there are
creatures in the books. One clear symbol is a commonly used one – the use of the snake to represent
evil. It is no coincidence that the symbol of Slytherin House is a serpent.

 Symbolism is a typical element of literary fiction. Authors include symbolism in their worth to
give it deeper meaning; using figurative language and description.
 Symbolism is the implied or interpreted being of an objects or ritual found in writing, art and
customs.

FIGURES OF SPEECH
 It is a rhetorical device that achieves a special effect by using words indistinctive ways.
 Using original figures of speech in writing is a way to convey meanings in fresh and
unexpected ways.

SIMILE
  It is a direct comparison between two things different from each other that have certain
qualities in common. It is usually formed with “like” or “as”.
*Her beauty is like a rose.
*Love is like a rosary that is full of mystery.
*Maria thinks like a computer.
*Senny walks like a duck.

METAPHOR

 It is an implied comparison between two unlike things that actually have something important in
common. It doesn`t use “like” or “as”.
*Gretchen is the rose in the family.
*Love is a rosary that is full of mystery.
*Her mind is a sponge.
*Sann is the dictionary of the group.

ONOMATOPOEIA

 It is the use of the words that imitate the sounds of nature of the sound associated with the
objects or actions they refer to.
*The ringing of the phone annoys the croc.
*Tick-tock-tick-tock, the mouse went up the clock.
*Bang! Bang! Bang!
*I love to hear the chirping of the bird early in the morning.

METONYMY

 It is a figure of speech in which one word or phrase is substituted for another with which is
closely associated.
*You have to fight for the crown.
*The Malacañang Palace ordered for the arrest of rice smugglers in the country.
*The school forces you to wake up early in the early.

SYNECDOCHE

 A figure of speech in which a part is used to represent the whole or the whole for a part.
*Sails refer to the whole ship.
*Gray beards refer to the old man.
*Minds refer to thinkers.
*Hands refer to workers.
* Marching feet refer to soldier.
OXYMORON

 A figure of speech in which incongruous or contradictory terms appears side by side.

*Open secret
*Deafening silence
*Bitter Sweet
*Original copy
*Seriously funny

PARADOX

 It is a statement that appears to contradict itself but include a latent truth.

*Your enemy`s friends is your enemy.
*I must be cruel to be kind.
* Truth is honey which is bitter.
* I can resist anything but temptation.
*All animals are equal, but some are more equal than the others.

HYPERBOLE

 It is an extravagant statement; the use of exaggerated terms for the purpose of emphasis or
heightened effect.
*I will wait for you forever.
*Agatha cried a river when her boyfriend died.
*Romeo is willing to cross the ocean just to follow Juliet.
*I forget everything every time I see you smile.

UNDERSTATEMENT

 A figure of speech in which a writer or speaker deliberate makes a situation seem less important
or serious than it is.
* I have to have this operation. It isn`t serious. I just have this little tumor on the brain.
*The exam is easy for me. I just can`t answer problems 1 to 5 in the last page.

LITOTES
  A figure of speech consisting of an understatement in which an affirmative is expressed by
negating its opposites.
*The ice cream was not too bad.
*New York is not an ordinary city.
*I cannot disagree with your point of view.
*Your comments on the issue are not useless.
*I am not as young as I used to be.

IRONY

 It is the use of words to convey the opposite of their literal meaning is the contradicted by the
appearance or presentation of the idea.
3 TYPES OF IRONY
Verbal Irony –refers to what is said is different from what is being meant.
Situational Irony –refers to the opposites of what is being expected.
Dramatic Irony –develops when the characters’ act to show their ignorance to a situation which
the audiences are aware.
*Oh great! Now you have broken my new camera.
*You laughed at your classmate who has a low score in the exam`s and the next thing
you know your score is lower than his.
*This butter is soft as a marble piece.

ALLUSION

 It is a brief and indirect reference to a person, place or thing of historical culture, literary or
political significance.
*Don`t act like Romeo in front of her.
*This place is like a Garden of Eden.
*Robert is the new Rizal in our section.
*The rise of poverty will unlock the Pandora`s box of crimes.

APOSTROPHE

 This is used to address some absent or thing. Some abstract quality, an inanimate objects or a
non-existent character`s as if they are present.
*O death, please go away. I am not ready yet.
*Our father in heaven, help us save the mainland.
*Where are your peace in this time of chorus?

ALLITERATION
  It is the repetition of initial consonant sound.
*Peter piper picked a peck of pickled pepper.
*She sell sea shells in the sea shore.
*Silly sally sing the song “Silly Sally Song”

ASSONANCE

 It is the repetition of internal sound in neighboring words.

*I feel depressed in and restless.
*Go and mow the loan.
*Johny went here and there and everywhere.

PUN

 Play on words, sometimes of different senses of the same time I some some and sometimes on
the similar sence or sound of different words.
*A happy life depends on the liver.
*Atheism is a non-prophet institution.
*Why do we have still troops in Germany? To keep the Russian`s Uzech.
*An elephant`s opinion carries a lot of weight.

EUPHEMISM

 It is the substitution of an inoffensive term for me considered offensively explicit.

*You are becoming a little thin at a top. (bald)
*My friend is in the farming hay. (pregnant)
*We do not hire mentally challenged (stupid) people.
*Do you have a wooden inter-dental stimulator here?

ANAPHORA

 It is the repetition of the same word or phrase at the beginning of successive clause or verses.
*My life is my purpose. My life is goal. My life is my inspiration.

CHIAMUS

 It is a verbal pattern in which the second half of an expression is balanced against the first but
with the parts reversed.
*Never let a fool kiss you or a kiss fool you.
 *Love is what makes you keep waiting to be with each other, even when you have no
desire to do it.
*Do you love me because you need me or do I need you because I love you?
*But many that are first shall be lost, and the last shall be first.
*Remember to forget what you want to remember and remember what you want to
forget.

ANTITHESIS

 Antithesis, literal meaning opposite, is a rhetorical device in which two opposite ideas are put
together in a sentence to achieve a contracting effect.
 Antithesis emphasized the idea of contrast by parallel structures of the contrasted phrases or
clause; i.e. the structures of phrase and clause are similar in order to draw the attention of the
listeners or readers.
*Setting foot to the may be a single step for a man a lot but a giant step for
mankind.
*Money is the root of an evil: poverty is the fruit of all goodness.
*You are easy on the eyes, but hard on the heart.

WRITING DIALOGUE

DIALOGUE INTRODUCTION

 Dialogue should be true to life, but it cannot be exactly true.

 Real speech is open aimless, or unfinished.
 Thus, the trick is to write dialogue that seems real, but that is easy for the audience to follow.

Devices that will help your dialogue together…

REPETITION

 One character picks up on a word that another character has just said.
 Characters 1: “You`re not open to any news ideas. You won`t even listen to a word about
immigration!”
 Character 2: “A word! I`ve listened to volumes!”

INTERRUPTIONS

 One character breaks in on another, completing the first character`s line.

  Character 1: “If only we could get enough— “
 Character 2: “Hard cash?”

TAGS

 In writing dialogue for a story, you start a new paragraph each time the speaker changes. Using
tags help the reader to know who is speaking.
 “I`d really like you to sit down.” She said.
 He whinned, “I`m tired of watching this movie.”
 “What are you doing?” she asked.
 “That’s stupid, “ hissed Julia viciously.

USE ACTIONS

 Instead of getting in the TAG RUT, try incorporating some action.

 She pointed across the room, ‘Get over there!”
 She slammed her hands down on the table, “No!”

MORE TIPS!

 Don`t create non-parts with your characters in dialogue. This is the agreeing, nodding, uh-huh-
ing character.
 Work to reveal information from both sides of the conversation.

And watch the punctuation…

In his usual rush, orion tumbled through the door. ‘MOM, I`m home,” he shouted.
“Take your shoes off,” she called.
“Did you take your shoes off?” he sassed back.

AUTOBIOGRAPHY, BIOGRAPHY AND MEMOIR

BIOGRAPHY

BIOGRAPHY

 A branch of non-fiction:
 Tells the story of the life- or part of the life – of a real person.
 Focus on the person`s relation to historical event`s going on at the time.

NOW…
 Writers/publisher view biography as a chance for children to learn about the lives and times of
people who have made a significant impact on the world.

BIOGRAPHY

 Contemporary people living out their lives.

One Boy from Kosovo
By: Trish Marx

VILLAINS:

The life and death of Adolf Hitler

By: James Cross Giblin

Good Brother, Bad Brother: The story of Edwin Booth and John Wilkes Booth

By: James Cross Giblin

 People like biographies about people they are interested in:

 Sports biography/ biographies are a wonderful way to engage a non-reader.

EVALUATING BIOGRAPHY

May include:

*List of Sources *Glossary

*Source of notes *Photographs

*Bibliography

 Setting are clearly and accurately depicted.

 Full of interesting social details.
 Linked to the development of the subject`s character and accomplishment.
 Plots blend factual background with a good story.
 Distinguished between fact and opinion.
 Subject`s portrayed as multi-dimension – with strengths and weakness,

MEMOIR

 Based on events in the life of the authors.

 The author selects certain events from their life to bring out a particular theme. (i.e. Holocaust
memoirs)
 Not meant to be a source of facts, but a story of the subject’s life in the subjects own words.
MEMOIR AND AUTOBIOGRAPHY

Memoir is less grounded in fact-based on memory and perception.

 Events are interpretive

 Usually have some theme
*growing up
*remaining true to culture
*determination

AUTOBIOGRAPHY AND BIOGRAPHY: Typical move between birth and fame

Autobiography is written BY THE PERSON THE BOOK IS ABOUT

Biography can be written by anyone

Memoir: a collection of moments, like snapshots that bring out some truth about the writer`s life.

Non-elements books about people

 Biography
 Autobiography
 Memoirs

BIOGRAPHY

Bi-ag-ra-phy: (bīˈäɡrəfē/ )

 An account of a person`s life written, composed, or produced by another. A film biography of

Adlai Stevenson; an oral biography.
 Biographies considered as group, especially when regarded as a genre.
 The writing, composition, or production of biographies a carrier actively devoted to biography.

AUTOBIOGRAPHY

n-pi. Au- to- bi- og- ra- phies /ˌôdəbīˈäɡrəfē/

 The biography of a person written that person.

MEMOIRS

Mem- oir (ˈmemˌwär )

 An account of the personal experiences of an author.

  An autobiography often used in the plural.
 A biography or biographical sketch.
 A report, especially on a scientific or scholarly topic
MEMOIRS- the report of the proceeding of a learned society.

THE TEN ELEMENTS

*Birthdate and Place *Reason for fame

*Family members *Later life/ Old age

*Childhood and school life *Death

*Hobbies, interest and activities *Photos and Likenesses

*Anecdotes *Career

BIRHTPLACE AND DATE

 When was the person born?

 Where was the person born?
 Why was the family in that location at that time?

FAMILY MEMBERS

 Birth order
 Spouse, children
 Any other members of the family who were notable in some way.

CHILDHOOD AND SCHOOL LIFE

 Interesting stories about childhood or school

 Early achievements
 Any events that had impact on their or school.

HOBBIES, INTEREST AND ACTIVITIES

 Do the person`s hobbies or activities make them more interesting?

 Do the hobbies/ activities have a beating on why they have a biography about them?
 Do the hobbies/ activities relate to other aspects of their life?

ANECDOTES

 Interesting stories about why they are famous

 Interesting stories about the impact they have had on others
CAREER

 Is their career why they have a book written about them?

 Is their job similar or different from their hobbies and activities?
 Have they made significant contributions to mankind through their job?

REASON FOR FAME

 What did they do that caused someone to want to write a book about them?
 At what point in their life did they become famous?

LATER LEFE/ OLD AGE

 What did they do near the end of their life?

 Did they contribute to society, enjoy life, continue working?
 Were they honored in their lifetime for their achievement?

DEATH

 When and where did they die?

 Was there anything unsual or significant about their death?
(EX. Thomas Jefferson and John Adams both died on July 4, 1826)

PHOTOS AND LIKENESS

 Photographs or artist rendering of the person may be included.

LITERARY JORNALISM

(Narrative Journalism)

 A form of non-fiction that combines factual reporting with some of the narrative
techniques and stylistic strategies typically associated with fiction.
 Although the terms are often used interchangeably, literally journalism a form of
creative non-fiction (a genre).

CREATIVE NON-FICTION & LITERARY JOURNALISM

Some characteristic:

Immersion reporting Symbolism Accuracy

Complicated structures Voice

Character development A focus on ordinary people

4 MAIN RULES

 Literary journalists immerse themselves in subject’s worlds.

 Literary journalists work out implicit covenant about accuracy and condor
 Literary journalists write mostly about routine events.
 Literary journalists develop meaning by building upon the reader’s sequential reactions.