Short StoriesShort Stories

ReviewReview

Guiding QuestionGuiding Question

How can How can storiesstories help help us make sense of our us make sense of our

world?world?……Short stories are one way Short stories are one way

- One way Stephen King sometimes choosesOne way Stephen King sometimes chooses- Ex. Children of the Corn, The Things They Left BehindEx. Children of the Corn, The Things They Left Behind

Five BIG Ideas of the UnitFive BIG Ideas of the Unit

1.1. To appreciate a genre of writing we must be able To appreciate a genre of writing we must be able to recognize and understand its form and to recognize and understand its form and structure (The Elements of Fiction)structure (The Elements of Fiction)

2.2. Through fiction, authors expose us to some of Through fiction, authors expose us to some of many different ideologies, identities and positions many different ideologies, identities and positions that exist in our worldthat exist in our world

3.3. Responding to the issues, themes and situations Responding to the issues, themes and situations in the stories we read helps us make sense of the in the stories we read helps us make sense of the worldworld

4.4. Authors craft stories to guide our reading. They Authors craft stories to guide our reading. They use various techniques to shape the meaning and use various techniques to shape the meaning and impact of their storiesimpact of their stories

5.5. Strategic readers are aware of these “Rules of Strategic readers are aware of these “Rules of Notice” and read with an eye for noticing what is Notice” and read with an eye for noticing what is importantimportant

What is a Short Story?What is a Short Story?

ProseProse work of work of fictionfiction Shorter than a novelShorter than a novel Most often written in Most often written in narrativenarrative

formatformat History:History:

– Oral storytelling / anecdotes Oral storytelling / anecdotes Stories that get to the pointStories that get to the point

Characteristics of a Short Characteristics of a Short StoryStory

Not as complex as novelsNot as complex as novels Focuses on just one incident or situationFocuses on just one incident or situation

– Ex. The relationship between student/teacher Ex. The relationship between student/teacher in The Metaphor, Alan’s decision in The Chaserin The Metaphor, Alan’s decision in The Chaser

Has a single plotHas a single plot Has a single settingHas a single setting

– Ex. The old man’s store in The ChaserEx. The old man’s store in The Chaser Few charactersFew characters

– Ex. Alan, old man, mention of Diana in The Ex. Alan, old man, mention of Diana in The ChaserChaser

Typically occurs in a short period of timeTypically occurs in a short period of time– Ex. A visit to a store in The ChaserEx. A visit to a store in The Chaser

Main Elements of Dramatic Main Elements of Dramatic Structure:Structure:

ExpositionExposition– Introduction of setting/main Introduction of setting/main

characters/situationcharacters/situation ComplicationComplication

– Event that introduces the conflictEvent that introduces the conflict Rising ActionRising Action CrisisCrisis

– Decisive moment where Decisive moment where protagonist protagonist commits to course of actioncommits to course of action

Cont’dCont’d

ClimaxClimax– High pointHigh point

ResolutionResolution– Conflict is resolvedConflict is resolved

Because of their length, short stories Because of their length, short stories do not always follow this patterndo not always follow this pattern

Elements of FictionElements of Fiction

MAIN ELEMENTS AUTHORS USE MAIN ELEMENTS AUTHORS USE TO DEVELOP A STORY AND ITS TO DEVELOP A STORY AND ITS THEME:THEME:

PlotPlot SettingSetting CharacterCharacter ConflictConflict Symbol Symbol Point of ViewPoint of View

Because literature is an art and not a Because literature is an art and not a science, it is impossible to science, it is impossible to specifically quantify any of these specifically quantify any of these elements within any story, or to elements within any story, or to guarantee that each will be present guarantee that each will be present in any given story. in any given story. Setting Setting might be might be the most important element in one the most important element in one and almost nonexistent in another.and almost nonexistent in another.

Just as a Crime Scene Investigator Just as a Crime Scene Investigator cannot approach a crime scene looking cannot approach a crime scene looking for a specific clue (e. g., shell casings), for a specific clue (e. g., shell casings), you as a reader cannot approach a you as a reader cannot approach a story deciding to look for a specific story deciding to look for a specific element, such as element, such as SymbolSymbol. To assume . To assume could blind you to important elements. could blind you to important elements. Both the CSI team and you must Both the CSI team and you must examine the entire “area” carefully to examine the entire “area” carefully to determine what is present and how it is determine what is present and how it is important.important.

PLOTPLOT Sometimes teachers give the impression that plot is Sometimes teachers give the impression that plot is

not important, that anyone interested in plot is an not important, that anyone interested in plot is an immature reader. immature reader.

Of course plot is important! It was what got us Of course plot is important! It was what got us interested in reading in the first place. It was the interested in reading in the first place. It was the “carrot on the string” that pulled us through a story as “carrot on the string” that pulled us through a story as we wanted to see what would happen next.we wanted to see what would happen next.

That said, let me emphasize that plot is rarely the That said, let me emphasize that plot is rarely the most important element of a good story. As much as most important element of a good story. As much as I’ve always loved surprise endings, if the only thing a I’ve always loved surprise endings, if the only thing a film or a story has is a great twist ending, it doesn’t film or a story has is a great twist ending, it doesn’t have anything the second time.have anything the second time.

And it’s worth noting that recent fiction and film have And it’s worth noting that recent fiction and film have deemphasized plot, frequently stressing character or deemphasized plot, frequently stressing character or conflict for example. In film, for example, conflict for example. In film, for example, Pulp FictionPulp Fiction..

SETTINGSETTING Stories actually have two types of setting: Stories actually have two types of setting: Physical Physical and and

Chronological. Chronological. The The physical settingphysical setting is of course where the story takes is of course where the story takes

place. The “where” can be very general—a small farming place. The “where” can be very general—a small farming community, for example—or very specific—a white, two community, for example—or very specific—a white, two story house at 739 Hill Street in Truro, NS.story house at 739 Hill Street in Truro, NS.

Likewise, the Likewise, the chronological settingchronological setting, the “when,” can be , the “when,” can be equally general or specific.equally general or specific.

The author’s choices are important. Shirley Jackson gives The author’s choices are important. Shirley Jackson gives virtually no clues as to where or when her story “The virtually no clues as to where or when her story “The Lottery” is set.Lottery” is set.

***might look at this for your Anthology of Insight******might look at this for your Anthology of Insight*** Examination suggests that she wants the story to be Examination suggests that she wants the story to be

universal, not limited by time or place. The first few stories universal, not limited by time or place. The first few stories we have read each establish a fairly specific physical we have read each establish a fairly specific physical setting; consider what each setting brings to each storysetting; consider what each setting brings to each story

CHARACTERCHARACTER

What type of individuals are the main What type of individuals are the main characters? Brave, cowardly, bored, characters? Brave, cowardly, bored, obnoxious? If you tell me that the obnoxious? If you tell me that the protagonist (main character) is brave, you protagonist (main character) is brave, you should be able to tell where in the story should be able to tell where in the story you got that perception.you got that perception.

In literature, as in real life, we can In literature, as in real life, we can evaluate character three ways: what the evaluate character three ways: what the individual says, what the individual does, individual says, what the individual does, and what others say about him or her.and what others say about him or her.

CHARACTERSCHARACTERS

The people (or animals, things, etc. The people (or animals, things, etc. presented as people) appearing in a presented as people) appearing in a literary workliterary work– Round Characters are convincing, true to Round Characters are convincing, true to

life. Have many different and sometimes life. Have many different and sometimes even contradictory personality traitseven contradictory personality traits

– Dynamic Characters undergo some type of Dynamic Characters undergo some type of change or development in story, often change or development in story, often because of something that happens to because of something that happens to them them

CHARACTERSCHARACTERS

– Flat Characters are stereotyped, Flat Characters are stereotyped, shallow, and often symbolic. Have only shallow, and often symbolic. Have only one or two personality traitsone or two personality traits

– Static Characters do not change in the Static Characters do not change in the course of the storycourse of the story

CHARACTERSCHARACTERS

Protagonist – The main character in a Protagonist – The main character in a literary work (for instance Cinderella literary work (for instance Cinderella or Snow White in the fairy tales or Snow White in the fairy tales named for their characters)named for their characters)

Antagonist – The character who Antagonist – The character who opposes the protagonist (for instance opposes the protagonist (for instance the wicked stepmothers in the fairy the wicked stepmothers in the fairy tales)tales)

CHARACTERCHARACTER

METHODS OF CHARACTERIZATION:METHODS OF CHARACTERIZATION: Direct CharacterizationDirect Characterization

– The author develops the personality of a The author develops the personality of a character by direct statementscharacter by direct statements

– ““Jack had been in basic training in Florida and Jack had been in basic training in Florida and Dottie was there on vacation with her parents. Dottie was there on vacation with her parents. They’d met on the beach and struck up a They’d met on the beach and struck up a conversation. Dottie was the talker, the conversation. Dottie was the talker, the outgoing one – the extrovert. Jack was too shy outgoing one – the extrovert. Jack was too shy around girls to say much at all”around girls to say much at all”

““Furlough – 1944” by Harry Mazer Furlough – 1944” by Harry Mazer

CHARACTERCHARACTER

Indirect CharacterizationIndirect Characterization– Revealing a character’s personality Revealing a character’s personality

through through The character’s thoughts, words, and actionsThe character’s thoughts, words, and actions The comments of other charactersThe comments of other characters The character’s physical appearanceThe character’s physical appearance

CHARACTERCHARACTER

Indirect Characterization through Indirect Characterization through Thoughts:Thoughts:– ““Moonbeam closed his eyes and Moonbeam closed his eyes and

pretended to sleep the rest of the way to pretended to sleep the rest of the way to Bamfield. He couldn’t believe what he Bamfield. He couldn’t believe what he had gotten himself into. How had this had gotten himself into. How had this happened? He’d never held a gun in his happened? He’d never held a gun in his life, much less gone hunting for animals.”life, much less gone hunting for animals.”

““Moonbeam Dawson and the Killer Bear” by Jean Moonbeam Dawson and the Killer Bear” by Jean OkimotoOkimoto

CHARACTERCHARACTER

Indirect Characterization by Words:Indirect Characterization by Words:– ““It was Kenny Griffen, smiling It was Kenny Griffen, smiling

complacently. ‘Miss Bird sent me after complacently. ‘Miss Bird sent me after you ‘cause you been gone six years. you ‘cause you been gone six years. You’re in troube…yer constipated!’ You’re in troube…yer constipated!’ Kenny chortled gleefully. ‘Wait’ll I tell Kenny chortled gleefully. ‘Wait’ll I tell Caaaathy!”Caaaathy!”

““Here There Be Tygers” by Stephen KingHere There Be Tygers” by Stephen King

CHARACTERCHARACTER

Indirect Characterization through Indirect Characterization through Actions:Actions:– ““The boy held his breath; he wondered The boy held his breath; he wondered

whether his father would hear his heart whether his father would hear his heart beating…Through a crack in the counter beating…Through a crack in the counter her could see his father where he stood, her could see his father where he stood, one hand held to his high stiff collar…”one hand held to his high stiff collar…”

““I Spy” by Graham GreeneI Spy” by Graham Greene

CHARACTERCHARACTER

Indirect Characterization through Indirect Characterization through Appearance:Appearance:– “ “Miss Kinney was young and blonde Miss Kinney was young and blonde

and bouncy and had a boyfriend who and bouncy and had a boyfriend who picked her up after school in a blue picked her up after school in a blue Camaro.”Camaro.”

““Here There Be Tygers” by Stephen KingHere There Be Tygers” by Stephen King

CONFLICTCONFLICT Two types of conflict are possible: Two types of conflict are possible: External External and and

Internal.Internal. External conflict External conflict could be man against nature could be man against nature

(people in a small lifeboat on a rough ocean) or (people in a small lifeboat on a rough ocean) or man against man.man against man.

While While internal conflictinternal conflict might not seem as might not seem as exciting as external, remember that real life has exciting as external, remember that real life has far more internal than external conflict. far more internal than external conflict.

Film and fiction emphasize external conflict not Film and fiction emphasize external conflict not simply because “it’s more interesting” but also simply because “it’s more interesting” but also because it’s easier to write. In a film script, you because it’s easier to write. In a film script, you merely have to write “A five minute car chase merely have to write “A five minute car chase follows” and you’ve filled five minutes. How long follows” and you’ve filled five minutes. How long would it take to write five minutes worth of would it take to write five minutes worth of dialogue?dialogue?

SYMBOLSYMBOL Don’t get bent out of shape about symbols. Simply Don’t get bent out of shape about symbols. Simply

put, a symbol is something which means something put, a symbol is something which means something else. Frequently it’s a tangible physical thing which else. Frequently it’s a tangible physical thing which symbolizes something intangible. The Seven/Eleven symbolizes something intangible. The Seven/Eleven stores understood that a few years ago when they stores understood that a few years ago when they were selling roses with a sign saying, “A Rose Means were selling roses with a sign saying, “A Rose Means ‘I Love You.’”‘I Love You.’”

The basic point of a story or a poem rarely depends The basic point of a story or a poem rarely depends solely on understanding a symbol. However solely on understanding a symbol. However important or interesting they might be, symbols are important or interesting they might be, symbols are usually “frosting,” things which add interest or depth.usually “frosting,” things which add interest or depth.

It’s normal for you to be skeptical about symbols. If I It’s normal for you to be skeptical about symbols. If I tell you that the tree in a certain story symbolizes the tell you that the tree in a certain story symbolizes the Garden of Eden, you may ask “Is that really there or Garden of Eden, you may ask “Is that really there or did you make it up?” or “How do you know what the did you make it up?” or “How do you know what the author meant?”author meant?”

SYMBOLSYMBOL In the film In the film 20012001, a computer named HAL is controlling , a computer named HAL is controlling

a flight to Jupiter. When the human crew decides to a flight to Jupiter. When the human crew decides to abort the mission, HAL—programmed to guarantee the abort the mission, HAL—programmed to guarantee the success of the mission—“logically” begins to kill off the success of the mission—“logically” begins to kill off the humans. Science fiction’s oldest theme: man humans. Science fiction’s oldest theme: man develops a technology which he not only cannot develops a technology which he not only cannot control, it controls him. control, it controls him.

Consider HAL’s name. Add one letter to each of the Consider HAL’s name. Add one letter to each of the letters in his name. Change the H to I, the A to B, and letters in his name. Change the H to I, the A to B, and the L to M. When you realize how close HAL is to IBM, the L to M. When you realize how close HAL is to IBM, the first response is disbelief. But clearly the the first response is disbelief. But clearly the closeness of the names is either an absolute accident closeness of the names is either an absolute accident or an intentional choice. As much as we are startled or an intentional choice. As much as we are startled by the latter, we probably agree that the odds against by the latter, we probably agree that the odds against the former—it being an accident—are astronomical.the former—it being an accident—are astronomical.

Somebody thought that up…Or maybe a computer. Somebody thought that up…Or maybe a computer.

POINT OF VIEWPOINT OF VIEW Point of View is the “narrative point of view,” how the Point of View is the “narrative point of view,” how the

story is told—more specifically, who tells it.story is told—more specifically, who tells it. There are two distinctly different types of point of view There are two distinctly different types of point of view

and each of those two types has two variations.and each of those two types has two variations. In the In the First Person point of viewFirst Person point of view, the story is told by a , the story is told by a

character within the story, a character using the first character within the story, a character using the first person pronoun, I.person pronoun, I.

If the narrator is the main character, the point of view is If the narrator is the main character, the point of view is first person protagonistfirst person protagonist. Mark Twain lets Huck Finn . Mark Twain lets Huck Finn narrate his own story in this point of view.narrate his own story in this point of view.

If the narrator is a secondary character, the point of view If the narrator is a secondary character, the point of view is is first person observerfirst person observer. Arthur Conan Doyle lets . Arthur Conan Doyle lets Sherlock Holmes’ friend Dr. Watson tell the Sherlock Sherlock Holmes’ friend Dr. Watson tell the Sherlock Holmes story. Doyle frequently gets credit for telling Holmes story. Doyle frequently gets credit for telling detective stories this way, but Edgar Allan Poe perfected detective stories this way, but Edgar Allan Poe perfected the technique half a century earlier.the technique half a century earlier.

POINT OF VIEWPOINT OF VIEW In the In the Third Person point of view, Third Person point of view, the story is the story is not not

told by a character but by an “invisible author,” using told by a character but by an “invisible author,” using the third person pronoun (he, she, or it) to tell the the third person pronoun (he, she, or it) to tell the story. Instead of Huck Finn speaking directly to us, story. Instead of Huck Finn speaking directly to us, “My name’s Huckleberry Finn” and telling us “I killed a “My name’s Huckleberry Finn” and telling us “I killed a pig and spread the blood around so people would pig and spread the blood around so people would think I’d been killed”, the third person narrator would think I’d been killed”, the third person narrator would say: He killed a pig and spread the blood…..say: He killed a pig and spread the blood…..

If the third person narrator gives us the thoughts of If the third person narrator gives us the thoughts of characters (He wondered where he’d lost his baseball characters (He wondered where he’d lost his baseball glove), then he is a glove), then he is a third person omniscient third person omniscient (all (all knowing) knowing) narrator. narrator.

If the third person narrator only gives us information If the third person narrator only gives us information which could be recorded by a camera and microphone which could be recorded by a camera and microphone (no thoughts), then he is a (no thoughts), then he is a third person dramatic third person dramatic narrator.narrator.

POINTS OF VIEWPOINTS OF VIEW In summary, then, here are the types of point of view:In summary, then, here are the types of point of view: First Person NarratorFirst Person Narrator ProtagonistProtagonist ObserverObserver Third Person NarratorThird Person Narrator OmniscientOmniscient DramaticDramatic Different points of view can emphasize different Different points of view can emphasize different

things. A first person protagonist narrator would give things. A first person protagonist narrator would give us access to the thoughts of the main character. If us access to the thoughts of the main character. If the author doesn’t want us to have that access, he the author doesn’t want us to have that access, he could use the first person observer, for example, or could use the first person observer, for example, or the third person dramatic.the third person dramatic.

THEMETHEME Theme isn’t so much an element of fiction as much as the Theme isn’t so much an element of fiction as much as the

result of the entire story. The theme is the main idea the result of the entire story. The theme is the main idea the writer of the poem or story wants the reader to understand writer of the poem or story wants the reader to understand and remember. and remember.

You may have used the word “Moral” in discussing theme; You may have used the word “Moral” in discussing theme; but it’s not a good synonym because “moral” implies a but it’s not a good synonym because “moral” implies a positive meaning or idea. And not all themes are positive. positive meaning or idea. And not all themes are positive.

One word—love, for example—may be a One word—love, for example—may be a topic; topic; but it but it cannot be a theme.cannot be a theme.

A theme is A theme is a statement about a topic.a statement about a topic. For example: “The theme of the story is that love is the For example: “The theme of the story is that love is the

most important thing in the world.” That’s a cliché, of most important thing in the world.” That’s a cliché, of course, but it is a theme.course, but it is a theme.

Not all stories or poems (or films) have an overriding Not all stories or poems (or films) have an overriding “universal” theme. “universal” theme.

Guiding QuestionGuiding Question

How can stories help How can stories help us make sense of us make sense of

our world?our world?