277:. It can help draw the reader in by conveying the actual sensations of things comprising the story, breathing life into its physical world. Since the reader has experienced only a portion of the sensations experienced by the character, the author aims to either provoke recall from the reader, or convey the experience, drawing the reader in and maintaining interest in the story.
262:, but its role in developing backstory separates it from the other thoughts of a character. Effective presentation of recollection has its own unique issues and challenges. For example, timing a recollection to avoid implausible-seeming memories (such as when a character must make a key decision) can be difficult, and should be prompted by a recent plot event.
1267:
52:
of discourse. Fiction-writing also has distinct forms of expression, or modes, each with its own purposes and conventions. Currently, there is no consensus within the writing community regarding the number and composition of fiction-writing modes and their uses. Some writing modes suggested include
145:, narration, exposition, and summarization, description is one of the most widely recognized of the fiction-writing modes. Description is more than the amassing of details, it is bringing a scene to life by carefully choosing and arranging words and phrases to produce the desired effect.
257:
by allowing writers to convey information from earlier in the story or from before the beginning of the story. Although recollection is not widely recognized as a distinct mode of fiction-writing, it is a common tool. Recollection could be considered a subset of
217:
Introspection (also referred to as internal dialogue, interior monologue, or self-talk) is the fiction-writing mode used to convey the thoughts of a character, allowing the expression of normally unexpressed thoughts. Introspection may also be used to:
202:
The main advantage of summary is that it takes up less space than other fiction-writing modes. Effective use of summarization requires a balance between showing and telling, action and summary, with rhythm, pace and tone playing a role.
73:—the types of writing of which all fiction is made. He listed five modes—action, summary, dialogue, feelings/thoughts, and background—each with its own set of conventions regarding how, when, and where it should be used.
320:
in fiction are words, phrases, sentences, paragraphs, or punctuation that may be used to signal various changes in a story, including changes in time, location, point-of-view character, mood, tone, emotion, and pace.
65:, referred to narration and action as different modes or manner of representing something. For many years, fiction writing was described as having two types: narration and dialogue. Evan Marshall, in
159:
Broadly defined, exposition is one of four rhetorical modes of discourse. Within the context of fiction-writing modes, exposition is used to convey information. Exposition may be used to add
103:(2015), addressed eleven modes: action, summarization, narration, description, exposition, transition, conversation (dialogue), sensation, introspection, emotion, and recollection.
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is the demonstration of events as they are happening in a story, and may help readers feel as if they were participating in the plot.
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122:, Aristotle mentions narration as a mode, or manner of representing something. As a fiction-writing mode, narration is how the
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includes modes that reflect the inner workings of the character's mind: introspection, recollection, emotion, and sensation.
293:. Connecting the character to his or her own emotions allows the author to connect with the reader on an emotional level.
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1694:
174:, or narrative summary, condenses events to convey, rather than to show, what happens within a story. The "tell" in the
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includes modes that represent what is outside the character's mind: narration, description, exposition, and transition.
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is the fiction-writing mode for transmitting a mental image of the particulars of a story. Together with
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69:(1998) noted that writers should know what they are doing at all times. He described what he called
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Manner of writing with its own set of conventions regarding how, when, and where it should be used
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action, dialogue, thoughts, summary, scene, description, background, exposition and transition.
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communicates directly to the reader. This contrasts with the use of the term "narration" as a
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Fiction-writing modes may be classified into categories of modes with common features.
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of discourse, where it has a broader meaning which encompasses all written fiction.
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with its own set of conventions regarding how, when, and where it should be used.
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to a story, but too much exposition at one time may slow the pace of the story.
138:
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2015:
1931:
1926:
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1238:
By
Cunning & Craft: Sound Advice and Practical Wisdom for fiction writers
1039:
Fiction-Writing Modes: Eleven
Essential Tools for Bringing Your Story to Life
305:, Aristotle refers to action as a mode, or manner of representing something.
101:
Fiction-Writing Modes: Eleven
Essential Tools for Bringing Your Story to Life
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113:
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By
Cunning and Craft: Sound Advice and Practical Wisdom for Fiction Writers
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2037:
2005:
1917:
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182:" is often in the form of summarization. Summarization may be used to:
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2064:
1994:
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includes modes used to portray story events: action and summarization.
2485:
2235:
2020:
1796:
1703:
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250:
85:: action, exposition, description, dialogue, summary, and transition.
289:
conveys the feelings of the character, and is a vital component of
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2010:
1988:
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1726:
993:
Dialogue: Techniques and
Exercises for Crafting Effective Dialogue
175:
160:
2230:
2025:
1386:
1100:
Between the Lines: Master the Subtle
Elements of Fiction Writing
79:
Between the Lines: Master the Subtle
Elements of Fiction Writing
1281:
222:
enhance a story by allowing the character's thoughts to deepen
1277:
1172:
Make a Scene: Crafting a
Powerful Story One Scene at a Time
61:
The concept goes back at least as far as
Aristotle who, in
939:
Self-editing for
Fiction Writers: Edit Yourself Into Print
195:
convey an emotional state over an extended period of time
96:: action, dialogue, thoughts, summary, and description.
253:
a detail or event. It plays a vital role in conveying
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2088:
1979:
1877:
1782:
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249:is the fiction-writing mode whereby a character
1222:The Scene Book: A Primer for the Fiction Writer
1199:Write Great Fiction: Description & Setting
348:represents a character's speech: conversation.
1293:
8:
192:skip events that are irrelevant to the plot
1300:
1286:
1278:
198:vary the rhythm and texture of the writing
1149:The Writer's Digest Guide to Good Writing
396:
189:report details of less important events
1971:Types of fiction with multiple endings
7:
1071:The Marshall Plan for Novel Writing
67:The Marshall Plan for Novel Writing
937:Browne R, King D, Booth G (2004).
259:
25:
2374:Third-person omniscient narrative
1056:(August 2003). "Make 'em think".
273:is used to portray a character's
1265:
1224:. New York, NY: Penguin Books.
898:. New York, NY: Penguin Books.
92:(2007), mentioned five writing
1762:Conflict between good and evil
805:
1:
773:
541:
525:
403:
234:play a critical role in both
1041:. Pennsauken, NJ: Bookbaby.
833:
817:
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688:
672:
656:
621:
501:
419:
285:The fiction-writing mode of
597:
569:
557:
513:
435:
2626:
967:Characters & Viewpoint
609:
231:widen the scope of a story
210:
152:
111:
2401:Stream of unconsciousness
1932:Falling action/Catastasis
748:
720:
640:
581:
77:Jessica Page Morrell, in
1769:Self-fulfilling prophecy
598:Browne, King & Booth
558:Browne, King & Booth
186:connect parts of a story
2396:Stream of consciousness
1859:Suspension of disbelief
34:is a manner of writing
1937:Denouement/Catastrophe
1918:Rising action/Epitasis
1170:Rosenfeld, JE (2008).
456:Marshall, pp. 143-165.
155:Exposition (narrative)
81:(2006), mentioned six
2283:Utopian and dystopian
1017:Building Better Plots
914:Scene & Structure
447:Aristotle, pp. 3, 5.
71:fiction-writing modes
18:Fiction-writing modes
2595:Fiction-writing mode
1837:Narrative techniques
1617:Story within a story
1429:Supporting character
1274:at Wikimedia Commons
1272:Fiction-writing mode
1220:Scofield, S (2007).
1067:Marshall, E (1998).
1037:Klaassen, M (2015).
910:Bickham, JM (1993).
32:fiction-writing mode
2542:Political narrative
2384:Unreliable narrator
2241:Speculative fiction
1949:Nonlinear narrative
1897:Three-act structure
1757:Deal with the Devil
1122:Polking, K (1990).
990:Kempton, G (2004).
2520:Narrative paradigm
2515:Narrative identity
2445:Dominant narrative
2391:Multiple narrators
1675:Fictional location
1518:Dramatic structure
1240:. Cincinnati, OH:
1236:Selgin, P (2007).
1202:. Cincinnati, OH:
1174:. Cincinnati, OH:
1151:. Cincinnati, OH:
1128:. Cincinnati, OH:
1103:. Cincinnati, OH:
1075:. Cincinnati, OH:
1019:. Cincinnati, OH:
1015:Kernen, R (1999).
996:. Cincinnati, OH:
971:. Cincinnati, OH:
894:Aristotle (1996).
99:Mike Klaassen, in
48:, one of the four
2582:
2581:
2525:Narrative therapy
1959:television series
1904:Freytag's Pyramid
1747:Moral development
1650:Alternate history
1360:False protagonist
1270:Media related to
1251:978-1-58297-491-0
1230:978-0-14-303826-9
1185:978-1-58297-479-8
1147:Reid, MI (1994).
1114:978-1-58297-393-7
1047:978-1-68222-100-6
904:978-0-140-44636-4
863:Klaassen, p. 147.
88:Peter Selgin, in
36:imaginary stories
16:(Redirected from
2617:
2505:Literary science
2048:Narrative poetry
1944:Linear narrative
1854:Stylistic device
1849:Show, don't tell
1812:Figure of speech
1602:Shaggy dog story
1345:Characterization
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881:Klaassen, p. 63.
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375:Scene and sequel
291:creative writing
236:scene and sequel
228:increase tension
224:characterisation
180:Show, don't tell
50:rhetorical modes
21:
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1975:
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1507:Deus ex machina
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1434:Title character
1419:Stock character
1365:Focal character
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1242:Writer's Digest
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128:rhetorical mode
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1125:Writing A to Z
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562:
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550:
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370:Narrative mode
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1556:KishĹŤtenketsu
1553:
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1549:In medias res
1546:
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1528:Foreshadowing
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1523:Eucatastrophe
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1375:Gothic double
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1355:Deuteragonist
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1335:Character arc
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1007:1-58297-289-3
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978:
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260:introspection
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213:Introspection
207:Introspection
206:
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185:
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177:
173:
172:Summarization
167:Summarization
166:
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133:
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107:
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68:
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56:
54:
51:
47:
44:is a form of
43:
39:
37:
33:
19:
2564:Storytelling
2379:Subjectivity
2369:Third-person
2359:First-person
1993:
1802:Comic relief
1554:
1547:
1538:Flashforward
1505:
1479:Origin story
1461:
1424:Straight man
1379:
1237:
1221:
1198:
1171:
1148:
1124:
1099:
1070:
1057:
1038:
1016:
992:
966:
941:. New York:
938:
913:
895:
877:
868:
859:
850:
841:
829:
813:
801:
785:
769:
760:
744:
728:
716:
700:
684:
668:
652:
636:
624:, 1993, pp.
617:
605:
593:
577:
565:
553:
537:
521:
509:
497:
488:
479:
470:
461:
452:
443:
431:
415:
399:
351:
345:
339:
333:
328:
316:
302:
300:
284:
269:
247:Recollection
245:
242:Recollection
216:
201:
170:
158:
137:
119:
117:
100:
93:
89:
82:
78:
70:
66:
62:
60:
40:
31:
29:
2605:Narratology
2569:Tellability
2535:Metafiction
2530:Narratology
2302:Theological
2194:Pop culture
2075:Short story
2053:Epic poetry
1774:Time travel
1587:Red herring
1572:Plot device
1543:Frame story
1496:Cliffhanger
1439:Tritagonist
1414:Protagonist
1095:Morrell, JP
820:, 2006, p.
792:, 2006, p.
776:, 1998, p.
751:, 1999, p.
735:, 2004, p.
707:, 2006, p.
691:, 2005, p.
675:, 2006, p.
659:, 2005, p.
643:, 1999, p.
584:, 1999, p.
544:, 1998, p.
528:, 1998, p.
422:, 2006, p.
406:, 1998, p.
340:Exteriority
334:Interiority
318:Transitions
275:perceptions
139:Description
134:Description
2589:Categories
2455:Continuity
2324:Nonfiction
2288:Underwater
2184:Picaresque
2159:Historical
2144:Epistolary
2016:Fairy tale
1927:Peripeteia
1909:Exposition
1665:Dreamworld
1607:Stereotype
1577:Plot twist
1325:Antagonist
1194:Rozelle, R
889:References
365:Exposition
325:Categories
313:Transition
149:Exposition
2346:Narration
2295:Superhero
2219:Chivalric
2204:Religious
2189:Political
2124:Adventure
2109:Biography
2031:Tall tale
1879:Structure
1864:Symbolism
1832:Narration
1732:Leitmotif
1660:Crossover
1655:Backstory
1612:Story arc
1562:MacGuffin
1533:Flashback
1474:Backstory
1350:Confidant
1330:Archenemy
1317:Character
1309:Narrative
806:Rosenfeld
391:Footnotes
271:Sensation
266:Sensation
255:backstory
251:remembers
114:Narration
108:Narration
46:narrative
2600:Rhetoric
2552:Glossary
2547:Rhetoric
2354:Diegesis
2334:Creative
2307:Thriller
2256:Southern
2174:Paranoid
2169:Nautical
2080:Vignette
2038:Gamebook
2006:Folklore
1913:Protasis
1792:Allegory
1737:Metaphor
1695:parallel
1690:universe
1670:Dystopia
1627:Suspense
1513:Dialogue
1501:Conflict
1409:Narrator
1381:Hamartia
1196:(2005).
1097:(2006).
1054:Kress, N
963:(1999).
961:Card, OS
774:Marshall
542:Marshall
526:Marshall
404:Marshall
359:See also
352:Activity
346:Dialogue
143:dialogue
124:narrator
57:Overview
2482:Prequel
2438:Related
2424:Present
2317:Western
2273:Science
2246:Fantasy
2214:Romance
2164:Mystery
2149:Ergodic
2114:Fiction
2070:Parable
2065:Novella
1995:Fabliau
1966:Premise
1817:Imagery
1807:Diction
1685:country
1642:Setting
1622:Subplot
1444:Villain
1397:Byronic
1244:Books.
1206:Books.
1178:Books.
1155:Books.
1132:Books.
1107:Books.
1079:Books.
1023:Books.
1000:Books.
975:Books.
922:Books.
896:Poetics
834:Polking
818:Morrell
790:Morrell
733:Kempton
705:Morrell
689:Rozelle
673:Morrell
657:Rozelle
622:Bickham
502:Polking
420:Morrell
385:Writing
303:Poetics
287:emotion
281:Emotion
120:Poetics
94:methods
63:Poetics
42:Fiction
2486:Sequel
2470:Retcon
2465:Reboot
2429:Future
2263:Horror
2251:Gothic
2236:Satire
2154:Erotic
2021:Legend
1923:Climax
1797:Bathos
1704:Utopia
1592:Reveal
1491:Cliché
1469:Action
1463:Ab ovo
1402:Tragic
1248:
1228:
1210:
1182:
1159:
1136:
1111:
1083:
1045:
1027:
1004:
979:
949:
926:
902:
570:Selgin
514:Kernen
436:Selgin
408:143-65
307:Action
297:Action
2493:Genre
2460:Canon
2411:Tense
2329:Novel
2312:Urban
2224:Prose
2209:Rogue
2134:Crime
2129:Comic
2090:Genre
2060:Novel
2011:Fable
1989:Drama
1954:films
1784:Style
1752:Motif
1742:Moral
1727:Irony
1719:Theme
1632:Trope
1062:: 38.
822:281-2
626:12-22
610:Kress
586:140-2
530:144-6
380:Style
176:axiom
161:drama
2498:List
2419:Past
2278:Hard
2231:Saga
2139:Docu
2095:List
2026:Myth
1981:Form
1869:Tone
1842:Hook
1827:Mood
1822:Mode
1680:city
1567:Pace
1454:Plot
1392:Anti
1387:Hero
1370:Foil
1246:ISBN
1226:ISBN
1208:ISBN
1180:ISBN
1157:ISBN
1134:ISBN
1109:ISBN
1081:ISBN
1043:ISBN
1025:ISBN
1002:ISBN
977:ISBN
947:ISBN
924:ISBN
900:ISBN
749:Card
721:Reid
641:Card
630:50-8
582:Card
1887:Act
794:127
778:142
737:148
709:173
677:172
645:113
546:145
424:127
301:In
118:In
2591::
2484:/
945:.
918:.
753:74
693:86
661:76
628:,
30:A
2097:)
2093:(
1925:/
1911:/
1301:e
1294:t
1287:v
1254:.
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532:.
426:.
410:.
178:"
20:)
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