163:
said, of the reader's relation to the writer; in one case the reader faces towards the story-teller and listens to him, in the other he turns towards the story and watches it. In the drama of the stage, in the acted play, the spectator evidently has no direct concern with the author at all, while the action is proceeding. The author places their parts in the mouths of the players, leaves them to make their own impression, leaves us, the audience, to make what we can of it. The motion of life is before us, the recording, registering mind of the author is eliminated. That is drama; and when we think of the story-teller as opposed to the dramatist, it is obvious that in the full sense of the word there is no such thing as drama in a novel. The novelist may give the very words that were spoken by his characters, the dialogue, but of course he must interpose on his own account to let us know how the people appeared, and where they were, and what they were doing. If he offers nothing but the bare dialogue, he is writing a kind of play; just as a dramatist, amplifying his play with 'stage-directions' and putting it forth to be read in a book, has really written a kind of novel.
128:"Events that have happened in the past, which cannot possibly be acted in the present, must be 'told about.' The telling of them is the only narrative or description that should be in a play. Make the 'telling' as brief and crisp as possible, without being too obvious. See if the facts can be told in a scene, or scenes, which give the actors a chance for emotional work, thus getting an emotional response from the audience while it is absorbing facts - in other words sugar-coat the pill." "In the planting of characterization, motivation and relationship: don't 'talk it,' '
83:, reputed to have said "Don't tell me the moon is shining; show me the glint of light on broken glass." In a letter to his brother, Chekhov actually said, "In descriptions of Nature one must seize on small details, grouping them so that when the reader closes his eyes he gets a picture. For instance, you’ll have a moonlit night if you write that on the mill dam a piece of glass from a broken bottle glittered like a bright little star, and that the black shadow of a dog or a wolf rolled past like a ball."
719:
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203:, and ambiguity) that reward the careful reader's appreciation of subtext and extrapolation of what the author chooses to leave unsaid, untold, and/or unshown. This suggests a form of respect for the reader, who should be trusted to develop a feeling for the meaning behind the action, without having the point painfully laid out for them.
162:
used them in discussing his own novels, when he reviewed them all in his later years; but I use them, I must add, in a rather more extended sense than he did. hen the subject of criticism is fiction generally, not his alone, picture will take a wider meaning, as opposed to drama. It is a question, I
190:
If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth
237:. Showing is essentially about making scenes vivid. If you try to do it constantly, the parts that are supposed to stand out won't, and your readers will get exhausted." Showing requires more words; telling may cover a greater span of time more concisely. A
221:) goes as far as recommending a ban of what he calls "thought verbs" ("Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires ") favoring instead the use of "specific sensory detail: action, smell, taste, sound, and feeling."
260:
and others, "showing" is so terribly time-consuming that it is to be used only for dramatic scenes. The objective is to find the right balance of telling versus showing, summarization versus action. Factors like rhythm,
119:
The
American playwright and scriptwriter Mark Swan (1871-1942) "could talk of little else" than the motto he'd placed on the wall above his writing desk "Show–not tell". Swan elaborated on it in his 1927 primer,
137:"The novelist can fire the imagination of the reader with a scene. The dramatist must show the scene. All that the novelist gets by suggestion, by implication, the playwright must get by literal presentation."
356:
on the subject. His position was that such teaching is biased against immigrant writers, who may describe emotions in ways readers from outside their culture might not understand, rendering "tell" necessary.
753:
98:
told Krows about the playwriting motto "Show – not tell" on an occasion during the 1910s. In 1921, the same distinction, but in the form picture-versus-drama, was utilized in a chapter of
233:
James Scott Bell argues that "show, don't tell" should not be applied to all incidents in a story. "Sometimes a writer tells as a shortcut, to move quickly to the meaty part of the story or
60:. It avoids adjectives describing the author's analysis and instead describes the scene in such a way that readers can draw their own conclusions. The technique applies equally to
256:
that are important to the story should be dramatized with showing, but sometimes what happens between scenes can be told so the story can make progress. According to
195:
Creative literature (as opposed to technical writing or objective journalism) in general hinges on the artful use of a wide range of devices (such as inference,
180:, also known as the "theory of omission", developed from his background as a newspaper reporter. The term itself originates from his 1932 bullfighting treatise,
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In 1927, Swan published a playwriting manual that made prominent use of the showing-versus-telling distinction throughout.
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is based on the concept of "show don't tell". Good dungeon masters convey information by stressing intonation and
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HowExpert Guide to
Tabletop Roleplaying Games: 101 Tips to Start, Play, and Succeed in Tabletop Roleplaying Games
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The
Unknown Chekhov: Stories and Other Writings Hitherto Untranslated by Anton Chekhov
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used in various kinds of texts to allow the reader to experience the story through
1020:"Viet Thanh Nguyen Reveals How Writers' Workshops Can Be Hostile (Published 2017)"
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By the mid-twentieth century, it had become an important element in Anglo-Saxon
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By
Cunning & Craft: Sound Advice and Practical Wisdom for Fiction Writers
428:
British Haiku
Society- occasional paper 'English Haiku: a Composite View'2002
291:
argues that one can show with dialogue. He takes the example of a scene from
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242:
158:
Picture and drama—this is an antithesis which continually appears in a novel
95:
1340:
1076:"Unsettling the American Dream: The Millions Interviews Viet Thanh Nguyen"
132:.' Express these things in acted scenes, not in narrative or description."
2396:
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49:
492:
Mackendrick, Alexander (2005). "Introduction". In Cronin, Paul (ed.).
3140:
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2085:
1870:
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343:
questioned the validity of continuing to teach "show, don't tell" in
2342:
1909:
1860:
1838:
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1576:
523:
353:
305:) shows (and does not tell) that Tweener is an expert pickpocket.
241:
that contains only showing would be incredibly long; therefore, a
238:
69:
52:, thoughts, senses, and feelings rather than through the author's
2434:
2080:
1875:
1236:
2438:
1131:
412:"Teach Writing With The New York Times: Our 2021-22 Curriculum"
176:
was a notable proponent of the "show, don't tell" style. His
76:
poetry in particular, speech, movie making, and playwriting.
1127:
954:
from the original on 2021-12-21 – via www.youtube.com.
496:
On Film-making: An
Introduction to the Craft of the Director
1052:"Whom Do Activists of Color Speak For? | Inside Higher Ed"
994:
Dice Tales: Essays on
Roleplaying Games and Storytelling
79:
The concept is often attributed to
Russian playwright
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1165:
812:Bell, James Scott (2003). "Exception to the Rule".
493:
464:
467:Show Don't Tell: A Guide to Purpose Driven Speech
297:in which pure dialogue between Michael Scofield (
622:How You Can Write Plays: A Practical Guide-book
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1143:
8:
2690:
2457:
2443:
2435:
1150:
1136:
1128:
904:(2nd ed.). Harper Resource. pp.
500:(paperback). Scorsese, Martin (foreword).
970:. HowExpert. March 23, 2020. p. 80.
718:Strychacz, Thomas F. (20 November 2017).
410:Network, The Learning (August 4, 2021).
402:
1821:Types of fiction with multiple endings
245:can contain some legitimate telling.
7:
932:(March 2006). "Better Left Unsaid".
339:In 2017, Vietnamese-American writer
90:. According to dramatist and author
721:Hemingway's Theaters of Masculinity
1103:Morrison, Alan (4 November 2013).
871:. Writer's Digest Books. pp.
331:—they do not merely telegraph it.
25:
2502:On the Harmful Effects of Tobacco
2224:Third-person omniscient narrative
1018:Nguyen, Viet Thanh (2017-04-26).
835:. Writer's Digest Books. p.
788:"Nuts and Bolts: "Thought" Verbs"
752:Jones, Conrad (21 October 2013).
442:. Writers' Bookshop. p. 65.
3439:
3438:
991:Brennan, Marie (July 18, 2017).
900:Self-Editing for Fiction Writers
556:The Art and Craft of Playwriting
2712:The Death of a Government Clerk
2534:A Tragedian in Spite of Himself
1105:"Poetry Tips – Show Don't Tell"
997:. Book View Cafe. p. 194.
948:"HOTTS!-04-Dialogue that shows"
755:How to Write a Novel in 90 Days
1612:Conflict between good and evil
440:How To Write Non-Fiction Books
313:The storytelling performed by
285:Hats Off to the Screenwriters!
1:
635:Krows, [Arthur Edwin (1928).
172:Nobel Prize–winning novelist
110:Writers on "Show, don't tell"
3382:Chekhov Gymnasium and museum
3377:White Dacha, home and museum
3367:Chekov Shop, home and museum
3106:The House with the Mezzanine
599:Krows, Arthur Edwin (1928).
580:Yarmolinsky, Avrahm (1954).
2660:The Story of an Unknown Man
643:Longmans, Green and Company
607:Longmans, Green and Company
3496:
3372:Melikhovo, home and museum
124:. Among numerous examples:
109:
29:
3434:
3352:Mikhail Chekhov (brother)
3036:The Teacher of Literature
2472:
2251:Stream of unconsciousness
1782:Falling action/Catastasis
1007:– via Google Books.
980:– via Google Books.
775:– via Google Books.
741:– via Google Books.
559:. F+W Media. p. 43.
191:of it being above water.
150:(1921), British essayist
94:, the American dramatist
1619:Self-fulfilling prophecy
695:(1921). "Chapter VIII".
102:'s analysis of fiction,
3347:Maria Chekhova (sister)
3264:A Story Without a Title
2246:Stream of consciousness
1709:Suspension of disbelief
867:Character and Viewpoint
816:. F+W Publications: 20.
678:How You Can Write Plays
658:How You Can Write Plays
588:, New York. p. 14.
231:Exceptions to the Rule,
68:, literature including
3362:Birth house and museum
3357:Osip Dymov (character)
1787:Denouement/Catastrophe
1768:Rising action/Epitasis
1056:www.insidehighered.com
896:Browne, Renne (2004).
827:Selgin, Peter (2007).
814:Writer's Yearbook 2003
758:. Andrews UK Limited.
638:Playwriting for Profit
602:Playwriting for Profit
324:Dungeons & Dragons
317:as well as players in
199:, understatement, the
193:
183:Death in the Afternoon
165:
139:
3402:Statue, Rostov-on-Don
3285:The Lady with the Dog
2133:Utopian and dystopian
377:Objective correlative
215:(author of the novel
188:
156:
126:
104:The Craft of Fiction.
88:narratological theory
56:, summarization, and
18:Show, Don't Tell
3465:Narrative techniques
3194:Sergeant Prishibeyev
2880:The Privy Councillor
1687:Narrative techniques
1467:Story within a story
1279:Supporting character
697:The Craft of Fiction
319:tabletop roleplaying
309:Tabletop roleplaying
280:Constructing a Story
148:The Craft of Fiction
3342:Olga Knipper (wife)
3180:The Complaints Book
3057:The Man in the Case
3022:Rothschild's Violin
2943:A Nervous Breakdown
2747:A Living Chronology
2705:An Enigmatic Nature
2566:A Marriage Proposal
2392:Political narrative
2234:Unreliable narrator
2091:Speculative fiction
1799:Nonlinear narrative
1747:Three-act structure
1607:Deal with the Devil
1115:on 11 November 2017
675:Swan, Mark (1927).
656:Swan, Mark (1927).
620:Swan, Mark (1927).
471:. Jerianne Warren.
382:Purposeful omission
335:Critical commentary
211:In a 2013 article,
201:unreliable narrator
146:In Chapter VIII of
122:You Can Write Plays
42:narrative technique
27:Narrative technique
3208:A Gentleman Friend
2922:The Cattle-Dealers
2625:The Shooting Party
2606:The Cherry Orchard
2370:Narrative paradigm
2365:Narrative identity
2295:Dominant narrative
2241:Multiple narrators
1525:Fictional location
1368:Dramatic structure
1024:The New York Times
786:Palahniuk, Chuck.
701:C. Scribner's Sons
416:The New York Times
283:and his webseries
154:(1879–1965) wrote:
30:For the song, see
3452:
3451:
3315:
3314:
2432:
2431:
2375:Narrative therapy
1809:television series
1754:Freytag's Pyramid
1597:Moral development
1500:Alternate history
1210:False protagonist
861:Card, Orson Scott
846:978-1-58297-491-0
515:978-0-571-21125-8
508:. p. xxiii.
506:Faber & Faber
341:Viet Thanh Nguyen
64:and all forms of
16:(Redirected from
3487:
3442:
3441:
3412:Show, don't tell
3397:Statue, Taganrog
3155:On Official Duty
3148:A Doctor's Visit
3092:Anna on the Neck
2691:
2459:
2452:
2445:
2436:
2355:Literary science
1898:Narrative poetry
1794:Linear narrative
1704:Stylistic device
1699:Show, don't tell
1662:Figure of speech
1452:Shaggy dog story
1195:Characterization
1152:
1145:
1138:
1129:
1124:
1122:
1120:
1111:. Archived from
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553:Hatcher (2000).
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470:
460:
454:
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435:
429:
426:
420:
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345:creative writing
299:Wentworth Miller
269:come into play.
258:Orson Scott Card
249:Orson Scott Card
225:James Scott Bell
174:Ernest Hemingway
168:Ernest Hemingway
38:Show, don't tell
21:
3495:
3494:
3490:
3489:
3488:
3486:
3485:
3484:
3455:
3454:
3453:
3448:
3430:
3387:Chekhov Library
3330:
3326:Sakhalin Island
3311:
3215:The Chorus Girl
3167:
3076:
3041:
3001:The Grasshopper
2990:
2983:
2948:
2906:
2864:
2814:In the Twilight
2808:
2682:
2631:
2612:
2574:The Festivities
2481:
2468:
2463:
2433:
2428:
2360:Literary theory
2300:Fiction writing
2283:
2255:
2190:
1942:
1934:
1825:
1723:
1628:
1563:
1486:
1357:Deus ex machina
1298:
1284:Title character
1269:Stock character
1215:Focal character
1161:
1156:
1118:
1116:
1109:Creative Future
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934:Writer's Digest
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463:Warren (2011).
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409:
408:
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363:
337:
315:dungeon masters
311:
301:) and Tweener (
275:
251:
227:
213:Chuck Palahniuk
209:
207:Chuck Palahniuk
170:
144:
117:
112:
92:Arthur E. Krows
35:
32:Show Don't Tell
28:
23:
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12:
11:
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3392:Bust, Taganrog
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3253:
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3225:
3222:Shrove Tuesday
3218:
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3047:Little Trilogy
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3018:
3015:The Black Monk
3011:
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2936:A Dreary Story
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2803:Ivan Matveyich
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2764:
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2695:Motley Stories
2688:
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2639:
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2558:The Wood Demon
2554:
2550:Tatiana Repina
2546:
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2424:Verisimilitude
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2327:Parallel novel
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2021:
2016:
2011:
2006:
2001:
1996:
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1969:Action fiction
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1447:Self-insertion
1444:
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1432:Poetic justice
1429:
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1234:
1227:
1222:
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1212:
1207:
1202:
1197:
1192:
1190:Character flaw
1187:
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1177:
1171:
1169:
1163:
1162:
1157:
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1154:
1147:
1140:
1132:
1126:
1125:
1098:
1097:External links
1095:
1093:
1092:
1067:
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1010:
1003:
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681:. p. 225.
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478:978-0615498355
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438:Wells (1999).
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350:New York Times
336:
333:
321:games such as
310:
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289:Yves Lavandier
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273:Yves Lavandier
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178:Iceberg Theory
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26:
24:
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10:
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3480:Screenwriting
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3407:Chekhov's gun
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3292:In the Ravine
3289:
3286:
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3258:
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3187:A Horsey Name
3184:
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3177:
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3172:Other stories
3170:
3163:
3159:
3156:
3152:
3149:
3145:
3142:
3138:
3135:
3131:
3128:
3124:
3121:
3120:The Petcheneg
3117:
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3110:
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3096:
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3009:
3005:
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2971:Peasant Wives
2968:
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2912:Gloomy People
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2762:
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2741:
2737:
2734:
2733:The Chameleon
2730:
2727:
2723:
2720:
2716:
2713:
2709:
2706:
2702:
2701:
2699:
2696:
2692:
2689:
2687:Short stories
2685:
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2603:
2600:
2599:
2598:Three Sisters
2595:
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2475:
2474:
2471:
2467:
2466:Anton Chekhov
2460:
2455:
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2448:
2446:
2441:
2440:
2437:
2425:
2422:
2420:
2417:
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2409:Screenwriting
2407:
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2214:Second-person
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2118:Magic realism
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2049:Psychological
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2029:Philosophical
2027:
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2017:
2015:
2012:
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1893:Narrative art
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1851:Flash fiction
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1559:Worldbuilding
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1406:KishĹŤtenketsu
1403:
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1399:In medias res
1396:
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1378:Foreshadowing
1376:
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1373:Eucatastrophe
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1225:Gothic double
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1205:Deuteragonist
1203:
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1185:Character arc
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1004:9781611386844
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977:9781647587550
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936:. p. 20.
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724:. LSU Press.
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693:Percy Lubbock
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645:. p. 28.
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2852:A Misfortune
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2775:A Malefactor
2768:The Huntsman
2719:Fat and Thin
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2505:(1886, 1902)
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2477:Bibliography
2414:Storytelling
2229:Subjectivity
2219:Third-person
2209:First-person
1843:
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1652:Comic relief
1404:
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1388:Flashforward
1355:
1329:Origin story
1311:
1274:Straight man
1229:
1117:. Retrieved
1113:the original
1108:
1084:. Retrieved
1082:. 2019-10-17
1080:The Millions
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3470:Narratology
3329:(1893–1895)
3320:Non-fiction
3236:The Runaway
3162:The Darling
3134:In the Cart
3029:The Student
2824:The Requiem
2668:Three Years
2590:Uncle Vanya
2582:The Seagull
2542:The Wedding
2419:Tellability
2385:Metafiction
2380:Narratology
2152:Theological
2044:Pop culture
1925:Short story
1903:Epic poetry
1624:Time travel
1437:Red herring
1422:Plot device
1393:Frame story
1346:Cliffhanger
1289:Tritagonist
1264:Protagonist
1119:11 November
771:20 November
737:20 November
703:. pp.
662:53–54
160:Henry James
58:description
3459:Categories
3425:Wild Honey
3299:The Bishop
3071:About Love
2978:Ward No. 6
2954:Ward No. 6
2845:Easter Eve
2644:The Steppe
2305:Continuity
2174:Nonfiction
2138:Underwater
2034:Picaresque
2009:Historical
1994:Epistolary
1866:Fairy tale
1777:Peripeteia
1759:Exposition
1515:Dreamworld
1457:Stereotype
1427:Plot twist
1175:Antagonist
1086:2021-01-25
1061:2021-01-25
1037:2021-01-25
797:9 December
792:LitReactor
660:. p.
566:1884910467
532:1130836656
524:2005925999
449:1902713028
398:References
218:Fight Club
62:nonfiction
54:exposition
3418:Fragments
3306:Betrothed
3278:Whitebrow
3257:Kashtanka
3243:The Siren
3229:First Aid
2901:Happiness
2831:The Witch
2754:Small Fry
2196:Narration
2145:Superhero
2069:Chivalric
2054:Religious
2039:Political
1974:Adventure
1959:Biography
1881:Tall tale
1729:Structure
1714:Symbolism
1682:Narration
1582:Leitmotif
1510:Crossover
1505:Backstory
1462:Story arc
1412:MacGuffin
1383:Flashback
1324:Backstory
1200:Confidant
1180:Archenemy
1167:Character
1159:Narrative
1032:0362-4331
540:23024519M
387:Verbosity
367:Concision
243:narrative
115:Mark Swan
96:Mark Swan
48:, words,
3444:Category
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2761:The Fish
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2714:" (1883)
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2652:The Duel
2636:Novellas
2526:The Bear
2510:Swansong
2494:Platonov
2402:Glossary
2397:Rhetoric
2204:Diegesis
2184:Creative
2157:Thriller
2106:Southern
2024:Paranoid
2019:Nautical
1930:Vignette
1888:Gamebook
1856:Folklore
1763:Protasis
1642:Allegory
1587:Metaphor
1545:parallel
1540:universe
1520:Dystopia
1477:Suspense
1363:Dialogue
1351:Conflict
1259:Narrator
1231:Hamartia
952:Archived
863:(1999).
372:Diegesis
361:See also
197:metaphor
3475:Writing
3335:Related
3271:The Bet
3127:At Home
3099:Ariadne
3082:Stories
2991:Stories
2870:Stories
2740:Oysters
2726:Surgery
2676:My Life
2332:Prequel
2288:Related
2274:Present
2167:Western
2123:Science
2096:Fantasy
2064:Romance
2014:Mystery
1999:Ergodic
1964:Fiction
1920:Parable
1915:Novella
1845:Fabliau
1816:Premise
1667:Imagery
1657:Diction
1535:country
1492:Setting
1472:Subplot
1294:Villain
1247:Byronic
705:110–112
329:imagery
130:show it
74:Imagist
66:fiction
50:subtext
46:actions
3201:Grisha
3141:Ionych
3084:(1901)
3049:(1898)
2993:(1894)
2956:(1893)
2929:Sleepy
2914:(1890)
2872:(1888)
2838:Agafya
2816:(1887)
2796:Anyuta
2789:Misery
2735:(1884)
2697:(1886)
2679:(1896)
2671:(1895)
2663:(1893)
2655:(1891)
2647:(1888)
2628:(1884)
2609:(1904)
2601:(1901)
2593:(1897)
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2561:(1889)
2553:(1889)
2545:(1889)
2537:(1889)
2529:(1888)
2521:(1887)
2518:Ivanov
2513:(1887)
2497:(1881)
2336:Sequel
2320:Retcon
2315:Reboot
2279:Future
2113:Horror
2101:Gothic
2086:Satire
2004:Erotic
1871:Legend
1773:Climax
1647:Bathos
1554:Utopia
1442:Reveal
1341:Cliché
1319:Action
1313:Ab ovo
1252:Tragic
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254:Scenes
2964:Gusev
2894:Vanka
2617:Novel
2486:Plays
2343:Genre
2310:Canon
2261:Tense
2179:Novel
2162:Urban
2074:Prose
2059:Rogue
1984:Crime
1979:Comic
1940:Genre
1910:Novel
1861:Fable
1839:Drama
1804:films
1634:Style
1602:Motif
1592:Moral
1577:Irony
1569:Theme
1482:Trope
908:–14.
875:–42.
354:op-ed
239:novel
235:scene
70:haiku
40:is a
3250:Boys
2887:Mire
2859:Home
2348:List
2269:Past
2128:Hard
2081:Saga
1989:Docu
1945:List
1876:Myth
1831:Form
1719:Tone
1692:Hook
1677:Mood
1672:Mode
1530:city
1417:Pace
1304:Plot
1242:Anti
1237:Hero
1220:Foil
1121:2017
1028:ISSN
999:ISBN
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877:ISBN
841:ISBN
799:2013
773:2017
760:ISBN
739:2017
726:ISBN
561:ISBN
528:OCLC
520:LCCN
510:ISBN
473:ISBN
444:ISBN
267:tone
263:pace
72:and
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