617:"I'll tell you what I'll do," said the smith. "I'll fix your sword for you tomorrow, if you tell me a story while I'm doing it." The speaker was an Irish storyteller in 1935, framing one story in another (O'Sullivan 75, 264). The moment recalls the Thousand and One Nights, where the story of "The Envier and the Envied" is enclosed in the larger story told by the Second Kalandar (Burton 1: 113-39), and many stories are enclosed in others."
728:
Unreliable narration involves the use of an untrustworthy narrator. This mode may be employed to give the audience a deliberate sense of disbelief in the story or a level of suspicion or mystery as to what information is meant to be true and what is meant to be false. Unreliable narrators are usually
681:
Stream of consciousness gives the (typically first-person) narrator's perspective by attempting to replicate the thought processes—as opposed to simply the actions and spoken words—of the narrative character. Often, interior monologues and inner desires or motivations, as well as pieces of incomplete
446:
point of view is presented by a narrator with an overarching perspective, seeing and knowing everything that happens within the world of the story, including what each of the characters is thinking and feeling. The inclusion of an omniscient narrator is typical in nineteenth-century fiction including
173:
appearing and participating within their own story (whether fictitious or factual), or the author themself as a character. The narrator may merely relate the story to the audience without being involved in the plot and may have varied awareness of characters' thoughts and distant events. Some stories
626:
In narrative past tense, the events of the plot occur before the narrator's present. This is by far the most common tense in which stories are expressed. This could be in the narrator's distant past or their immediate past, which for practical purposes is the same as their present. Past tense can be
211:
The ideological point of view is not only "the most basic aspect of point of view" but also the "least accessible to formalization, for its analysis relies to a degree, on intuitive understanding". This aspect of the point of view focuses on the norms, values, beliefs and
Weltanschauung (worldview)
186:
An ongoing debate has persisted regarding the nature of narrative point of view. A variety of different theoretical approaches have sought to define point of view in terms of person, perspective, voice, consciousness and focus. Narrative perspective is the position and character of the storyteller,
369:
series (the two largest examples of the genre), are not true second-person narratives, because there is an implicit narrator (in the case of the novel) or writer (in the case of the series) addressing an audience. This device of the addressed reader is a near-ubiquitous feature of the game-related
573:
While the tendency for novels (or other narrative works) is to adopt a single point of view throughout the entire novel, some authors have utilized other points of view that, for example, alternate between different first-person narrators or alternate between a first- and a third-person narrative
587:
In
Indigenous American communities, narratives and storytelling are often told by a number of elders in the community. In this way, the stories are never static because they are shaped by the relationship between narrator and audience. Thus, each individual story may have countless variations.
651:
The future tense is the most rare, portraying the events of the plot as occurring some time after the narrator's present. Often, these upcoming events are described such that the narrator has foreknowledge (or supposed foreknowledge) of their future, so many future-tense stories have a
207:
The psychological point of view focuses on the characters' behaviors. Lanser concludes that this is "an extremely complex aspect of point of view, for it encompasses the broad question of the narrator's distance or affinity to each character and event…represented in the text".
85:, etc.), presenting the story in its entirety. It is optional in most other storytelling formats, such as films, plays, television shows and video games, in which the story can be conveyed through other means, like dialogue between characters or visual action.
591:
The use of multiple narratives in a story is not simply a stylistic choice, but rather an interpretive one that offers insight into the development of a larger social identity and the impact that has on the overarching narrative, as explained by Lee Haring.
226:
A first-person point of view reveals the story through an openly self-referential and participating narrator. First person creates a close relationship between the narrator and reader, by referring to the viewpoint character with first person pronouns like
257:
The second-person point of view is a point of view similar to first-person in its possibilities of unreliability. The narrator recounts their own experience but adds distance (often ironic) through the use of the second-person pronoun
203:
identifies five planes on which point of view is expressed in a narrative: spatial, temporal, psychological, phraseological and ideological. The
American literary critic Susan Sniader Lanser also develops these categories.
390:, conventionally has descriptions that address the user, telling the character what they are seeing and doing. This practice is also encountered occasionally in text-based segments of graphical games, such as those from
584:, switch back and forth between a first-person perspective (handwritten journal entries) of the main character along his journey as well as a disembodied third-person perspective focused on his friends back home.
212:
of the narrator or a character. The ideological point of view may be stated outright—what Lanser calls "explicit ideology"—or it may be embedded at "deep-structural" levels of the text and not easily identified.
518:
series focuses on the protagonist for much of the seven novels, but sometimes deviates to other characters, particularly in the opening chapters of later novels in the series, which switch from the view of the
630:
In narratives using present tense, the events of the plot are depicted as occurring in the narrator's current moment of time. A recent example of novels narrated in the present tense are those of the
324:
You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy.
111:
used by the narrator to establish whether or not the narrator and the audience are participants in the story; also, this includes the scope of the information or knowledge that the narrator presents
349:
644:". This tense is more common in spontaneous conversational narratives than in written literature, though it is sometimes used in literature to give a sense of immediacy of the actions.
601:
to illustrate how framing was used to loosely connect each story to the next, where each story was enclosed within the larger narrative. Additionally, Haring draws comparisons between
576:
462:
Some works of fiction, especially novels, employ multiple points of view, with different points of view presented in discrete sections or chapters, including
900:
682:
thoughts, are expressed to the audience but not necessarily to other characters. Examples include the multiple narrators' feelings in
William Faulkner's
65:: a specific person, or unspecified literary voice, developed by the creator of the story to deliver information to the audience, particularly about the
1287:
2166:
555:
point of view employs a narrator who tells a story without describing any character's thoughts, opinions, or feelings; instead, it gives an
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in relation to the narrative itself. There is, for instance, a common distinction between first-person and third-person narrative, which
17:
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is biased, emotional and juvenile, divulging or withholding certain information deliberately and at times probably quite unreliable.
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Murphy, Terence
Patrick; Walsh, Kelly S. (2017). "Unreliable Third Person Narration? The Case of Katherine Mansfield".
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to illustrate the storylines of various characters at various times, creating a story with a complex perspective.
335:
274:
2827:
864:
96:, encompasses the set of choices through which the creator of the story develops their narrator and narration:
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This article is about using a commentary to present a story. For other strategies used to present stories, see
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Narrators often incorporate minor changes in the story in order to tailor the story to different audiences.
2759:
2044:
665:
262:. This is not a direct address to any given reader even if it purports to be, such as in the metafictional
1230:
Piquemal, 2003. From Native North
American Oral Traditions to Western Literacy: Storytelling in Education.
551:
point of view is when the narrator conveys the thoughts, feelings and opinions of one or more characters.
597:
2822:
292:
2608:
1872:
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or close third-person point of view, confined to one character's perspective, include J.M. Coetzee's
474:
359:
40:
129:: any of the various other methods chosen to help narrate a story, such as establishing the story's
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928:, trans. Valentina Zavarin and Susan Wittig (Berkeley, CA: University of California Press, 1973).
380:
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A Poetics of
Composition: The Structure of the Artistic Text and Typology of Compositional Form
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221:
394:, which make ample use of pop-up text boxes with character and location descriptions. Most of
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412:"Third-person perspective" redirects here. For the graphical perspective in video games, see
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2111:
1824:
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640:. Present tense can also be used to narrate events in the reader's past. This is known as "
808:
Narrative
Perspective in Fiction: A Phenomenological Meditation of Reader, Text, and World
8:
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norms, employing certain linguistic styles and using various other storytelling devices.
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first-person narrators; a third-person narrator may also be unreliable. An example is
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used regardless of whether the setting is in the reader's past, present, or future.
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502:, is another example of a book with three different point-of-view characters. In
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In the third-person narrative mode, the narration refers to all characters with
69:: the series of events. Narration is a required element of all written stories (
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Wyile, Andrea
Schwenke (1999). "Expanding the View of First-Person Narration".
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to establish either the prior completion or current immediacy of the plot
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1814:
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1532:
1141:"Third-Person Limited: Analyzing Fiction's Most Flexible Point of View"
767:
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610:
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refers to as intradiegetic and extradiegetic narrative, respectively.
1342:
1288:"When no one was looking, she opened the door: Using narrative tenses"
370:
medium, regardless of the wide differences in target reading ages and
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1939:
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609:, islands of the Southwest Indian Ocean and African cultures such as
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Harry to other characters (for example, the Muggle Prime
Minister in
297:
54:
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869:. Translated by Lewin, Jane E. Foreword by Jonathan Culler. Ithaca:
512:, the point of view alternates between characters at intervals. The
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1999:
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795:. Interdisciplinary Center for Narratology, University of Hamburg.
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2024:
2014:
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1651:
1478:. Transl. by Charlotte Goedsche. Cambridge: CUP 1984 (Transl. of
1313:
Schiffrin, Deborah (March 1981). "Tense Variation in Narrative".
606:
82:
1467:. Transl. by Jane Lewin. Oxford: Blackwell 1980 (Translation of
888:
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2443:
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2004:
1911:
1670:
520:
2700:
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1949:
1934:
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70:
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272:. Other notable examples of second-person include the novel
2438:
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1594:
1243:
Haring, Lee (27 August 2004). "Framing in Oral Narrative".
386:
694:, and the character Offred's often fragmented thoughts in
404:
is written in second person as an allusion to this style.
1437:(1st ed.). Cincinnati, Ohio: Writer's Digest Books.
1413:(1st ed.). Cincinnati, Ohio: Writer's Digest Books.
1411:
The Power of Point of View: Make Your Story Come to Life
595:
Haring provides an example from the Arabic folktales of
320:
and its sequels are also narrated in the second person.
169:). The narrator may be anonymous and unspecified, or a
840:
605:
and the oral storytelling observed in parts of rural
243:, whenever the narrator is part of a larger group).
941:(Princeton, NJ: Princeton University Press. 1981).
562:
939:The Narrative Act: Point of View in Prose Fiction
2794:
49:is the use of a written or spoken commentary to
838:
435:, and never first- or second-person pronouns.
39:"Narrator" redirects here. For other uses, see
1083:
92:, which is sometimes also used as synonym for
1501:
1063:. University of Chicago Press. pp. 89–.
648:action is also written in the present tense.
2586:
1176:. United Kingdom: Constable & Robinson.
1056:
1369:
1084:Herman, David; Jahn, Manfred; Ryan (2005),
1050:
805:
117:: the choice of either the past or present
1508:
1494:
1086:Routledge Encyclopedia of Narrative Theory
1041:
845:(Online ed.). Oxford University Press
786:
670:
543:
1451:
1312:
374:system complexity. Similarly, text-based
161:the story is told (for example, by using
1163:
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677:Stream of consciousness (narrative mode)
438:
253:Category:Second-person narrative fiction
1465:Narrative Discourse. An Essay in Method
1107:
866:Narrative Discourse: An Essay in Method
863:
14:
2795:
2179:Types of fiction with multiple endings
1408:
1357:"stream of consciousness – literature"
1285:
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1111:Harry Potter and the Half-Blood Prince
717:
1489:
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1236:
1203:
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1167:
1158:
1138:
1088:, Taylor & Francis, p. 442,
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101:Narrative point of view, perspective,
1427:
708:exemplifies this style in his novel
903:from the original on 4 October 2023
24:
1402:
1233:
1057:Paul Ricoeur (15 September 1990).
983:Children's Literature in Education
806:Chamberlain, Daniel Frank (1990).
793:The Living Handbook of Narratology
194:
25:
2839:
2582:Third-person omniscient narrative
1174:Masterclasses in Creative Writing
787:HĂĽhn, Peter; Sommer, Roy (2012).
265:If on a winter's night a traveler
739:, in which the novel's narrator
246:
181:
1457:Towards a "Natural" Narratology
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1279:
1224:
1132:
1114:. London: Bloomsbury. pp.
1101:
1077:
1035:
1017:
974:
789:"Narration in Poetry and Drama"
563:Alternating- or multiple-person
407:
215:
1970:Conflict between good and evil
965:
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944:
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857:
832:
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153:Thus, narration includes both
133:(location in time and space),
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1:
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1372:Journal of Literary Semantics
842:The Oxford English Dictionary
839:James McCracken, ed. (2011).
61:. Narration is conveyed by a
1294:. Cambridge University Press
1286:Walter, Liz (26 July 2017).
1210:The Internet Writing Journal
666:List of narrative techniques
659:
350:The Reluctant Fundamentalist
29:Written or spoken commentary
7:
746:
598:One Thousand and One Nights
574:mode. The ten books of the
10:
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721:
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663:
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559:, unbiased point of view.
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250:
219:
38:
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18:Perspective (storytelling)
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2609:Stream of unconsciousness
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2187:
2140:Falling action/Catastasis
2085:
1990:
1925:
1848:
1660:
1523:
1204:White, Claire E. (2004).
360:Choose Your Own Adventure
357:, including the American
41:Narrator (disambiguation)
1977:Self-fulfilling prophecy
1434:Characters and Viewpoint
1206:"D.J. MacHale Interview"
871:Cornell University Press
773:
621:
199:The Russian semiotician
141:(main ideas or topics),
2604:Stream of consciousness
2067:Suspension of disbelief
1409:Rasley, Alicia (2008).
1168:Dynes, Barbara (2014).
1025:"Halting State, Review"
995:10.1023/a:1022433202145
671:Stream-of-consciousness
603:Thousand and One Nights
544:Subjective or objective
381:Colossal Cave Adventure
336:Bright Lights, Big City
282:, the short fiction of
275:Bright Lights, Big City
163:stream of consciousness
2145:Denouement/Catastrophe
2126:Rising action/Epitasis
1108:Rowling, J.K. (2005).
937:Susan Sniader Lanser,
736:The Catcher in the Rye
685:The Sound and the Fury
619:
495:The Home and the World
485:A Song of Ice and Fire
475:The Emperor's Children
342:
222:First-person narrative
2828:Descriptive technique
2491:Utopian and dystopian
1480:Theorie des Erzählens
1476:A theory of Narrative
1474:Stanzel, Franz Karl.
1384:10.1515/jls-2017-0005
1257:10.1353/mat.2004.0035
873:. 1980. p. 228.
615:
580:adventure series, by
505:The Heroes of Olympus
498:, written in 1916 by
439:Omniscient or limited
421:third person pronouns
322:
135:developing characters
2045:Narrative techniques
1825:Story within a story
1637:Supporting character
1459:. London: Routledge.
1170:"Using Third Person"
167:unreliable narration
157:tells the story and
143:structuring the plot
2750:Political narrative
2592:Unreliable narrator
2449:Speculative fiction
2157:Nonlinear narrative
2105:Three-act structure
1965:Deal with the Devil
1245:Marvels & Tales
1044:"And another thing"
826:10.3138/j.ctt2ttgv0
753:Narrative structure
724:Unreliable narrator
718:Unreliable narrator
701:The Handmaid's Tale
508:series, written by
500:Rabindranath Tagore
490:George R. R. Martin
465:The English Patient
376:interactive fiction
126:Narrative technique
94:narrative technique
34:Narrative technique
2728:Narrative paradigm
2723:Narrative identity
2653:Dominant narrative
2599:Multiple narrators
1883:Fictional location
1726:Dramatic structure
1139:Mountford, Peter.
1060:Time and Narrative
642:historical present
569:Multiperspectivity
392:Spiderweb Software
290:, the short story
176:multiple narrators
109:grammatical person
2823:Literary concepts
2790:
2789:
2733:Narrative therapy
2167:television series
2112:Freytag's Pyramid
1955:Moral development
1858:Alternate history
1568:False protagonist
1469:Discours du récit
1463:Genette, GĂ©rard.
1453:Fludernik, Monika
1444:978-0-89879-307-9
1429:Card, Orson Scott
1420:978-1-59963-355-8
1183:978-1-47211-003-9
1125:978-0-7475-8108-6
1095:978-0-415-28259-8
1070:978-0-226-71334-2
1031:. 1 October 2007.
1029:Publishers Weekly
758:Opening narration
526:Half-Blood Prince
414:Third-person view
372:role-playing game
329:Opening lines of
119:grammatical tense
16:(Redirected from
2835:
2713:Literary science
2256:Narrative poetry
2152:Linear narrative
2062:Stylistic device
2057:Show, don't tell
2020:Figure of speech
1810:Shaggy dog story
1553:Characterization
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741:Holden Caulfield
470:Michael Ondaatje
366:Fighting Fantasy
340:
317:The Fifth Season
107:: the choice of
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2658:Fiction writing
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1715:Deus ex machina
1656:
1642:Title character
1627:Stock character
1573:Focal character
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1403:Further reading
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776:
749:
726:
720:
704:. Irish writer
696:Margaret Atwood
679:
673:
668:
662:
638:Suzanne Collins
624:
571:
565:
546:
449:Charles Dickens
441:
417:
410:
341:
328:
303:Second Thoughts
255:
249:
224:
218:
201:Boris Uspenskij
197:
195:Literary theory
184:
115:Narrative tense
44:
37:
30:
23:
22:
15:
12:
11:
5:
2841:
2831:
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2782:Verisimilitude
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2685:Parallel novel
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2329:
2327:Action fiction
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2017:
2012:
2007:
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1996:
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1817:
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1807:
1805:Self-insertion
1802:
1797:
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1790:Poetic justice
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1607:
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1592:
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1565:
1560:
1555:
1550:
1548:Character flaw
1545:
1540:
1535:
1529:
1527:
1521:
1520:
1513:
1512:
1505:
1498:
1490:
1484:
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1419:
1404:
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1398:
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1362:
1348:
1327:10.2307/414286
1305:
1278:
1251:(2): 229–245.
1232:
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1196:
1182:
1157:
1131:
1124:
1100:
1094:
1076:
1069:
1049:
1034:
1016:
989:(3): 185–202.
973:
964:
952:
943:
930:
922:Boris Uspensky
914:
879:
856:
831:
816:
798:
778:
777:
775:
772:
771:
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760:
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748:
745:
722:Main article:
719:
716:
691:As I Lay Dying
675:Main article:
672:
669:
664:Main article:
661:
658:
623:
620:
567:Main article:
564:
561:
545:
542:
440:
437:
409:
406:
396:Charles Stross
326:
310:. Sections of
248:
245:
220:Main article:
217:
214:
196:
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189:GĂ©rard Genette
183:
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151:
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90:narrative mode
28:
9:
6:
4:
3:
2:
2840:
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2826:
2824:
2821:
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2816:
2814:
2813:Point of view
2811:
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2806:
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2801:
2800:
2798:
2783:
2780:
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2770:
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2767:Screenwriting
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2572:Second-person
2570:
2568:
2565:
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2476:Magic realism
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2407:Psychological
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2312:Autobiography
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2251:Narrative art
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2209:Flash fiction
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2018:
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1764:KishĹŤtenketsu
1761:
1759:
1758:
1757:In medias res
1754:
1752:
1749:
1747:
1744:
1742:
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1737:
1736:Foreshadowing
1734:
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1731:Eucatastrophe
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1583:Gothic double
1581:
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1563:Deuteragonist
1561:
1559:
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1543:Character arc
1541:
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880:0-8014-9259-9
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817:9780802058386
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731:J.D. Salinger
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582:D. J. MacHale
579:
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480:Claire Messud
477:
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458:
454:
450:
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436:
434:
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426:
422:
415:
405:
403:
402:
401:Halting State
397:
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389:
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383:
382:
377:
373:
368:
367:
362:
361:
356:
352:
351:
346:
338:
337:
332:
331:Jay McInerney
325:
321:
319:
318:
313:
312:N. K. Jemisin
309:
305:
304:
299:
295:
294:
289:
285:
281:
280:Jay McInerney
277:
276:
271:
270:Italo Calvino
267:
266:
261:
254:
247:Second-person
244:
242:
238:
234:
230:
223:
213:
209:
205:
202:
192:
190:
182:Point of view
179:
177:
172:
168:
164:
160:
156:
148:
144:
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136:
132:
128:
127:
123:
120:
116:
113:
110:
106:
102:
99:
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97:
95:
91:
86:
84:
80:
76:
75:short stories
72:
68:
64:
60:
56:
52:
48:
42:
35:
27:
19:
2772:Storytelling
2587:Subjectivity
2577:Third-person
2567:First-person
2553:
2201:
2039:
2010:Comic relief
1762:
1755:
1746:Flashforward
1713:
1687:Origin story
1669:
1632:Straight man
1616:
1587:
1479:
1475:
1468:
1464:
1456:
1433:
1410:
1378:(1): 67–85.
1375:
1371:
1365:
1351:
1321:(1): 45–62.
1318:
1314:
1308:
1296:. Retrieved
1291:
1281:
1248:
1244:
1226:
1214:. Retrieved
1209:
1199:
1187:. Retrieved
1173:
1148:. Retrieved
1144:
1134:
1110:
1103:
1085:
1079:
1059:
1052:
1037:
1028:
1019:
986:
982:
976:
967:
955:
946:
938:
933:
925:
917:
905:. Retrieved
865:
859:
847:. Retrieved
841:
834:
807:
801:
792:
782:
734:
727:
709:
699:
689:
683:
680:
650:
633:Hunger Games
631:
629:
625:
616:
602:
596:
594:
590:
586:
575:
572:
552:
548:
547:
537:
533:
532:Examples of
531:
525:
515:Harry Potter
513:
510:Rick Riordan
503:
493:
483:
473:
463:
461:
457:George Eliot
443:
442:
432:
428:
424:
418:
408:Third-person
399:
385:
379:
364:
363:and British
358:
348:
345:Mohsin Hamid
343:
334:
323:
315:
308:Michel Butor
302:
291:
284:Lorrie Moore
273:
263:
259:
256:
240:
236:
235:(as well as
232:
228:
225:
216:First-person
210:
206:
198:
185:
158:
154:
152:
137:, exploring
124:
114:
104:
100:
89:
87:
62:
46:
45:
26:
2818:Narratology
2777:Tellability
2743:Metafiction
2738:Narratology
2510:Theological
2402:Pop culture
2283:Short story
2261:Epic poetry
1982:Time travel
1795:Red herring
1780:Plot device
1751:Frame story
1704:Cliffhanger
1647:Tritagonist
1622:Protagonist
706:James Joyce
636:trilogy by
453:Leo Tolstoy
2797:Categories
2663:Continuity
2532:Nonfiction
2496:Underwater
2392:Picaresque
2367:Historical
2352:Epistolary
2224:Fairy tale
2135:Peripeteia
2117:Exposition
1873:Dreamworld
1815:Stereotype
1785:Plot twist
1533:Antagonist
1216:25 January
849:16 October
810:. ITHAKA.
768:Voice-over
646:Screenplay
611:Madagascar
549:Subjective
488:series by
444:Omniscient
378:, such as
288:Junot DĂaz
251:See also:
2554:Narration
2503:Superhero
2427:Chivalric
2412:Religious
2397:Political
2332:Adventure
2317:Biography
2239:Tall tale
2087:Structure
2072:Symbolism
2040:Narration
1940:Leitmotif
1868:Crossover
1863:Backstory
1820:Story arc
1770:MacGuffin
1741:Flashback
1682:Backstory
1558:Confidant
1538:Archenemy
1525:Character
1517:Narrative
1392:171741675
1335:0097-8507
1273:143097105
1265:1536-1802
1011:142607561
1003:0045-6713
907:4 October
660:Technique
654:prophetic
577:Pendragon
557:objective
553:Objective
521:eponymous
447:works by
398:'s novel
355:Gamebooks
298:Andy Weir
171:character
47:Narration
2760:Glossary
2755:Rhetoric
2562:Diegesis
2542:Creative
2515:Thriller
2464:Southern
2382:Paranoid
2377:Nautical
2288:Vignette
2246:Gamebook
2214:Folklore
2121:Protasis
2000:Allegory
1945:Metaphor
1903:parallel
1898:universe
1878:Dystopia
1835:Suspense
1721:Dialogue
1709:Conflict
1617:Narrator
1589:Hamartia
1455:(1996).
1431:(1988).
1315:Language
960:Uspensky
901:Archived
897:8222857W
889:79013499
747:See also
538:Disgrace
482:and the
327:—
63:narrator
59:audience
2803:Fiction
2690:Prequel
2646:Related
2632:Present
2525:Western
2481:Science
2454:Fantasy
2422:Romance
2372:Mystery
2357:Ergodic
2322:Fiction
2278:Parable
2273:Novella
2203:Fabliau
2174:Premise
2025:Imagery
2015:Diction
1893:country
1850:Setting
1830:Subplot
1652:Villain
1605:Byronic
1298:28 July
1189:28 July
1150:28 July
711:Ulysses
607:Ireland
534:Limited
293:The Egg
131:setting
83:memoirs
2694:Sequel
2678:Retcon
2673:Reboot
2637:Future
2471:Horror
2459:Gothic
2444:Satire
2362:Erotic
2229:Legend
2131:Climax
2005:Bathos
1912:Utopia
1800:Reveal
1699:Cliché
1677:Action
1671:Ab ovo
1610:Tragic
1441:
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656:tone.
339:(1984)
139:themes
71:novels
57:to an
51:convey
2701:Genre
2668:Canon
2619:Tense
2537:Novel
2520:Urban
2432:Prose
2417:Rogue
2342:Crime
2337:Comic
2298:Genre
2268:Novel
2219:Fable
2197:Drama
2162:films
1992:Style
1960:Motif
1950:Moral
1935:Irony
1927:Theme
1840:Trope
1388:S2CID
1339:JSTOR
1269:S2CID
1007:S2CID
822:JSTOR
774:Notes
622:Tense
431:, or
423:like
174:have
147:genre
105:voice
79:poems
55:story
2706:List
2627:Past
2486:Hard
2439:Saga
2347:Docu
2303:List
2234:Myth
2189:Form
2077:Tone
2050:Hook
2035:Mood
2030:Mode
1888:city
1775:Pace
1662:Plot
1600:Anti
1595:Hero
1578:Foil
1439:ISBN
1415:ISBN
1331:ISSN
1300:2020
1261:ISSN
1218:2023
1191:2020
1178:ISBN
1152:2020
1120:ISBN
1116:6–18
1090:ISBN
1065:ISBN
999:ISSN
962:, 8.
909:2023
885:LCCN
875:ISBN
851:2011
812:ISBN
688:and
455:and
433:they
387:Zork
384:and
353:and
300:and
286:and
239:and
231:and
88:The
67:plot
2095:Act
1380:doi
1323:doi
1253:doi
991:doi
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529:).
478:by
468:by
429:she
347:'s
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306:by
296:by
278:by
268:by
260:you
165:or
159:how
155:who
103:or
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