95

hypothesis universally applicable or not?” “What are exceptions to the hypothesis?”

“What empirical proof support or disprove the hypothesis?”

Using a scientifically rigorous framework, the exploratory approach offers a

variety of avenues for hypothesis testing. For instance, to test the hypothesis that

varigens cannot be represented in genre taxonomy, explorative research can

examine how the Periodic Table of Elements represents categories outside of the

taxonomy. To test a hypothesis on varigens of genres, examine a valid text sample

to determine what varigens may be articulated for the Sciene SFict, the Fantasy

Sfict, or for the Horror Sfict genres. To test a hypothesis on varigens of emergents,

examine text samples empirically verified as History Sfict, Food Sfict, Erotica Sfict,

and Romance SFict.

This ends the third chapter on instruments and procedures. The next chapter

is on presentation, analysis, and interpretation of research findings.

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IV. PRESENTATION, ANALYSIS, AND INTERPRETATION

This chapter presents the protocols produced, analyzes data

significance, and interprets embedded hypotheses for genrecality,
genreicity, nomenclature, taxonomy, the conventions of the short
story, and literary quality.

Research indicates the growing inadequacy of extant genre taxonomies for

systematic categorization of contemporary sfict narratives. However, there is little or

no practical research on the topic. This study discovers and organizes information to

lay groundwork and to formulate theories for future study. In the process, it wasfound

that genre taxonomy is limited to naming and classification but systematic categorizing

of sfict texts and genres requires standard assessment and descriptive evaluation.

A. Sfict Genre Identification (Genrecality)

Genrecality, the identifying elements of sfict genres, includes empirical

elements that define genres and proves how sfict stories belongs to specific genres.

Systematic genrecality analysis requires explicit articulation of applicable

empirical elements to answer questions such as: How can a speculative fiction story be

identified? How can the genre of a speculative fiction story be identified? What if an

sfict story cannot be categorized under existing genres? How can sfict subgenres be

identified? How can they be differentiated? How are they located on a hierarchic

taxonomy?

Genrecality: To define genrecality (the nature and identity of genres), this

study posits three (3) sets of empirical elements: publicity, supragenreic elements, and

grouping standards.

1. Publicity: The contemporary genre is a public construct shaped, shared, and

used by many. This study posits publicity as an empirical data set including published
 97

comments and observations, articles, papers, and genre examples in use as indicated by

subgenre variations, transmedia adaptations, sales, clicks, and downloads.

2. Supragenreic Elements: The literature indicates that supragenres are any

defined collection of groups and subgroups related by common elements

3. Grouping: Standard grouping system is a convention of taxonomy design.

Systematic genre identification requires explicit articulation of grouping standards that

define genre identities, boundaries, differences, and relationships. Grouping constructs

include five (5) elements: supragenre, genre, emergent, subgenre, and varigen.

Table 3: Instruments for Genrecality Analysis

Assess & Ref

Assessment

Evaluation
Reference
Instrument Models for Systematic Analysis of
Elements

TOTAL
RANK

Sfict Genrecality (Genre Identity)

5 8 Supragenreic Elements Chart 1 0 0 0 1

Novumality: Identifiers of Novum Genres 1 0 0 0 1
Genrecality - Text Scoring Sheet 0 0 1 0 1
2 24
Genrecality - Corpus Scoring Sheet 0 1 0 0 1
Genrecality - Evaluation Chart 0 0 0 1 1
SFict Subgenre Identification - Text Scoring Sheet 0 0 1 0 1
SFict Subgenre - Corpus Identification Chart A 0 1 0 0 1
SFict Subgenre - Corpus Identification Chart B 0 1 0 0 1
1 73 SFict Subgenre Identification - Evaluation Chart 0 0 0 1 1
Fantasy SFict Genre & Subgenre Differentiation Matrix 1 0 0 0 1
Horror SFict Genre & Subgenre Differentiation Matrix 1 0 0 0 1
Science SFict Genre & Subgenre Differentiation Matrix 1 0 0 0 1
Sfict Emergent Identification - Text Scoring Sheet 0 0 1 0 1
Sfict Emergent Identification-Corpus Scoring Sheet A 0 0 1 0 1
4 11
Sfict Emergent Identification-Corpus Scoring Sheet B 0 1 0 0 1
Sfict Emergent Identification - Evaluation Chart 0 0 0 1 1
Sfict Varigen identification Text Scoring Sheet 0 0 1 0 1
Sfict Varigen identification - Corpus Scoring Sheet A 0 0 1 0 1
3 15 Sfict Varigen identification - Corpus Scoring Sheet B 0 1 0 0 1
Sfict Varigen identification - Evaluation Chart 0 0 0 1 1
Varigens of History Sfict 1 0 0 0 1
131 TOTAL 6 5 6 4 21
 98

The preceding chart indicates that in terms of conceptual complexity, subgenre

identification ranks first, genrecality ranks second, varigen identification ranks third,

emergent identification ranks fourth, and supragenre identification ranks last.

A. Supragenre: A supragenre is a group of genres composed of distinct genres,

each of which are composed of distinct subgenres. The defining element of the sfict

supragenre is the novum.

For instance, one sfict supragenre may be “contemporary Asian speculative

short fiction narratives in English” while another may be “speculative fiction in

ancient Chinese legends” or even “West African speculative fiction ballads of horror

and fantasy”, all of which are narratives that depict at least one novum.

B. Genre: The genre, a distinct category in a supragenre, is defined by specific

criteria so that a story can belong to only one genre within a supragenre. For instance,

all sfict stories involve a novum, but horror sfict stories cannot be categorized as

fantasy or science sfict.

C. Subgenre: The subgenre is a distinct category under a genre. In systematic

taxonomy, a subgenre is named so that a story can belong to only one subgenre within

a supragenre. For this purpose, sfict subgenres use binomial nomenclature where the

first name indicates the genre under which it belongs.

For example, the three (3) sfict genres are historically established and widely

used: fantasy, horror, and science fiction. Stories that combine these genres are called

subgenres. Horror-fantasy sfict is under the horror genre, science-horror sfict is under

the science genre, and fantasy-horror sfict is under the fantasy genre.

D. Emergent: Some groups of stories belong to sfict genres that are not widely

acknowledged as such. The term emergent is used here to refer to sfict stories can be
 99

empirically proven as distinct sfict genres that can be included in systematic sfict genre

taxonomy. In other words, emergents are putative genres in that they appear to meet all

empirical criteria of a genre, except publicity. This means that the widely used,

historically established sfict genres of fantasy, horror, and science fictions are not

emergents. Emergents can be identified by at least four (4) defining elements:

genreicity, non-establishment, derivation, and populability.

E. Varigen: Varigens are groups of stories that are variations of an sfict genre

or emergent. The varigen is a descriptive category that cannot be used in systematic

taxonomy because it is not a different genre. Varigens can be identified by at least four

(4) defining elements: novum variant, descriptive function, nontaxonomic function,

and significant population.

F. Genrecality: Genrecality refers to the nature and identity of genres as

indicated by the novum functions of manovum and minovum; the communicative

functions of entertainment, sociality, and insight; and the literary elements of

rhetorical, literary, and lyrical devices.

Table 4: Summary of Sfict Genrecality Instruments

Assess & Ref
Assessment

TOTAL
Evaluation
Reference

Summary of Instruments:
Elements

%
RANK

Sfict Genrecality (Genre Identity)

4 13 Sfict Genrecality Instruments 0 1 1 1 3 14.29 3

6 8 Sfict Supragenre Identification Instruments 1 0 0 0 1 4.77 4
2 22 Sfict Subgenre Identification Instruments 1 2 1 1 5 23.80 1
1 63 Genre & Subgenre Identification Instruments 3 0 0 0 3 14.29 3
5 11 Sfict Emergent Identification Instruments 0 1 2 1 4 19.05 2
3 14 Sfict Varigen Identification Instruments 1 1 2 1 5 23.80 1
131 TOTAL 6 5 6 4 21 100
% 28.58 23.8 28.58 19.04 100

This table suggests six (6) sets of genrecality analysis instruments, with genre

& subgenre identification tools ranking first in conceptual complexity (48.09%) but
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only third in procedural complexity (14.29%). Ranking a far second in conceptual

complexity (16.79%) but first in procedural complexity (23.8%) are sfict subgenre

identification, along with sfict varigen identification tools. On the other end of the

spectrum is the sfict supragenre identification instrument with only 8 elements. There

appears to be no correlation between number of empiricals and of instruments.

Novumality: Multidisciplinary exploratory research identified four (4)

observable, countable elements of sfict genre identification, empiricals organized into

one (1) tool for systematic analysis of genrecality. This study posits novumality, a

novum-centric approach to systematic sfict genre analysis, identification,

differentiation, and categorization. The theory is that, while a story can have different

genres, a novum has only one dominant genre.

To differentiate sfict from other genres, the Novumality: Identifiers of Novum

Genres chart posits four elements: sociality, belief shift, genre indicators, and novum

genres. The chart defines sfict genres by sociality and belief shift, defines indicators of

genre identity, and uses novum genre to differentiate three (3) historically established

sfict genres as well as six (6) sfict emergents.

Genrecality: The Identifiers of Novum Genres chart posits the defining

elements of sfict genres: sociality, EBS, and novum genre. The Genrecality - Text

Scoring Sheet and the Genrecality - Corpus Scoring Sheet posit frequency analysis on

seven (7) elements of genre identification: sociality, novum depiction, novum genre,

novum number, manovum, minovum, and genre name. To translate scores into

descriptive evaluations, the Genrecality Evaluation chart posits a standard 6-point

range from No Clear Genrecality to Very High Genrecality.

Genre Differentiation: Three (3) reference charts, the Fantasy SFict Genre &

Subgenre Differentiation Matrix, the Horror SFict Genre & Subgenre Differentiation
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Matrix, and the Science SFict Genre & Subgenre Differentiation Matrix, posit that 1.

the manovum indicates genre identity and drive character and/or plot development; 2.

The minovum influences other narrative elements such as setting and atmosphere; and

3. A story subgenre is defined by the depicted manovum and minovum.

Subgenrecality: The SFict Subgenre Identification - Text Scoring Sheet and

the SFict Subgenre - Corpus Identification Chart A and Chart B posit a genre

identification system using frequency analysis of four (4) elements: genreicity, novum

genre, novum number, taxonomity, and populability. To translate scores into

descriptive evaluations, the SFict Subgenre Identification - Evaluation Chart posits a

standard 6-point range from No Clear Subgenre to Very High Subgenre Clarity.

Emergent Genrecality: The study identified five (5) observable, countable

elements of sfict emergent identification, empiricals organized into four (4) tools for

systematic identification of emergents. The Sfict Emergent Identification - Text

Scoring Sheet and the Sfict Emergent Identification - Corpus Scoring Sheet A and Sfict

Emergent Identification - Corpus Scoring Sheet B posit an emerging genre (emergent)

identification system using frequency analysis of five (5) elements: fully genreic, non-

establishment, derivation, taxonomic function, and populability. To convert scores into

descriptive evaluations, the Sfict Emergent Identification - Evaluation Chart posits a

standard 6-point range from No Clear Emergent Genrecality to Very High Emergent

Genrecality.

Subgenres: Four (4) empiricals of sfict genre identification are organized into

four (4) instruments for systematic identification of sfict subgenres. The Subgenre

Nomenclature chart posits three (3) defining elements of subgenre stories: (a)

Functions - Subgenre stories use at least two novums, one for manovum functions and

another for minovum functions; (b) Names - Subgenre stories have two names: the first
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is the manovum genre and the second is the minovum genre; and (c) Taxonomy -

Subgenre stories are categorized under the novum genres of their manovums.

Varigens: The study identified five (5) observable, countable elements of sfict

varigen identification, empiricals organized into four (4) tools for systematic

identification of varigens. This study defines the varigen, an sfict genre variation

excluded from genre taxonomy. The SFict Varigen Identification chart posits five (5)

elements as empirical criteria for varigen identification: genreicity, novum variant,

descriptive function, nontaxonomic function, and significant population. To convert

assessment scores to descriptive evaluations, the SFict Varigen Identification -

Evaluation Chart posits a standard 6-point range from No Clear Varigen Genrecality

to Very High Varigen Genrecality.

B. Sfict Genre Class (Genreicity)

Table 5: Instruments for Genreicity Analysis

Assess & Ref

Assessment

TOTAL
Evaluation

RANK
Reference

Instrument Models for Systematic Analysis of

Elements

Sfict Genreicity (Genre Class)

12 Differentiating Elements of Sfict Supragenres 1 0 0 0 1

8 Classes of Sfict Stories 1 0 0 0 1
EBS Text Scoring Sheet (Multimodal) 0 0 1 0 1
4
EBS Corpus Scoring Sheet (Multimodal) 0 1 0 0 1
6 EBS Evaluation Chart 0 0 0 1 1
10 Sociality Frequency Analysis Chart 0 0 1 0 1
6 Sociality Frequency Evaluation Chart 0 0 0 1 1
10 Sociality Depiction Assessment Chart 0 0 1 0 1
6 Sociality Quality Depiction Evaluation Chart 0 0 0 1 1
Sfict Genre Conventionality Text Scoring (Multimodal) 0 0 1 0 1
3
Sfict Genre Conventionality Corpus Scoring (Multimodal) 0 1 0 0 1
6 Sfict Genre Conventionality Evaluation Chart 0 0 0 1 1
8 SFict Genre Depiction - Quality Indicators 1 0 0 0 1
SFict Genre Depiction - Text Scoring Sheet 0 1 0 0 1
9
Sfict Genre Depiction - Corpus Scoring Sheet 0 1 0 0 1
6 SFict Genre Depiction - Evaluation Chart 0 0 0 1 1
94 TOTAL 3 4 4 5 16
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Genreicity, the quality of sfict genres, is an established aspect of audience

engagement strategy in sfict storytelling. Objective analysis of sfict stories requires

articulation of empirical elements of genreicity to answer questions such as: What

empirical standards can be used to differentiate literary sfict from standard sfict?

What empirical elements differentiate light, standard, and neophytic sfict stories?

Table 6: Summary of Sfict Genreicity Instruments

Assess & Ref

Assessment

TOTAL
Evaluation

RANK
Reference
Summary of Instruments:
Elements
%

%
Sfict Genreicity (Genre Quality)

20 21.28 Supragenre Analysis 2 0 0 0 2 12.50 3

10 10.64 EBS Analysis (Multimodal) 0 1 1 1 3 18.75 2
32 34.04 Sociality Analysis 0 0 2 2 4 25.00 1
9 09.58 Genre Conventionality Analysis (Multimodal) 0 1 1 1 3 18.75 2
23 24.46 Genre Depiction Analysis 1 2 0 1 4 25.00 1
94 100 TOTAL 3 4 4 5 16 100

Supragenre Levels: The supragenre is a defined collection of groups and

subgroups related by common elements. For instance, basic sfict stories have at least a

novumlxxvii and some elicit belief shift.lxxviii On the other hand, standard sfict stories

include a third element: socialitylxxix while literary sfict include a fourth element:

literary quality.lxxx

To standardize the concept, the Classes of Sfict Stories chart posits frequency

analysis using a 3-item criteria including novum function and narrative purpose to

differentiate five (5) sfict supragenres by quality levels ranging from traditional to

literary. Alternatively, to identify six (6) sfict supragenres from ancient to literary, the

Differentiating Elements of Sfict Supragenres chart posits frequency analysis of a 6-

point genrecality criteria ranging from cognitive demand to literarity.

EBS: The momentary suspension of a standard and ordinary belief system to

indulge in a fictive and currently extraordinary story is belief shift. On the other hand,
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EBS (ease of belief shift) is the degree of effort in shifting between beliefs.lxxxi To

analyze EBS in sfict stories, the EBS Text Scoring and the EBS Corpus Scoring charts

posit multimodal analysis that aggregates the four (4) assessment scores from short

story conventionality to sociality depiction. Descriptive evaluation uses a 6-point

standard ranging from No Belief Shift to Very High Ease of Belief Shift.

Sociality: The depiction in narrative sfict of imperfect, questionable, and/or

unacceptable social and/or cultural phenomena is sociality. To analyze sociality in

sfict narratives, the Sociality Frequency Analysis Chart posits frequency analysis of

10 empirical sociality elements ranging from cultural to modal. Alternatively, the

Sociality Depiction Assessment chart posits quality analysis of 10 empirical sociality

depiction elements ranging from fictionality to purpose. Descriptive evaluation uses a

6-point standard ranging from No Sociality Frequency to Very High Sociality

Frequency or from No Depiction Quality to Very High Depiction Quality.

Genre Depiction: The dramatization of sociality to elicit belief and of novum

to elicit belief shift is called genre depiction. To analyze genre depiction quality in

sfict stories, the Sfict Genre Depiction Quality Indicators reference matrix posits

quality analysis on a 5-point standard criteria ranging from purpose to emotionality on

the SFict Genre Depiction - Text Scoring and on the Genre Depiction Corpus Scoring

charts. Descriptive evaluation uses a 6-point standard ranging from No Genre

Depiction Quality to Very High Genre Depiction Quality.

Genre Conventionality: Use of sfict genre conventions such as novumality,

EBS, and sociality in narrative sfict is sfict genre conventionality. To analyze genre

conventionality in sfict stories, the Sfict Genre Conventionality Text Scoring and the

Sfict Genre Conventionality Corpus Scoring charts posit multimodal analysis of three

(3) aggregated data sets: novumality, EBS, and sociality. Descriptive evaluation uses a
 105

6-point standard ranging from No Sfict Genre Conventionality to Very High Sfict

Genre Conventionality.

C. Sfict Genre Nomenclature

Nomenclature is a logical naming pattern used in design of systematic

taxonomy. Nomenclature design involves planning for intuitive use with informative

labels that are familiar, stable, and meet target user needs. Subgenre nomenclature is

the systematic naming of sub-categories in taxonomy. Cultural nomenclature is the

use of a culture‟s language to name categories in a taxonomy.

Sfict genre taxonomy design and assessment requires explicit articulation of

empirical elements of nomenclature design, subgenre nomenclature, and cultural

nomenclature.

Table 7: Instruments for Taxonomy Nomenclature

Assessment

TOTAL
Elements
RANK

Evaluation
Reference
Instrument Models for

Ass& Ref
Systematic Nomenclature of Sfict Genres

14 Descriptive & Categoric Nomenclature 1 0 0 0 1

9 Genre Nomenclature Quality Indicators 1 0 0 0 1
36 Nomenclature Design Assessment Chart 0 0 1 0 1
5 Nomenclature Design Assessment Summary 0 1 0 0 1
6 Nomenclature Design Evaluation Chart 0 0 0 1 1
20 4x5 Subgenre Nomenclature Chart 1 0 0 0 1
4 Cultural Nomenclature Example Chart 1 0 0 0 1
7 Nomenclature Culturality Assessment Chart 0 0 1 0 1
6 Nomenclature Culturality Evaluation Chart 0 0 0 1 1
107 TOTAL 4 1 2 2 9

Reference Charts: The study organized 23 empirical elements in two

instruments. First, the Genre Nomenclature Quality Indicators chart posits nine (9)

empirical elements of nomenclature design: branding, identification, discrimination,

location, prescription, description, suggestion, prediction, and connection, and

indicates an empirical hypothesis for nomenclature design. Second, the Descriptive &
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Categoric Nomenclature chart posits the differentiating elements of descriptive and

categorical nomenclature.

The Genre Nomenclature Quality Indicators chart posits nine (9) empirical

elements of nomenclature design from branding to connective. The Descriptive &

Categoric Nomenclature chart posits the differentiating elements of descriptive and

categorical nomenclature.

Nomenclature Design: The study organized 47 empirical elements in three (3)

instruments. The Nomenclature Design Assessment Chart posits five (5) empirical

elements of sfict genre nomenclature design: familiarity, stability, intuitive logic,

pragmatic purpose, and culturality.

For objective assessment of taxonomy design, the Nomenclature Design

Assessment chart posits frequency analysis of 36 empirical elements of ideal taxonomy

design in five (5) categories from familiarity to culturality. To illustrate the

multidisciplinary research approach, the chart includes sources of each definition.

Descriptive evaluation uses a standard 6-point array ranging from No Design Quality

to Very High Design Quality.

Subgenre Nomenclature: One sfict genre naming convention is the binomial

nomenclature of subgenres, or groups of stories that depict at least two genres. It is

posited that the first name (e. g., HORROR-fantasy, FANTASY-horror) indicates the

manovum, the novum genre that drives character and/or plot development as well as

the parent genre under which the subgenre is categorized in taxonomy, while the

second name indicates the minovum, the novum genre that contributes to other

narrative elements (e.g., mood, setting).

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The study organized 20 empirical elements in an assessment tool, the Subgenre

Nomenclature Chart, which posits three (3) empirical elements of sfict subgenre

nomenclature design: manovum genre, minovum genre, and narrative.

The Subgenre Nomenclature Chart shows how four (4) elements of literary

type, genre major, genre minor, and narrative type can be used to create a subgenre

name. As well, permutations of subgenre nomenclature for the three established sfict

genres are shown in three (3) reference charts presented in the preceding section on

genre differentiation: the Fantasy SFict Genre & Subgenre Differentiation Matrix, the

Horror SFict Genre & Subgenre Differentiation Matrix, and the Science SFict Genre

& Subgenre Differentiation Matrix.

Cultural Nomenclature: The study organized 17 empirical elements in three

(3) instruments. The Nomenclature Culturality Assessment Chart posits 17 empirical

elements of cultural nomenclature.

The Cultural Nomenclature Example chart posits a system for using local

language for naming established and emergent genres. For systematic anlaysis of

culturality in genre taxonomy nomenclature, the Nomenclature Culturality Assessment

chart posits frequency analysis of a 7-point criteria ranging from differentiation to

language. Descriptive evaluation uses a standard 6-point array ranging from No

Culturality to Very High Culturality.

Table 8: Summary of Genre Nomenclature Instruments

Assessment

TOTAL
Elements
RANK

Evaluation
Reference

Summary of Instruments:
Ass& Ref

Nomenclature of Sfict Genres

2 23 Reference 2 0 0 0 2
1 47 Nomenclature Design 0 1 1 1 3
3 20 Subgenre Nomenclature 1 0 0 0 1
4 17 Cultural Nomenclature 1 0 1 1 3
107 TOTAL 4 1 2 2 9
 108

It is posited that empirical elements of nomenclature design, subgenre

nomenclature, and cultural nomenclature can be identified from a multidisciplinary

body of knowledge, and that these empiricals can be used to guide design of an sfict

subgenre nomenclature system, as well as to evaluate the design quality of the system.

D. Sfict Genre Taxonomy

The increasing varietylxxxii of sfict genres requires “frameworks of expression”

to be conventional, and to be shared (Culler 1975, 147). Effective genre taxonomy

design includes principles and procedures for an inherently intuitive structure that

clarifies genre and subgenre relationships using naming and organization elements that

are familiar, stable, and useful to different groups of target users.

Multidisciplinary exploratory research identified at least 905 observable and

countable elements of sfict genre taxonomy design, empiricals that were organized

into 74 instruments for systematic sfict genre taxonomy design and analysis.

Taxonomic contextual applicability design analysis, which examines the

usefulness of genre taxonomy functions in various theoretical application contexts,

ranks first in conceptual complexity with 442 empiricals (48.83%), and first in

procedural complexity with 27 instruments (36.49%). Taxonomic design analysis,

which examines the quality and robustness of genre taxonomy design in general, ranks

second in conceptual complexity with 187 empiricals (20.66%), and second in

procedural complexity with 17 instruments (22.98%).

The least complex taxonomy design aspects both conceptually and

procedurally – or comparatively the easiest to learn and deploy– are taxonomic

structure design analysis (124 empiricals in 5 instruments), needs assessment analysis

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(44 empiricals in 10 instruments), and taxonomic functions design analysis (108

empiricals in 15 instruments).

Table 9: Instruments for Genre Taxonomy

Assessment &
Assessment

TOTAL
Evaluation
Elements

RANK
Reference

Reference
Summary of Instrument Models for
Rank

Systematic Taxonomy of Sfict Genres

44 5 Needs Assessment 1 1 7 1 10 4
124 3 Structural Design 5 0 0 0 5 5
108 4 Functions Design 1 1 6 7 15 3
442 1 Applicability Design 9 9 0 9 27 1
187 2 Design Analysis 1 2 6 8 17 2
905 Totals 17 13 19 25 74

The data indicate that: a) empirical elements of sfict genre taxonomy design

can be identified from a multidisciplinary body of knowledge; b) the empiricals can be

used to guide design of systematic taxonomy of sfict genres and to evaluate the system

design quality; c) standard systems can be used to design different yet consistent

taxonomies; and d) taxonomy design can include at least four (4) aspects: needs

assessment, taxonomic structure, taxonomic functions, contextual applicability, and

taxonomy design.

1. Needs Relevance: Needs relevance assessment, a design protocol to

determine need prior to production, involves: a) identification of target users, b) survey

of user needs assessment, and c) systematic and evidence-based needs assessment

analysis. The data indicate that empirical elements of genre taxonomy needs

assessment can be organized as standard criteria.

For instance, the SFict Text Engagers Identification Chart posits seven (7)

groups of target users from sfict text producers to sfict text consumers, seven (7)

survey instruments posit 10 user needs from categorization to valuation, while the

Needs Assessment Survey Summary Chart posits frequency analysis of users and their
 110

needs. Descriptive evaluation uses a standard 6-point array ranging from No Needs

Relevance to Very High Needs Relevance.

2. Hierarchic Structure: The research suggests that taxonomy structure design

involves articulation of a) hierarchic levels, b) inclusive, local, and bilingual Psfict

genres, and c) taxonomy design models.

The data indicate that empirical elements can be used as standard criteria to

guide design planning and analyze design quality of taxonomic structure. For instance,

the Levels in Hierarchic Taxonomy and the Sfict Taxonomic Structure charts posits

three (3) levels: supragenre, genre, and subgenre. The Taxonomy of Established Sfcit

Genres illustrates hierarchic organization of established sfict genres. The Taxonomy of

Contemporary PSfict (Inclusive) illustrates flexibility of taxonomic structure in adding

emergents to established genres. The Taxonomy of Contemporary PSfict (Bilingual)

and the Taxonomy of Philippine SFict Genres (Pilipino) illustrate viability of cultural

nomenclature in genre taxonomy.

3. Taxonomic Functions: The research suggests that genre taxonomy

functions design involves explicit articulation of empirical elements of taxonomic

functions and nonfunctions; of basic, descriptive, prescriptive, and suggestive

functions; and c) systematic, evidence-based taxonomy functions analysis.

The data indicate that empirical elements can be used as standard criteria to

guide design planning and analyze design quality of taxonomic functions. For instance,

the Genre Taxonomy Non-Functions Reference Chart posits 10 nonfuctions of the

genre taxonomy while the Basic Taxonomy Functions Analysis Chart defines four (4)

functions including categorization, nomenclature, prediction, and stabilization. The

multimodal Taxonomy Functions General Assessment Chart aggregates scores of

descriptive, prescriptive, and suggestive function assessments, while the Taxonomy

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Function Aspects Quality Scoring Sheet posits two (2) functions of eight (8) function

qualities from accessible to systematic.

a. Basic Functions: Empiricals in the Basic Taxonomy Functions Analysis

chart suggests the hypothesis that basic taxonomic functionality can be determined by

frequency analysis of four (4) basic functions: categorization, nomenclature,

prediction, and stabilization. Descriptive evaluation uses a 6-point standard ranging

from No Basic Function Quality to Very High Basic Function Quality.

b. Function Aspects: The frequency analysis approach is used in the 16-point

Taxonomy Function Aspects Assessment chart that defines eight (8) function aspects as

acessible, cultural, genreic, hierarchic, informative, stable, standard, and systematic.

Descriptive evaluation uses a 6-point descriptive evaluation range from No Function

Aspect Quality to Very High Function Aspect Quality.

c. Function Quality: The 20-point Taxonomy Function Quality Scoring Sheet

chart uses the frequency analysis approach to define 10 elements; access, culturality,

exclusivity, familiarity, flexibility, inclusivity, internal logic, stability, theoretic

applicability, and user relevance. Descriptive evaluation uses a 6-point descriptive

evaluation range from No Function Quality to Very High Function Quality.

4. Taxonomy Design: The research suggests that sfict taxonomy design

elements involves a) differentiation of contexts of design and use; b) articulation of

assessment standards for taxonomy design; and c) instrument models for analysis of

genre taxonomy design. The Taxonomy Design and Use chart differentiates user and

designer categorization and identification functions of taxonomy. The multimodal

Taxonomy Design Assessment Chart posits the aggregation of 12 assessment scores

ranging from needs assessment to taxonomy design stability. The multimodal

Taxonomy Robustness Assessment Chart posits the aggregation of 15 assessment

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scores ranging from needs assessment summary to applicability to modes of literary

criticism. The Taxonomy Design & Use reference chart differentiates two aspects of

taxonomic function between users and designers of taxonomy.

Empiricals in the Taxonomy Design Error Assessment chart suggests the

hypothesis that taxonomy design quality can be determined by frequency analysis of

nine (9) elements: arbitrary categories, arbitrary nomenclature, cross-approaches,

cross-fertilization, cross-purposes, nonviable frameworks, perceived fuzziness,

imprecise nomenclature, and unclear boundaries. Descriptive evaluation uses a 6-

point standard ranging from No Design Error Frequency to Very High Design Error

Frequency.

The Taxonomy Design Assessment chart suggests the hypothesis that taxonomy

design quality can be determined by multimodal analysis of 12 assessment scores.

Descriptive evaluation uses a 6-point standard to convert scores into descriptive

evaluations ranging from No Taxonomy Design Quality to Very High Taxonomy

Design Quality.

a. Stability Design: Empiricals in the Taxonomy Stability Assessment chart

suggests the hypothesis that taxonomy design quality can be determined by frequency

analysis of nine (9) elements: confirmability, consistency, flexibility, inclusivity, logic,

objectivity, rigor, stability, and transferability. Descriptive evaluation uses a 6-point

standard ranging from No Stability to Very High Stability.

b. Design Rigor: Empiricals in the Taxonomy Design Rigor Assessment chart

suggests the hypothesis that design rigor can be determined by frequency analysis of

seven (7) elements: observation, query, research, hypothesis, test and proof, analysis,

and result. Descriptive evaluation uses a 6-point standard to convert scores into

descriptive evaluations ranging from No Design Rigor to Very High Design Rigor.
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c. Design Clarity: Empiricals in the Design Clarity Assessment chart suggests

the hypothesis that design rigor can be determined by frequency analysis of six (6)

aspects: accessibility, confirmability, hierarchic ranking, logic, parsimony, and

transparency. Descriptive evaluation uses a 6-point standard to convert scores into

descriptive evaluations ranging from No Design Clarity to Very High Design Clarity.

d. Design Quality: Empiricals in the Taxonomy Design Quality Scoring Sheet

chart suggests the hypothesis that taxonomy design quality can be determined by

frequency analysis of 10 aspects: rigor, credibility, confirmability, stability, clarity,

objectivity, transparency, utility, inclusiveness, and flexibility. Descriptive evaluation

uses a 6-point standard to convert scores into descriptive evaluations ranging from No

Design Quality to Very High Design Quality.

5. Taxonomy Applicability: The research suggests that taxonomy applicability

design and analysis involves articulation of empirical elements of theories of text

analysis, modes of literary analysis, and modes of literary criticism as well as a system

of evidence-based taxonomy applicability analysis. The Theories of Text Analysis

defines seven (7) theories and functions ranging from reception to categorization

while the Relevance Indicators chart relates each theory to four (4) taxonomic

functions ranging from categorization to stabilization. The multimodal Modes of

Literary Criticism Relevance Assesment posits aggregation of six (6) assessment

scores ranging from objective to contextual literary criticism. The Taxonomy

Robustness Assessment Chart applicability section suggests the hypothesis that

taxonomy design applicability can be determined by multimodal analysis of four (4)

contexts of taxonomic use.

a. Theories of Text Analysis: Empiricals in the Theories of Text Analysis

Relevance Evaluation chart suggests the hypothesis that design rigor can be
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determined by frequency analysis of seven (7) theories of text analysis: categorization,

classification, context, co-text, culturality, local interpretation, and reception. To

guide the scoring process, the Theories of Text Analysis Relevance Indicators cross-

correlates each text analysis theory with four (4) genre taxonomy functions:

categorization, nomenclature, prediction, and stabilization. Descriptive evaluation

uses a 6-point standard to convert scores into descriptive evaluations ranging from No

Relevance to Very High Relevance.

b. Modes of Literary Criticism: Empiricals in the multimodal Modes of

Literary Criticism Relevance Assessment chart suggests the hypothesis that design

rigor can be determined by aggregating the six (6) assessment score results of

Objective, Expressive, Pragmatic, Relational, Mimetic, and Contextual modes. To

guide the scoring process, the Modes of Literary Criticism Relevance Indicators cross-

correlates each literary criticism mode with four (4) genre taxonomy functions:

categorization, nomenclature, prediction, and stabilization. Descriptive evaluation

uses a 6-point standard to convert scores into descriptive evaluations ranging from No

Relevance to Very High Relevance.

The modes of literary analysis breaks up the 60 schools of literary criticism

into six (6) groups, each of which is detailed in the following paragraphs.

1. Objective Modes: Empiricals in the Objective Literary Analysis Relevance

Assessment chart suggests the hypothesis that applicability to schools of objective

literary criticism can be determined by frequency analysis of 21 schools ranging from

aesthetic to structuralist criticism. To guide the scoring process, the Objective Literary

Analysis Relevance Indicators defines objective literary criticism as the analysis of use

of text elements such as forms, structures, and literal meanings, and cross-correlates

each school of objective literary analysis with four (4) genre taxonomy functions:
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categorization, nomenclature, prediction, and stabilization. Descriptive evaluation

uses a 6-point descriptive evaluation range from No Relevance to Very High

Relevance.

2. Expressive Modes: Empiricals in the Expressive Literary Analysis Relevance

Assessment chart suggests the hypothesis that applicability to schools of expressive

literary criticism can be determined by frequency analysis of nine (9) schools ranging

from authorial intent to psychological criticism. To guide the scoring process, the

Expressive Literary Analysis Relevance Indicators defines expressive literary criticism

as the analysis of how authors create or articulate narrative fiction, and cross-correlates

each school of expressive literary analysis with four (4) genre taxonomy functions:

categorization, nomenclature, prediction, and stabilization. Descriptive evaluation

uses a 6-point descriptive evaluation range from No Relevance to Very High

Relevance.

3. Pragmatic Modes: Empiricals in the chart suggests the hypothesis that

applicability to schools of pragmatic literary criticism can be determined by frequency

analysis of 10 schools ranging from applied to semiotic criticism. To guide the scoring

process, the Pragmatic Literary Analysis Relevance Indicators defines pragmatic

literary criticism as the analysis of how text elicits reader reactions or transmits effects

to readers, and cross-correlates each school of pragmatic literary analysis with four (4)

genre taxonomy functions: categorization, nomenclature, prediction, and stabilization.

Descriptive evaluation uses a 6-point descriptive evaluation range from No Relevance

to Very High Relevance.

4. Relational Modes: Empiricals in the Relational Literary Analysis Relevance

Assessment chart suggests the hypothesis that applicability to schools of relational

literary criticism can be determined by frequency analysis of seven (7) schools of

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relational literary criticism theories ranging from animal studies to travel studies

criticism. To guide the scoring process, the Relational Literary Analysis Relevance

Indicators defines relational literary criticism as the analysis of how text relates

environments and readers, and cross-correlates each school of relational literary

analysis with four the (4) genre taxonomy functions of categorization, nomenclature,

prediction, and stabilization. Descriptive evaluation uses a 6-point descriptive

evaluation range from No Relevance to Very High Relevance.

5. Mimetic Modes: Empiricals in the Mimetic Literary Analysis Relevance

Assessment chart suggests the hypothesis that applicability to schools of mimetic

literary analysis can be determined by frequency analysis of 13 mimetic literary

criticism theories ranging from cultural studies to mimetic criticism. To guide the

scoring process, the Mimetic Literary Analysis Relevance Indicators defines mimetic

literary criticism as the analysis of how realistically the text depicts the factual world,

and cross-correlates each school of mimetic literary analysis with the four (4) genre

taxonomy functions of categorization, nomenclature, prediction, and stabilization.

Descriptive evaluation uses a 6-point descriptive evaluation range from No Relevance

to Very High Relevance.

6. Contextual Modes: Empiricals in the Contextual Literary Analysis

Relevance Assessment chart suggests the hypothesis that applicability to schools of

contextual literary analysis can be determined by frequency analysis of three (3)

contextual literary criticism theories ranging from critical evaluation to minority

studies criticism. To guide the scoring process, the Contextual Literary Analysis

Relevance Indicators defines contextual literary criticism as the analysis of

environments that affect or are affected by the text, and cross-correlates each school of

contextual literary analysis with the four (4) genre taxonomy functions of
 117

categorization, nomenclature, prediction, and stabilization. Descriptive evaluation

uses a 6-point descriptive evaluation range from No Relevance to Very High

Relevance.

E. Conventions of the Short Story

This is an exploratory study to lay groundwork for investigation into

taxonomy of contemporary speculative fiction (sfict), particularly Philippine short

stories in English. Genre taxonomy is a process and a model for systematic naming

and categorization of story categories. Analysis of short story conventions in text

samples augments the limited categorization function of genre taxonomy.

Review of the literature revealed the lack of empirical standards and protocols

for analysis of conventions of the short story. To bridge this gap, the study used a

multidisciplinary research approach and identified 614 observable, countable

elements of short story conventions. The research indicates that short story

conventions analysis can include at least 12 elements: word count, unitivity, nowness,

narrative conflict, fiction drivers, losables, protagonist, antagonist, setting, plot arc,

plot trajectory, and culturality.

Sfict genre taxonomy differentiates stories by naming and categorization

according to inherent qualities which, however, does not include short story

conventions. This section presents protocols for analysis of conventions of the short

story, and analyzes how these protocols articulate hypotheses, which are then

interpreted as theories for study.

To begin, this study posits that empirical elements of short story conventions

can be gathered from a multidisciplinary body of knowledge, and that these empiricals

can be used to design systems for evidence-based analysis of short story conventions.
 118

Table 10: Instruments for Conventions of the Short Story

Assess & Ref

Assessment

TOTAL
Evaluation

RANK
Reference
Instruments for Frequency Analysis of
Elements
Conventions of The Short Story
Rank

13 7 Word Count Frequency Analysis 3 1 0 0 4 4

11 23 Nowness Elements Frequency Analysis 3 1 0 1 5 3
6 43 Narrative Conflict Elements Frequency Analysis 2 1 0 1 4 4
4 50 Plot Driver Elements Frequency Analysis 2 1 0 1 4 4
10 28 Losable Elements Frequency Analysis 1 1 0 1 3 5
9 38 Protagonist Elements Frequency Analysis 1 1 0 1 3 5
7 41 Antagonist Elements Frequency Analysis 1 1 0 1 3 5
8 39 Setting Elements Frequency Analysis 1 1 0 1 3 5
5 48 Plot Arc Elements Frequency Analysis 1 1 0 2 4 4
3 64 Plot Trajectory Elements Frequency Analysis 4 3 0 1 8 1
Culturality Elements Frequency & Quality
2 91 2 2 1 2 7 2
Analysis
Unitivity Elements Frequency & Quality
1 120 3 2 1 2 8 1
Analysis
Short Story Conventionality Scoring, Assessment,
12 22 0 1 1 1 3 5
Evaluation
614 TOTAL 24 17 3 15 59

To design a system for empirical analysis of the conventions of the short story,

this study organized 12 sets of 614 empirical elements (length, nowness, conflict,

driver, losable, protagonist, antagonist, setting, plot arc, plot trajectory, culturality,

and unitivity) in 59 tools with 40% reference function s, 29% assessment, 5%

reference-assessment, and 26% evaluation.

Instruments: As a result, 59 tools were produced, of which 40% are reference

charts, 29% are assessment charts, 26% are evaluation charts, and 5% are reference-

assessment charts. A closer analysis of each of these 12 sets of protocols revealed that

each one strongly suggested several hypotheses.

Unitivity analysis appears to be the most complex element with 120 empiricals

in 8 instruments, indicating the steepest learning curve, followed a close second by

culturality analysis with 91 empiricals in 7 instruments, and a far third by nowness

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analysis (23 empiricals, 5 instruments) and plot trajectory analysis (64 empiricals, 8

instruments). In comparison, the gentlest learning curve appears to be word count

analysis (7 empiricals, 4 instruments).

Table 11: Hypothesis Frequency Count

Short Story
Foci # Hypotheses Totals % Rank
Conventions
1 Losables 3
Audience 2 Setting 2
Engagement 3 Plot Trajectory 3 13 37.14 1
Strategies 4 Nowness 2
5 Narrative Culturality 3
6 Plot Driver 2
Narrative 7 Narrative Conflict 3
11 31.43 2
Identifiers 8 Protagonist 3
9 Antagonist 3
10 Word Count 3
Short Story
11 Unitivity 1 7 20.00 3
Identifiers
12 Plot Arc 3
Overall 13 Short Story Conventions 4 4 11.43 4
Total 35 35 100

To summarize, the Short Story Conventionality Scoring Sheet shows a chart

design for analysis of 12 elements (length, nowness, conflict, driver, losables,

protagonist, antagonist, setting, plot arc, trajectory, unitivity, and culturality) in 20

text samples. The incomplete Short Story Conventionality Text Scoring chart shows

how to elicit a measure of short story conventionality by aggregating scores of various

assessment charts. To convert scores into descriptive evaluations, the accompanying

Short Story Conventionality Evaluation chart posits a standard 6-point array ranging

from No Short Story Conventionality to Very High Short Story Conventionality.

1. Word Count Analysis: Word count is one of the identifiers of short fiction;

its analysis in text samples augments the categorization function of genre taxonomy.

The research indicates that empirical elements of word count can be identified from a

multidisciplinary body of knowledge, and that these empiricals can be used to design
 120

systems for word count analysis in short stories. Such systems help standardize

analysis of text length in short fiction. For instance, the Fiction Narratives by Word

Count and the Word Count Scoring Guide chart posit seven (7) types of narrative

fiction including micro-fiction, flash fiction, short story, novelette, novella, novel, epic,

series, and supernovel.

Publishing data suggests that one way to identify the short story is by text

length, also known as word count. Data survey suggests that short stories are complete

narratives told in between 1,000 and 15,000 words.

Table 12: Instruments for Word Count Analysis

Assess & Ref

Assessment

Evaluation
Reference

Total
Instruments for Systematic Analysis of
Elements

Text Length of The Short Story

Rank

Fiction Narratives by Word Count 1 0 0 0 1

7 Word Count Scoring Guide 1 0 0 0 1
Word Count Scoring Sheet 0 1 0 0 1
7 Total 2 1 0 0 3

The data indicate that empirical elements of short story word count can be

organized as standard criteria. For instance, the Fiction Narratives by Word Count and

the Word Count Scoring Guide chart posit seven (7) types of narrative fiction

including micro-fiction, flash fiction, short story, novelette, novella, novel, epic, series,

and supernovel.

13: Word Count Analysis Results Summary

## Descriptive Evaluation Frequency Per Cent Rank

1 Flash Fiction 2 10.00 2
2 Short Story 18 90.00 1
3 Other 0 00.00 0
TOTAL 20 100.00

To test the heuristics, the study analyzed 20 putative sfict short stories selected

at random from a corpus of 685 stories from free-access electronic databases. Results
 121

on the Word Count Scoring Sheet indicate that two (2) text samples are flash fiction

while the rest are short stories, as summarized in the following table.

These results suggest some empirical hypotheses for study. One is that there

are at least seven (7) types of narrative fiction according to word count. Another is that

empirical elements of word count can be used for systematic identification of short

fiction. A third implied hypothesis is that word count alone is not a definitive criteria

for short story identification.

2. Unitivity Analysis: Unitivity is a key identifier of short fiction; its analysis

in text samples augments the categorization function of genre taxonomy. The research

indicates that empirical elements of unitivity can be identified from a multidisciplinary

body of knowledge, and that these empiricals can be used to design systems for

unitivity analysis in short stories. The data indicate that empirical elements can be used

as standard criteria to design a system for evidence-based analysis of unitivity in text

samples.

Table 14: Instruments for Unitivity Analysis

Assess & Ref
Assessment

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
Elements

of Unitivity in The Short Story

3 9 Purposes of Communication 1 0 0 0 1
5 5 The Three Unities 1 0 0 0 1
5 5 Unitivity Elements Frequency Analysis 0 0 1 0 1
2 25 Unitivity Elements Frequency Evaluation 0 0 0 1 1
2 25 5x5 Unitivity Depiction Quality Indicators 1 0 0 0 1
1 45 Unitivity Quality Analysis 0 1 0 0 1
4 Unitivity Quality Evaluation Chart 0 0 0 1 1
6
4 Comparative Unitivity Analysis 0 1 0 0 1
120 Total 3 2 1 2 8

For instance, the Purposes of Communication chart defines nine (9)

communicative purposes ranging from to inform, to educate, to train, to entertain, to

 122

persuade, to emphasize, to distract, to fictionalize, and to elicit insight while The Three

Unities chart defines five (5) elements of unitivity: unity of time, unity of place, unity

of action, causative action, and action transition. The Unitivity Elements Frequency

Analysis chart presents the results of a preliminary analysis of 20 text samples

randomly selected from a corpus of 685 putative sfict short stories. Descriptive

evaluation uses a standard 6-point array ranging from No Unitivity Frequency to Very

High Unitivity Frequency.

Aside from frequency analysis, research data indicate that empirical elements

can be organized into standard criteria for quality analysis. For instance, the Unitivity

Quality Analysis uses frequency analysis to examine 20 text samples for five (5)

elements of unitivity according to five (5) quality indicators ranging from purpose to

emotionality. Descriptive evaluation uses a standard 6-point array ranging from No

Unitivity Quality to Very High Unitivity Quality.

Table 15: Unitivity Quality Analysis Results

## Descriptive Evaluation Code Frequency Per Cent Rank

1 No Unitivity Quality NO 1 05.00 3
2 Very Low Unitivity Quality VL 12 60.00 1
3 Low Unitivity Quality L 0 0.00
4 Average Unitivity Quality AV 0 0.00
5 High Unitivity Quality H 1 05.00 3
6 Very High Unitivity Quality VH 6 30.00 2
TOTAL 20 100

Unitivity analysis posits six (6) levels of frequency of unitivity elements in a

short story. Initial test results indicate that 55% of the corpus ranks High while a far

second is 25% of the corpus ranked Very High. The rest of the text samples,

comprising 20% of the corpus, ranked Low, Very Low, or No Unitivity Frequency.

Assuming a representative population, these empirical results indicate that at

many writers may not be aware of the use of the three unities in short fiction writing.
 123

Another possible interpretation is that the three unities are not essential to short fiction

writing. However, a closer look shows that the four lowest scored stories were either

flash fiction (“Rembo”), without unity of place (“Product Placement”), or without

unity of single action development (“Turtle Season” and “Six From Downtown”).

Comparative analysis indicates that quality analysis is more stringent than

frequency analysis. For instance, only one (1) text sample was ranked Very Low in

frequency analysis but 12 text samples were so ranked in quality analysis. As well, 11

text samples were ranked High in frequency analysis, but only one (1) in quality

analysis.

To better examine the implied theories, the Comparative Unitivity Analysis

chart allows quick comparison of the results of frequency and quality analyses.

In complex text analysis protocols, such as in three-factor analysis, frequency

analysis can be used for preliminary screening and familiarization of corpus elements.

However, the higher granularity of quality criteria can yield a different set of results.

Table 16: Comparative Unitivity Analysis

Frequency Analysis Quality Analysis

## Descriptive Evaluation Code
Freq % Rank Freq % Rank
1 No Unitivity NO 1 05.00 3 1 05.00 3
2 Very Low Unitivity VL 1 05.00 3 12 60.00 1
3 Low Unitivity L 1 05.00 3 0 0.00
4 Average Unitivity AV 1 05.00 3 0 0.00
5 High Unitivity H 11 55.00 1 1 05.00 3
6 Very High Unitivity VH 5 25.00 2 6 30.00 2
TOTAL 20 20

These instruments and data strongly suggest some unitivity hypotheses for

study. One implied hypothesis is that instruments can be designed for evidence-based

unitivity analysis in text samples. Another implied hypothesis is that the short story

can be used for at least nine (9) distinct purposes.

 124

3. Nowness Analysis: One audience engagement strategy in storytelling is to

embed meaning and relevance by using contemporary language, ideas, and narrative

structures. Contemporary depiction is an indicator of reader engagement; its analysis

in text samples augments the categorization function of genre taxonomy.

The research indicates that empirical elements of nowness can be identified

from a multidisciplinary body of knowledge, and that these empiricals can be used to

design systems for unitivity analysis in short stories. It is posited that nowness in short

storytelling consists of contemporary ideas, including issues, conflicts, characters, as

well as depicted time and place rather than publishing dates. Such systems help

standardize critical analysis of nowness depiction quality in short fiction.

Table 17: Instruments for Nowness Analysis

Assess & Ref

Assessment

Evaluation
Reference

Total
Instruments for Systematic Analysis
Elements

##
of Contemporarity in The Short Story

1 8 Historical Periods of Philippine Speculative Fiction 1 0 0 0 1

2 4 Sfict Texts by Time Period 1 0 0 0 1
3 6 Nowness Evaluation Chart 0 0 0 1 1
4 Nowness Scoring Guide 1 0 0 0 1
5
5 Nowness Scoring Sheet 0 1 0 0 1
23 Total 3 1 0 1 5

To identify nowness in the short story, this study organized 23 empirical

elements into five (5) tools including three (3) reference charts, one (1) assessment

chart, and one (1) evaluation chart. Research data indicate that empirical elements can

be organized into standard criteria to examine the quality of nowness in text samples.

For instance, the Sfict Texts by Time Period and the Historical Periods of

Philippine Speculative Fiction reference charts posit four (4) periods from ancient to

contemporary and the identifying elements of each. The Nowness Scoring Guide posits

five (5) elements from publication date to current storytelling conventions. Results of
 125

initial usability test of the Nowness Scoring Sheet include numbered data such as story

titles, publication dates, assessment score, and evaluation code. Descriptive evaluation

uses a standard 6-point array ranging from No Nowness Frequency to Very High

Nowness Frequency.

## Descriptive Evaluation Code Frequency Per Cent Rank

1 No Nowness Elements Frequency NO 0 00.00
2 Very Low Nowness Elements Frequency VL 0 00.00
3 Low Nowness Elements Frequency L 0 00.00
4 Average Nowness Elements Frequency AV 0 00.00
5 High Nowness Elements Frequency H 4 20.00 2
6 Very High Nowness Elements Frequency VH 16 80.00 1
TOTAL 20 100.00

The nowness time parameter of the last 30 years including this year indicates

that publishing date should be between 1988 and 2018, which qualifies all samples in

the corpus except for “Rembo,” “Long Pig,” “Fast Break Breakfast,” and “The Bus

Driver‟s Daughter,” which score lowest at 80% yet still show evidence of high

frequency of nowness elements.

Results of initial usability test of the Nowness Scoring Sheet include numbered

data such as story titles, publication dates, assessment score, and evaluation code. The

Nowness Evaluation Chart posits a standard 6-point evaluation ranging from No

Nowness Frequency to Very High Nowness Frequency. However, publishing date is

only one of five (5) criteria of contemporary short stories. Altogether, these data

strongly suggest some empirical hypotheses for nowness analysis.

These instruments and data strongly suggest some nowness hypotheses for

study. One implied hypothesis is that instruments using empirical standards can be

designed for nowness analysis in text samples. Another implied hypothesis is that the

5-item criteria can identify contemporary short stories that were published outside of
 126

the 30-year parameter. A third implied hypothesis is that Psfict developed in each of

four historical periods have distinct identifying traits.

4. Narrative Conflict Analysis: Narrative conflict depiction is an indicator of

short fiction quality; its analysis in text samples augments the categorization function

of genre taxonomy.

In short story analysis, identification of the narrative conflict is a requisite for

identifying key elements such as plot drivers, losables, protagonist, antagonist, plot

arc, and plot trajectory, particularly when these are not clearly depicted.

Table 18: Instruments for Narrative Conflict Analysis

Assess & Ref

Assessment
Elements

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
of Narrative Conflict in The Short Story

2 12 Narrative Conflict Scoring Guide 1 0 0 0 1

3 10 Narrative Conflict Scoring Sheet 0 1 0 0 1
4 6 Narrative Types Reference Chart 1 0 0 0 1
4 15 Narrative Conflicts Analysis Chart 0 0 0 1 1
43 Total 2 1 0 1 4

To identify types of narrative conflict in the short story, this study organized 43

empirical elements into four (4) tools including three (3) reference charts, one (1)

assessment chart, and one (1) evaluation chart. Research data indicate that empirical

elements can be organized into standard criteria to examine the quality of narrative

conflict in text samples.

For instance, the Narrative Conflict Scoring Guide details a 23-item, by-step

scoring guide. As well, results of initial usability test of the Narrative Conflict Scoring

Sheet include numbered data such as story titles, analysis codes, and frequency count.

The Narrative Conflicts Analysis Chart re-presents the results by ranking each type of

narrative conflict and includes data such as evaluation code, frequency count, and
 127

percentage of total text samples. It was noted that five (5) of the text samples did not

develop a literary conflict.

Empirical analysis of 20 randomly selected text samples from a corpus of

putative short fiction narratives indicate that at least 33 instances of eight (8) types of

literary conflict were used, the most frequent being Persona VS Persona (24.24%),

followed second by Persona. VS Group (21.21%), and third by various conflicts per

story (12.12%) as well as the same percentage of stories where the conflict is not

developed into crisis and denouement.

Rank Narrative Conflicts Analysis Chart Code Freq %

1 Persona Versus Another Persona or Version of Self LC2 8 24.24
2 Persona Versus Group, Institution, or Society LC3 7 21.21
3 Various literary conflicts are depicted. VAR 6 18.18
4 Persona Versus Self LC1 4 12.12
4 No conflict is developed into a crisis and into a denouement. NO 4 12.12
5 Persona Versus Fate, Circumstance, or Coincidence LC5 2 06.06
6 The outcome of a conflict is mentioned but not depicted. O 1 03.03
6 Persona Versus Techonology, Invention, or Science LC4 1 03.03
0 The cause of a conflict is mentioned but not depicted. C 0 0.00
0 Persona Versus the Supernatural LC6 0 0.00
0 Persona Versus Nature LC7 0 0.00
0 A new type of conflict is depicted in the story LC8 0 0.00
TOTAL 33 99.99

These data and instruments strongly suggest some narrative conflict hypotheses

for study. One implied hypothesis is that instruments using empirical standards can be

designed for empirical analysis of narrative conflict in text samples. Another implied

hypothesis is that sfict storytelling does not always conform to the convention of

developing a literary conflict.

5. Plot Drivers Analysis: One way of differentiating short fiction is to describe

action-driven and character-driven stories, or stories driven by both action and

character development. Plot driver depiction is an indicator of short fiction quality; its

analysis in text samples augments the categorization function of genre taxonomy. The
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research indicates that empirical elements of plot drivers can be identified from a

multidisciplinary body of knowledge, and that these empiricals can be used to design

systems for plot driver analysis in short stories. Such systems help standardize critical

analysis of plot driver depiction quality in short fiction.

Table 19: Instruments for Plot Driver Analysis

Assess & Ref

Assessment
Elements

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
of Plot Drivers in The Short Story

4 Elements of Action Driven Narratives 1 0 0 0 1

5 Elements of Persona Driven Narratives 1 0 0 0 1
15 Plot Drivers Scoring Guide 0 0 0 1 1
6 Plot Drivers Analysis 0 0 0 1 1
20 Plot Drivers Scoring Sheet 0 1 0 0 1
50 Total 2 1 0 2 5

To identify types of plot drives in the short story, this study organized 50

empirical elements into five (5) instruments including two (2) reference charts, one (1)

assessment chart, and two (2) evaluation charts.

The data indicates that empirical elements can be organized into standard

criteria to analyze narrative conflict in text samples. For instance, in the section on

narrative conflicts, the Narrative Types Reference Chart differentiates character-driven

and action-driven narratives. Here, the Elements of Action Driven Narratives chart

defines four (4) elements while the Elements of Persona Driven Narratives chart

defines five (5) elements.

The Plot Drivers Scoring Guide details a 12-item, by-step scoring guide. As

well, results of initial usability test of the Plot Drivers Scoring Sheet include numbered

data such as story titles, analysis codes, and frequency count.

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The Plot Drivers Analysis chart re-presents the results by ranking each type of

narrative conflict and includes data such as evaluation code, frequency count, and

percentage of total text samples. It was noted that five (5) of the text samples did not

develop a literary conflict; three (3) of which are causes of conflict and two (2) are

outcomes of conflict.

Table 20: Plot Drivers Analysis Chart

R Fiction Drivers Analysis Code Freq %

1 External Conflict EC 8 40.00
2 External and Internal Conflicts & 3 15.00
2 Cause of a conflict (Persona VS Group), not developed C, LC3 3 15.00
3 Internal Conflict IC 2 10.00
3 The story does not develop a series of actions into a crisis. NO 2 10.00
3 Outcome of a conflict (Persona VS Group), not developed O,LC3 2 10.00
TOTAL 20 100

For instance, the Narrative Types Reference Chart differentiates character-

driven and action-driven narratives. The Elements of Action Driven Narratives chart

defines four (4) elements while the Elements of Persona Driven Narratives chart

defines five (5) elements. As well, the Plot Drivers Scoring Guide details a 12-item

scoring guide while the Plot Drivers Scoring Sheet include numbered titles, analysis

codes, and frequency count.

Table 21: Instruments for Fiction Driver Analysis

Assess & Ref
Assessment
Elements

Evaluation
Reference
Rank

Total

Instruments for Systematic Analysis

of Fiction Drivers in The Short Story

4 Elements of Action Driven Narratives 1 0 0 0 1

5 Elements of Persona Driven Narratives 1 0 0 0 1
15 Plot Drivers Scoring Guide 0 0 0 1 1
6 Plot Drivers Analysis 0 0 0 1 1
20 Plot Drivers Scoring Sheet 0 1 0 0 1
50 Total 2 1 0 2 5
 130

Empirical analysis of 20 randomly selected text samples from a corpus of

putative short fiction narratives indicate that the most frequently used fiction drivers

are external conflict (40.00%), followed second by combination internal and external

conflicts and a persona vs group conflict that is mentioned but not depicted (30.00%),

while third in rank are internal conflict, no literary conflict, and a mentioned but not

depicted outcome of a conflict.

There are short stories that do not seem to use either persona or action drivers

to develop the tale, particularly short narratives that background the conflict and only

depict the causes or effects of that conflict. The most frequently used fiction drivers in

the corpus of short stories are action and external. A noticeable number of stories

either depict both fiction drivers as well as mention conflicts that are not depicted. It

can be posited that a short story can be action-driven where the narrative arc consists

of external action around the main character(s), or character-driven, where the

narrative arc consists of internal action within the main character(s).

These data and instruments strongly suggest some plot driver hypotheses for

study. One implied hypothesis is that instruments using empirical standards can be

designed for analysis of plot drivers in text samples. Although some sources argue

otherwise, research data indicates a second implied hypothesis, that action-driven and

character-driven plots can be empirically differentiated. A third implied hypothesis is

that stories that do not develop a literary conflict instead develop causes or outcomes

of conflict.

6. Losables Analysis: The literature indicates that one effective audience

engagement strategy in short fiction narratology is losables, which refers to revealing

at the onset what key players stand to lose. Losables depiction is an indicator of short
 131

fiction quality; its analysis in text samples augments the categorization function of

genre taxonomy.

Table 22: Instruments for Losables Analysis

Assess & Ref

Assessment
Elements

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
of Losables in The Short Story

6 Losables Analysis Scoring Guide 1 0 0 1 2

15 Losables Analysis Scoring Sheet 0 1 0 0 1
7 Losables Analysis Chart 0 0 0 0 0
28 Total 1 1 0 1 3

The Losables Analysis Scoring Guide details a six-item scoring guide while the

Losables Analysis Scoring Sheet lists 20 numbered titles, coding for protagonist and

antagonist losables, frequency scores, and average frequency scores. Altogether, these

data strongly suggest some empirical hypotheses for losables analysis. The Losables

Analysis Chart summarizes the results in four (4) types of losables.

Due to shifting conventions in sfict narratology, it is not always easy to identify

the losables depicted in a short story. Thus, this study organized at least 28 empirical

elements into three (3) instruments: one (1) reference chart, one (1) assessment chart,

and one (1) evaluation chart.

Empirical analysis of 20 randomly selected text samples from a corpus of

putative short fiction narratives indicate that what the main players in a story stand to

lose is depicted in most of the stories in the corpus (40.00%), while 35% of the stories

do not depict any losables. Some stories only depict what antagonists stand to lose

(20.00%) while the rest of the stories only depict what protagonists stand to lose

(5.00%). There appears to be no correlation with stories that do not depict conflict.

In the following chart, it can be noted that, while 40% of the text samples

depict antagonist and protagonist losables, at least 35% of the text samples do not
 132

depict losables for any key player. On the other hand, 20% of the text samples only

depict protagonist losables while 5% depict only antagonist losables.

Table 23: Losables Analysis Chart

R Losables Analysis Code Freq %

4 The story only depicts protagonist losables. NO-P, A1 1 05.00
3 The story only depicts antagonist losables. P1, NO-A 4 20.00
2 The story does not depict any losables. NO-P, NO-A 7 35.00
1 The story depicts antagonist and protagonist losables. P1, A1 8 40.00
TOTAL 20 100

Less than half (40%) of the stories depict what the antagonist and the

protagonist stand to lose. More than a third of the stories (35%) do not appear to

depict what the key players stand to lose. The depiction of what protagonists stand to

lose does not appear to be a standard short story convention, as evinced by 20% of the

stories analyzed.

These data and instruments strongly suggest some losables hypotheses for

study. One implied hypothesis is that instruments using empirical standards can be

designed for analysis of protagonist and antagonist losables in text samples. A second

implied hypothesis is that sfict short stories do not always depict losables, or only

depict losables of either antagonist or protagonist. A third implied hypothesis is that

stories that develop literary conflict are more likely to depict losables.

7. Protagonist Analysis: The protagonist is the persona that stands to lose

something significant and is faced by the conflict at the point of crisis. Systematic

analysis of narrative fiction requires explicit articulation of the empirical elements of

effective protagonist depiction. It is posited that the antagonist is the persona that

causes the rising action, crisis, and denouement to happen. As well, It is posited that,

in short sfict narratives, an engaging tale may not need to depict an antagonist.
 133

Table 24: Instruments for Protagonist Analysis

Assess & Ref

Assessment
Elements

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
of Protagonist(s) in The Short Story

2 12 Protagonist Analysis Scoring Guide 1 0 0 0 1

1 20 Protagonist Analysis Scoring Sheet 0 1 0 0 1
3 6 Protagonist Analysis Chart 0 0 0 1 1
38 Total 1 1 0 1 3

Due to shifting conventions in sfict narratology, it is not always easy to identify

the protagonist(s) depicted in a short story. Thus, this study organized 38 empirical

elements into three (3) instruments including one (1) reference chart, one (1)

assessment chart, and one (1) evaluation chart.

The data indicates that empirical elements can be organized into standard

criteria to analyze the protagonist in text samples. For instance, the Protagonist

Analysis Scoring Guide details a 29-item, by-step scoring guide. As well, results of

initial usability test of the Protagonist Analysis Scoring Sheet include numbered data

such as story titles, analysis codes, and frequency count.

The Protagonist Analysis Chart re-presents the results by ranking each type of

narrative conflict and includes data such as evaluation code, frequency count, and

percentage of total text samples. Results indicate that 55% of the text samples depict

action-driven protagonists. On the other hand, 30% of the text samples do not seem to

depict a protagonist. As well, 15% of the text samples depict a character-driven

protagonist that drives internal events to crisis.

Protagonist depiction is an indicator of short fiction quality; its analysis in text

samples augments the categorization function of genre taxonomy. The research

indicates that empirical elements of fiction protagonist can be identified from a

multidisciplinary body of knowledge, and that these empiricals can be used to design
 134

systems for protagonist analysis in short stories. Such systems help standardize critical

analysis of protagonist depiction quality in short fiction.

Table 25: Protagonist Analysis Chart

Code
Rank

Freq

%
Protagonist Analysis Chart

1 Action-driven protagonist drives events to external crisis. AD-P 11 55.00

2 There is no clear or obvious protagonist. NO-P 6 30.00
3 Two fiction drivers drives internal and external crises. BI-P 3 15.00
4 Character-driven protagonist drives internal events to crisis. CD-P 0 00
TOTAL 20 100

For instance, the Protagonist Analysis Scoring Guide details a 29-item scoring

guide while the Protagonist Analysis Scoring Sheet include numbered titles, analysis

codes, and frequency count. Altogether, these data suggest some empirical hypotheses

for protagonist analysis.

Empirical analysis of 20 randomly selected text samples from a corpus of

putative short fiction narratives indicate that more than half of the text samples (55%)

use action-driven protagonists to drive events to external crises. On the other hand, a

third of the stories (30%) do not depict a clear and obvious protagonist. Some (15%)

combine both types of protagonists to develop both internal and external crises in a

story. None of the stories seem to use protagonists for character development.

These data and instruments strongly suggest some protagonist hypotheses for

study. One implied hypothesis is that instruments using empirical standards can be

designed for protagonist analysis in text samples. A second implied hypothesis is that

stories that are absent of a clear and obvious protagonist do not develop narrative

conflict. A third implied hypothesis is that action-driven plots are more likely to depict

an action-driven protagonist while character-driven plots are more likely to depict a

character-driven protagonist. It is also posited that the protagonist is the persona

 135

around whom (or within which) the rising action, crisis, and denouement happen. As

well, It is posited that, in short sfict narratives, an engaging tale may not need to depict

a protagonist.

8. Antagonist Analysis: The antagonist is the persona that opposes the

antagonist and pushes the conflict to the point of crisis. Antagonist depiction is an

indicator of short fiction quality; its analysis in text samples augments the

categorization function of genre taxonomy. The Antagonist Analysis Scoring Guide

details a 30-item scoring guide while the Antagonist Analysis Scoring Sheet include

numbered titles, analysis codes, and frequency count.

Table 26: Instruments for Antagonist Analysis

Assess & Ref

Assessment
Elements

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
of Antagonist(s) in The Short Story

15 Antagonist Analysis Scoring Guide 1 0 0 0 1

20 Antagonist Analysis Scoring Sheet 0 1 0 0 1
6 Antagonist Analysis 0 0 0 1 1
41 Total 1 1 0 1 3

Due to shifting conventions in sfict narratology, it is not always easy to identify

the antagonist(s) depicted in a short story. Thus, this study organized 41 empirical

elements into three (3) instruments including one (1) reference chart, one (1)

assessment chart, and one (1) evaluation chart.

Table 27: Antagonist Analysis Chart

R Antagonist Analysis Chart Code Freq %

1 Action-driven antagonist drives events to external crisis. AD-A 8 40.00
2 An antagonist is driven by internal - and drives external crises. BI-A 5 25.00
3 Story is about outcome of backgrounded conflict NO-A 4 20.00
4 There is no clear or obvious antagonist. NO-A 2 10.00
5 Story is about cause of backgrounded conflict NO-A 1 05.00
0 Character-driven antagonist drives internal events to crisis. NO-A 0 0.00
TOTAL 20 100
 136

Empirical analysis of 20 randomly selected text samples from a corpus of

putative short fiction narratives indicate that 40% of the text samples use action-driven

antagonists to drive events to external crises. On the other hand, a fourth of the stories

(25%) depict antagonists that are driven externally as well as internally. However, at

least 35%) of the stories, particularly those that background and not depict the conflict,

do not depict an antagonist. These stories dramatize either a present outcome or cause

of a past conflict. It appears that none of the 20 stories depict character-driven

antagonists.

The Antagonist Analysis Scoring Guide details a 30-item, by-step scoring

guide. As well, results of initial usability test of the Antagonist Analysis Scoring Sheet

include numbered data such as story titles, analysis codes, and frequency count.

The Antagonist Analysis chart re-presents the results by ranking each type of

narrative conflict and includes data such as evaluation code, frequency count, and

percentage of total text samples. Results indicate that 40% of the text samples depict

action-driven antagonists, but 25% of the text samples depict an antagonist driven by

internal conflict and drives external conflict. As well, 35% of the text samples

backgrounds the conflict and do not depict a clear and obvious antagonist.

These data and instruments strongly suggest some narrative antagonist

hypotheses for study. One implied hypothesis is that instruments using empirical

standards can be designed for analysis of antagonists in text samples. A second

implied hypothesis is that stories that do not develop a literary conflict do not depict a

clear and obvious antagonist. A third implied hypothesis is that most sfict short stories

depict action-driven antagonists.

9. Setting Analysis: One key element in short fiction analysis is the setting, the

time and place where the plot develops. Setting is the time and place where a story
 137

happens. Setting depiction is an indicator of short fiction quality; its analysis in text

samples augments the categorization function of genre taxonomy.

The research indicates that empirical elements of short story setting can be

identified from a multidisciplinary body of knowledge, and that these empiricals can

be used to design systems for setting analysis in short stories. Such systems help

standardize critical analysis of setting depiction quality in short fiction.

Table 28: Instruments for Setting Analysis

Assess & Ref

Assessment
Elements

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
of Setting in The Short Story

1 20 Setting Analysis Scoring Sheet 0 1 0 0 1

2 15 Setting Analysis Scoring Guide 1 0 0 0 1
3 4 Setting Analysis 0 0 0 1 1
39 Total 1 1 0 1 3

Due to shifting conventions in sfict narratology, it is not always easy to identify

the setting depicted in a short story. Thus, this study organized 39 empirical elements

into three (3) instruments including one (1) reference chart, one (1) assessment chart,

and one (1) evaluation chart.

The data indicates that empirical elements can be organized into standard

criteria to analyze the protagonist in text samples. For instance, the Setting Analysis

Scoring Guide details a 15-item, by-step scoring guide. As well, results of initial

usability test of the Setting Analysis Scoring Sheet include numbered data such as story

titles, analysis codes, and frequency count.

The Setting Analysis chart re-presents the results by ranking each type of

narrative conflict and includes data such as evaluation code, frequency count, and

percentage of total text samples. Results indicate that 70% of the text samples depict a
 138

place with no specific time. On the other hand, 20% of the text samples depict a clear

and explicit time and place. As well, 5% of the text samples depict either many

settings, or only time without a place.

Table 29: Setting Analysis Chart

R Setting Analysis Chart Code Freq %

1 Only place, not time, is clearly and explicitly established. P, NoT 14 70.00
2 Time and place are clearly and explicitly established. T&P 4 20.00
3 Only time, not place, is clearly and explicitly established. T, NoP 1 05.00
3 A series of actions develop but not in one time and/or place Many 1 05.00
TOTAL 20 100

Empirical analysis of 20 randomly selected text samples from a corpus of

putative short fiction narratives indicate that 70% of the text samples clearly and

explicity establish place, but not time, to tell the story. On the other hand, at least 20%

of the stories clearly and explicity establish both time and place. However, at least 5%

of the stories clearly and explicity establish time only, and not place. Another 5% do

not qualify as short stories due to lack of unitivity of time and place.

These data and instruments strongly suggest some narrative setting hypotheses

for study. One implied hypothesis is that instruments using empirical standards can be

designed for analysis of setting in text samples. A second implied hypothesis is that

most sfict short stories depict a clear and obvious place with no explicit time. A third

implied hypothesis is that a number of sfict short stories depict only time but no place

in setting, or use several settings.

10. Plot Arc Analysis: One key element in short fiction analysis is the plot arc,

the logical sequence of events that develop and push literary conflict from status quo

to crisis. To engage audiences, the short story plot arc is a single wave of action

developed in seven (7) stages from neutral exposition to a crisis point of conflict and
 139

back to neutral denouement. Systematic analysis of narrative fiction requires explicit

articulation of the empirical elements of effective plot arc depiction.

Plot arc structure is an identifier of short fiction; its analysis in text samples

augments the categorization function of genre taxonomy. The research indicates that

empirical elements of short narrative plot arc can be identified from a multidisciplinary

body of knowledge, and that these empiricals can be used to design systems for plot

arc analysis in short stories. Such systems help standardize critical analysis of plot arc

quality in short fiction.

For instance, the Plot Arc Analysis Scoring Guide includes a 16-item scoring

guide while the Plot Arc Analysis Scoring Sheet include numbered story titles, analysis

codes, and frequency count. Descriptive evaluation uses a standard 6-point range from

No Plot Arc Frequency to Very High Plot Arc Frequency.

Table 30: Instruments for Plot Arc Analysis

Assess & Ref

Assessment
Elements

Evaluation
Reference
Rank

Total
Instruments for Systematic Analysis
of Plot Arc in The Short Story

1 27 Plot Arc Analysis Scoring Sheet 0 1 0 0 1

2 11 Plot Arc Analysis Scoring Guide 1 0 0 0 1
3 4 Plot Arc Analysis 0 0 0 1 1
4 6 Plot Arc Frequency Evaluation Chart 0 0 0 1 1
48 Total 1 1 0 2 4

Due to shifting conventions in sfict narratology, it is not always easy to analyze

plot arc in a short story. Thus, this study organized 48 empirical elements into four (4)

instruments including one (1) reference chart, one (1) assessment chart, and two (2)

evaluation charts.

The data indicates that empirical elements can be organized into standard

criteria to analyze plot arc in text samples. For instance, the Plot Arc Analysis Scoring
 140

Guide details a 16-item, by-step scoring guide. As well, results of initial usability test

of the Plot Arc Analysis Scoring Sheet include numbered data such as story titles,

analysis codes, and frequency count. Descriptive evaluation uses a standard 6-point

range from No Plot Arc Frequency to Very High Plot Arc Frequency.

The Plot Arc Analysis chart re-presents the results by ranking each type of

narrative conflict and includes data such as evaluation code, frequency count, and

percentage of total text samples. Results indicate that 75% of the text samples follow

tradition in using very high frequency of plot arc elements. On the other hand, 15% of

the text samples rank Average in use of plot arc elements. As well, 5% of the text

samples either rank High or use not plot arc elements.

Table 31: Plot Arc Analysis Chart

Rank Plot Arc Analysis Chart Code Freq %
1 Very High Plot Arc Frequency VH 15 75.00
2 Average Plot Arc Frequency AV 3 15.00
3 High Plot Arc Frequency H 1 05.00
3 No Plot Arc Frequency NO 1 05.00
TOTAL 20 100

Empirical analysis of 20 randomly selected text samples from a corpus of

putative short fiction narratives indicate that 75% of the text samples clearly and

explicity use the 7-stage plot arc structure to tell a story. On the other hand, a far 15%

of the stories are of average plot arc frequency, while two of the 20 stories do not use

the traditional arc structure of the plot.

These data and instruments strongly suggest some narrative plot arc hypotheses

for study. One implied hypothesis is that instruments using empirical standards can be

designed for analysis of plot arc in text samples. A second implied hypothesis is that

most sfict short stories follow tradition in using all or most plot arc elements. A third

implied hypothesis is that a number of sfict short stories use no plot arc elements.
 141

11. Plot Trajectory Analysis: One indicator of craftsmanship in short fiction

is plot trajectory, the effective pacing of each stage of the plot arc with specific levels

of speed and tension as experienced in the reading of the text.

Plot trajectory refers to a set of seven (7) logically-sequenced plot arc stages,

each depicted with a corresponding pace. Pacing refers to comparative speed and

tension levels experienced in reading the text. Plot trajectory analysis is a systematic

process for close examination of how development of action, character, or both, are

paced from exposition to denouement.

Table 32: Instruments for Plot Trajectory Analysis

Assess & Ref

Assessment

Evaluation
Reference
Rank

Rank
Total
Instruments for Systematic Analysis
Elements

of Plot Trajectory in the Short Story

5 5 Character-Driven Narratives 1 0 0 0 1
6 4 Action-Driven Narratives 1 0 0 0 1
3 7 The Short Plot Arc - Basic Elements 1 0 0 0 1
Plot Trajectory Scoring Sheet 0 1 0 0 1
2 14
Plot Trajectory Scoring Guide 1 0 0 0 1
7x4 Plot Trajectory Quality – Text Scoring Sheet 0 1 0 0 1
1 28
7x4 Plot Trajectory Quality – Corpus Scoring Sheet 0 1 0 0 1
4 6 Plot Trajectory Quality – Evaluation Chart 0 0 0 1 1
64 Total 4 3 0 1 8

Due to shifting conventions in sfict narratology, it is not always easy to analyze

plot trajectory depicted in a short story. Thus, this study organized 64 empirical

elements into eight (8) instruments including four (4) reference charts, three (3)

assessment chart, and one (1) evaluation chart.

The data indicates that empirical elements can be organized into standard

criteria to analyze plot trajectory in text samples. For instance, the Plot Trajectory

Scoring Guide details a 14-item, by-step scoring guide. As well, results of initial

usability test of the Plot Trajectory Scoring Sheet include numbered data such as story
 142

titles, analysis codes, and frequency count. Descriptive evaluation uses a standard 6-

point array ranging from No Plot Trajectory Frequency to Very High Plot Trajectory

Frequency.

A tryout of the Plot Trajectory Scoring chart indicates that defining each

criteria (element) helps story analysis by presenting the same set of consistent

standards for different stories, particularly when narratives are highly engaging and

lessen the focus on analysis.

Table 33: Plot Trajectory Frequency Results

## Descriptive Evaluation Code Frequency % Rank

1 No Plot Trajectory Frequency NO 0 00.00
2 Very Low Plot Trajectory Frequency VL 8 40.00 2
3 Low Plot Trajectory Frequency L 2 10.00 3
4 Average Plot Trajectory Frequency AV 0 00.00
5 High Plot Trajectory Frequency H 0 00.00
6 Very High Plot Trajectory Frequency VH 10 50.00 1
TOTAL 20 100

The Plot Trajectory Frequency Results chart indicates that 50% of the text

samples examined rank Very High in plot trajectory, but 40% rank Very Low, and 10%

rank Low. These data suggest correlation analysis to discover patterns that explain the

scores.

Table 34: Plot Trajectory Frequency Results

## Descriptive Evaluation Code Frequency Per Cent Rank

1 No Plot Trajectory Frequency NO 0 00.00
2 Very Low Plot Trajectory Frequency VL 8 40.00 2
3 Low Plot Trajectory Frequency L 2 10.00 3
4 Average Plot Trajectory Frequency AV 0 00.00
5 High Plot Trajectory Frequency H 0 00.00
6 Very High Plot Trajectory Frequency VH 10 50.00 1
TOTAL 20 100

A tryout of the Plot Trajectory Scoring chart indicates that defining each

criteria (element) helps story analysis by presenting the same set of consistent

standards for different stories, particularly when narratives are highly engaging and
 143

lessen the focus on analysis. The Plot Trajectory Frequency Results chart the

summarizes results.

Initial test results indicate that the 50% of the corpus ranks Very High on the

plot trajectory frequency analysis. However, 40% of the corpus ranks Very Low while

of the text samples 10% ranks Low. Assuming a representative population, these

empirical results indicate that at least half of the writers may not know of the use of

plot trajectory elements in narrative fiction writing.

These data and instruments strongly suggest some narrative plot trajectory

hypotheses for study. One implied hypothesis is that instruments using empirical

standards can be designed for analysis of plot trajectory in text samples. A second

implied hypothesis is that a significant number of contemporary sfict short stories

follow tradition and employ plot trajectory elements in story telling. A third implied

hypothesis is that a significant number of contemporary sfict short stories break with

this tradition.

12. Culturality Depiction Analysis: One indicator of craftsmanship in short

fiction is culturality, the depiction of a specific culture – real or fictive – in a story. It is

a conventional storytelling strategy for effective audience engagement. Its analysis in

short sfict augments the categorization function of genre taxonomy. This study

organized 91 empirical elements into eight (8) instruments including two (2) reference

charts, two (2) assessment charts, one reference-assessment chart, and three (3)

evaluation charts.

The Culturality Elements Frequency Analysis chart posits nine (9) culturality

elements including conflict, novumality, and insight. Descriptive evaluation uses a

standard 6-point array ranging from No Culturality Frequency to Very High

Culturality Frequency.
 144

Table 35: Instruments for Culturality Analysis

Assess & Ref

Assessment

Total Score
Evaluation
Reference
Instruments for Systematic Analysis
## Elements of Cultural Depiction in the Short Story

1 7 Culturality Elements Frequency Analysis 0 0 1 0 1

2 6 Culturality Elements Frequency Evaluation 0 0 0 1 1
3 6 Culturality Elements Frequency Analysis Results 0 0 0 1 1
4 45 9x5 Culturality Depiction Quality Indicators 1 0 0 0 1
5 Culturality Elements Quality Scoring Sheet – Text 0 1 0 0 1
9
6 Culturality Elements Quality Scoring Sheet – Corpus 0 1 0 0 1
7 6 Culturality Elements Quality Evaluation 1 0 0 0 1
8 12 Culturality Elements Comparative Analysis 0 0 0 1 1
91 Total 2 2 1 3 8

Alternatively, the quality analysis approach is used in the Culturality Text

Scoring and the Culturality Corpus Scoring charts, which examine the aforementioned

nine (9) culturality elements against the 5-point standard criteria of purpose, clarity,

contextuality, cognitivity, and emotionality, as defined in the Culturality Depiction

Quality Indicators. Descriptive evaluation uses a standard 6-point array ranging from

No Culturality to Very High Culturality.

Table 36: Culturality Analysis Chart

# Descriptive Evaluation Code Frequency Per Cent Rank

1 No Culturality Frequency NO 0 0.00
2 Very Low Culturality Frequency VL 2 10.00 4
3 Low Culturality Frequency L 0 0.00
4 Average Culturality Frequency AV 9 45.00 1
5 High Culturality Frequency H 4 20.00 3
6 Very High Culturality Frequency VH 5 25.00 2
TOTAL 20 100

Vertical data analysis indicates the 20 stories analyzed as of High Culturality

Frequency with high scores in cultural language, cultural character, and cultural

conflict but low in cultural novumality and average in cultural sociality and in cultural

belief shift. The low scores are due to the inclusion of non-sfict stories.
 145

Horizontal data analysis indicates that 45% of the stories analyzed are of

Average Culturality Frequency, with 25% a far second Very High Culturality

Frequency. None of the stores ranked No or Low in culturality frequency analysis.

Assuming a representative population, these empirical results indicate that the use of

cultural elements in short sfict narrative writing is standard and universal, particularly

in depiction of character, conflict, and language.

Quality analysis of culturality elements in short stories can use six (6) quality

levels. Initial instrument usage test indicates High Culturality (77%) for the entire

corpus, with 85% of all text samples rated High Culturality or higher, and none rated

Low Culturality or lower.

Table 37: Culturality Quality Analysis Results

## Descriptive Evaluation Code Frequency Per Cent Rank

1 No Culturality Quality NO 0 0.00
2 Very Low Culturality Quality VL 0 0.00
3 Low Culturality Quality L 0 0.00
4 Average Culturality Quality AV 3 15.00 3
5 High Culturality Quality H 9 45.00 1
6 Very High Culturality Quality VH 8 40.00 2
TOTAL 20 100

These statistics appear to indicate that the collection of stories analyzed have

very strong elements of cultural depiction. One interpretation is that storytelling in

general, and contemporary short sfict narratives in particular, are strongly grounded in

their source cultures.

To better examine the implied theories, the Culturality Elements Comparative

Analysis chart allows quick comparison of the results of frequency and quality

analyses.

Comparison of culturality frequency and culturality quality analyses of the 20

stories indicates slightly different results. For instance, in frequency analysis, 45% of
 146

the stories were ranked Average but 45% were ranked High in quality analysis.

However, in both approaches, 25% the stories were ranked Very High in frequency

and 40% were ranked Very High in quality.

Table 38: Comparative Culturality Analysis

Frequency Analysis Quality Analysis

## Descriptive Evaluation Code
Freq % Rank Freq % Rank
1 No Culturality NO 0 0.00 0 0.00
2 Very Low Culturality VL 2 10.00 4 0 0.00
3 Low Culturality L 0 0.00 0 0.00
4 Average Culturality AV 9 45.00 1 3 15.00 3
5 High Culturality H 4 20.00 3 9 45.00 1
6 Very High Culturality VH 5 25.00 2 8 40.00 2
TOTAL 20 20

This culturality analysis is not specific to Philippine culture but focuses on the

cultures depicted in the stories. Culturality frequency analysis posits six (6) levels of

frequency of culturality elements in a short story, ranging from No Culturality

Frequency to Very High Culturality Frequency.

These statistics appear to indicate that the collection of stories analyzed have

very strong elements of cultural depiction. One interpretation is that storytelling in

general, and contemporary short sfict narratives in particular, are strongly grounded in

their source cultures.

Sfict Culturality: A chart can be designed to incorporate sfict genreicity and

culturality elements. As well, frequency analysis of culturality depiction in short sfict

can explore four (4) rhetorical functions: 1) Balance: To balance depicted strangeness

by embedding in ordinary elements, 2) Engagement: To engage audiences with

emotionally resonant cultural elements, 3) Familiarization: To engage audiences who

are non-natives of the depicted culture by using familiar cultural constructs in the

depicted otherness, and 4) Promotion: To depict and/or increase awareness of a

particular culture.
 147

These data and instruments strongly suggest culturality hypotheses for study.

One implied hypothesis is that instruments using empirical standards can be designed

for analysis of culturality in text samples. A second implied hypothesis is that

instruments can be designed for frequency analysis as well as quality analysis to

determine culturality in text samples. A third implied hypothesis is that an instrument

can be designed to quickly compare results of both approaches.

F. Conventions of Literary Quality

The four (4) aspects of literary quality in short fiction include rhetoricality

(effective use of rhetorical devices), literarity (effective use of literary devices),

lyricality (effective use of lyrical devices), and insightness (effective use of insight

embedding techniques).

This section presents protocols for analysis of conventions of literary quality in

the short story, and analyzes how these protocols articulate hypotheses, which are then

interpreted as theories for study.

Table 39: Instruments for Literary Quality Analysis

##
Assess & Ref
Assessment

TOTAL
Evaluation
Reference

Instruments for Systematic Analysis

Elements

of Literary Quality in the Short Story

1 47 Rhetoricality – Effective rhetorical devices 1 2 1 2 6

2 119 Literarity – Effective literary devices 2 2 1 2 7
3 66 Lyricality – Effective lyrical devices 1 2 1 2 6
4 42 Insightness – Effective insight devices 1 2 1 2 6
5 14 Literary Quality – Multimodal analysis 0 1 1 1 3
288 Total 5 9 5 9 28

1. Rhetoricality: One of the indicators of literary quality is rhetoricality, the

effective use of rhetorical devices in short narrative fiction. The term “rhetoricality

depiction quality” is used here to refer to rhetorical devices used in writing in

unexpected and remarkable ways that create a certain atmosphere or effect.lxxxiii

 148

For systemaic analysis of rhetoricality in the short story, this study organized

47 empirical elements into six (6) instruments including one (1) reference chart, two

(2) assessment charts, one (1) assessment-reference chart, and two (2) evaluation

charts.

The Rhetoricality Elements Frequency Scoring Sheet suggests that 10

rhetorical devices can be categorized into five (5) types: sound repetition, word

repetition, word omission, word addition, and word separation. Descriptive evaluation

uses a 6-point standard evaluation range from No Rhetoricality Frequency to Very

High Rhetoricality Frequency.

Table 40: Instruments for Rhetoricality Analysis

##

Assess & Ref

Assessment

TOTAL
Evaluation
Reference
Instruments for Systematic Analysis
Elements

of Rhetoricality in the Short Story

1 10 5x2 Rhetoricality Frequency Scoring Sheet 0 0 1 0 1

2 6 Rhetoricality Frequency Evaluation Chart 0 0 0 1 1
3 5x5 Rhetoricality Depiction Quality Indicators 1 0 0 0 1
4 25 Rhetoricality Text Scoring Sheet 0 1 0 0 1
5 Rhetoricality Corpus Scoring Sheet 0 1 0 0 1
6 6 Rhetoricality Evaluation Chart 0 0 0 1 1
47 Total 1 2 1 2 6

To establish a systematic framework that defines depiction quality in narrative

fiction, the Rhetoricality Text Scoring and Rhetoricality Corpus Scoring charts suggest

that quality analysis using the 5-point standard criteria of purpose, clarity,

contextuality, cognitivity, and emotionality can determine quality of rhetorical devices

in narrative fiction.

The Rhetoricality Depiction Quality Indicators chart defines five (5) indicators

of quality depiction: purpose, clarity, contextuality, cognitivity, and emotionality to

systematically analyze the five types of rhetorical devices. This chart suggest that
 149

rhetorical devices used with purpose in logical context, exuding clear sense(s),

eliciting cognitive activity and emotional resonance are indicative of literary quality.

Finally, the Rhetoricality Evaluation Chart suggests a 6-point standard

evaluation range from No Rhetoricality to Very High Rhetoricality. Altogether, these

instruments suggest some empirical hypotheses of rhetoricality analysis.

2. Literarity: One of the indicators of literary quality is literarity, the effective

use of literary devices in short narrative fiction. The term “depiction quality” is used

here to refer to unexpected and remarkable ways of writing that create a certain

atmosphere or effect.lxxxiv For empirical analysis of literarity in the short story, this

study organized 119 empirical elements into seven (7) instruments.

Table 41: Instruments for Literarity Analysis

Assess & Ref

Assessment

TOTAL
Evaluation
Reference
Instruments for Systematic Analysis
Elements

##
of Literarity in the Short Story

04 51 51 Literary Devices 1 0 0 0 1
04 16 8x2 Literary Device Frequency Scoring Sheet 0 0 1 0 1
04 6 Literarity Device Frequency Evaluation Chart 0 0 0 1 1
04 8x5 Literarity Depiction Quality Indicators 1 0 0 0 1
04 40 Literarity Text Scoring Sheet 0 1 0 0 1
04 Literarity Corpus Scoring Sheet 0 1 0 0 1
04 6 Literarity Evaluation Chart 0 0 0 1 1
119 Total 2 2 1 2 7

The Literary Device Frequency Scoring Sheet chart suggests that literary

devices defined in the 51 Literary Devices chart can be categorized into eight (8)

types: characteric, emotive, plotive, insightive, narrative, persuasive, syntactive, and

vocabularic. In addition, the chart implies that frequency analysis of objective criteria

can determine effectiveness of literary devices in narrative fiction. Descriptive

evaluation uses a 6-point standard evaluation range from No Literary Device

Frequency to Very High Literary Device Frequency.

 150

To establish a systematic framework that defines depiction quality in narrative

fiction, the Literarity Indicators matrix and the Literarity Text Scoring chart suggest

that quality analysis using the 5-point standard criteria of purpose, clarity,

contextuality, cognitivity, and emotionality can determine quality of literary devices in

narrative fiction. Descriptive evaluation uses a 6-point standard evaluation range from

No Literarity to Very High Literarity.

3. Lyricality: One of the indicators of literary quality is lyricality, the effective

use of lyrical language in short narrative fiction. For empirical literarity analysis of the

short story, this study organized 119 empirical elements into seven (7) instruments:

Table 42: Instruments for Lyricality Analysis

Assess & Ref

Assessment

TOTAL
Evaluation
Reference
Instruments for Systematic Analysis
Elements

##
of Lyricality in the Short Story

04 9 Lyricality Elements Frequency Scoring Sheet 0 0 1 0 1

04 6 Lyricality Elements Frequency Evaluation Chart 0 0 0 1 1
04 9x5 Lyricality Depiction Quality Indicators 1 0 0 0 1
04 45 Lyricality Text Scoring Sheet 0 1 0 0 1
04 Lyricality Corpus Scoring Sheet 0 1 0 0 1
04 6 Lyricality Evaluation Chart 0 0 0 1 1
66 Total 1 2 1 2 6

The Lyrical Device Frequency Analysis chart defines 16 lyrical devices in nine

(9) categories: pattern repetition, sound repetition, word repetition, word omission,

sensory cognition, sense opposition, sense similarity, sense suggestion, and sense

association. The chart implies that frequency analysis of objective criteria can

determine effectiveness of lyrical language in narrative fiction. Descriptive evaluation

uses a 6-point standard evaluation range from No Lyrical Device Frequency to Very

High Lyrical Device Frequency.

 151

To establish a systematic framework that defines depiction quality in narrative

fiction, the Lyrical Device Depiction Quality Indicators matrix and the Lyrical Device

Text Scoring chart suggest that quality analysis using the 5-point standard criteria of

purpose, clarity, contextuality, cognitivity, and emotionality can determine quality of

literary devices in narrative fiction. Descriptive evaluation uses a 6-point standard

evaluation range from No Lyrical Device to Very High Lyrical Device.

Insightness: One of the indicators of literary quality is insightness, the

effective use of insightness devices to embed insight in short narrative fiction. For

systematic analysis of Insightness in narrative fiction this study organized 42 empirical

elements into six (6) instruments.

Table 43: Instruments for Insightness Analysis

Assess & Ref

Assessment

TOTAL
Evaluation
Reference
Instruments for Systematic Analysis
Elements

##
of Insightness in the Short Story

1 5 Insightness Elements Frequency Scoring Sheet 0 0 1 0 1

2 6 Insightness Elements Frequency Evaluation Chart 0 0 0 1 1
3 5x5 Insightness Depiction Quality Indicators 1 0 0 0 1
4 25 Insightness Text Scoring Sheet 0 1 0 0 1
5 Insightness Corpus Scoring Sheet 0 1 0 0 1
6 6 Insightness Evaluation Chart 0 0 0 1 1
42 Total 1 2 1 2 6

The chart implies that frequency analysis of objective criteria can determine

effectiveness of insight devices in narrative fiction. Descriptive evaluation uses a 6-

point standard evaluation range from No Insight Frequency to Very High Insight

Frequency.

To establish a systematic framework that defines depiction quality in narrative

fiction, the Insight Depiction Quality Indicators and the Insightness Text Scoring chart

suggest that quality analysis using the 5-point standard criteria of purpose, clarity,
 152

contextuality, cognitivity, and emotionality can determine quality of literary devices in

narrative fiction. Descriptive evaluation uses a 6-point standard evaluation range from

No Insightness to Very High Insightness.

5. Literary Quality: Systematic analysis of literary quality in narrative fiction is

a multimodal system that aggregates eight (8) assessment scores. For empirical

analysis of literary quality in the short story, this study organized 14 empirical

elements into three (3) instruments.

Table 44: Instruments for Literarity Quality Analysis

Assess & Ref

Assessment

TOTAL
Evaluation
Reference
Instruments for Systematic Analysis
Elements

##
of Literary Quality in the Short Story

04 Literary Quality Text Scoring Sheet (Multimodal) 0 0 1 0 1

8
04 Literary Quality Corpus Scoring Sheet (Multimodal) 0 1 0 0 1
04 6 Literary Quality Evaluation Chart 0 0 0 1 1
14 Total 0 1 1 1 3

The Literary Quality Text Scoring Sheet and the Literary Quality Corpus

Scoring Sheet suggest that determining literary quality in the short story is a

multimodal approach that aggregates eight (8) data sets: the aforementioned short story

conventions of unitivity, plot trajectory, nowness, and culturality and four (4)

additional literary elements of rhetoricality, literarity, lyrical device, and insightness.

Descriptive evaluation uses a 6-point standard evaluation range from No Literary

Quality to Very High Literary Quality.

This ends the chapter on presentation, analysis, and interpretation of the

research results. The following chapter presents the summary, conclusions, and

recommendations of the study.