Professional Documents
Culture Documents
Creative WR
Creative WR
31. this is the position the story is being told in and manner of its telling
34. this is what the story is trying to say about the human condition
41. german dramatist in the nineteenth century, said that dramatic plot can be
divided into 5 parts
43. we find out the setting point of view and the main characters situation
45. where the story starts moving along and the main character encounters more
diffculties
46. the pinnacle of the story, where all of the events of the rising action arrive
47. where your character would have to make a choice that has long lasting
consequences
50. when the consequences of the choices made by the character are finally dealt
with
53. moves the story along and forces the main character to act, make decisions and
deal with the consequences of these
decisions
56. an internal conflict, in which the character struggle with themselves regarding
moral or ethical choices
59. examines the causality of each event that is usually connected by the phrase
and so.
60. provides us with a more in depth understanding of how and why each events
follows the other
61. provides us with a logical framework or pattern to explain why these events
occur in a certain order
71. a story with a fully developed theme but significantly shorter and less
elaborate than a novel
76. a short novel that is typically light and romantic or sentimental in character
81. narrative prose fiction whose length is shorter than most novels but longer
than short stories
84. typically representing character and action with some degree of realism
69. an external conflict, two or more characters are up aganst each other because
of different motivations
70. an external conflict, in whch the characters are up against the forces of
nature or circumstances in which they have
no control
76. are usually point of view characters and are central to the story
77. only appear in specific scenes or a specific role, not central to the story
78. refers to whether the reader is for or against the motivation of the character
80. whose motivation the audience does not believe or emphatize with
83. are potrayed using only 2 aspects and there to support the round characters
84. how far along the plot your character moves along
89. when you allow the audience to slowly recognize who the characters are who what
kind of person they are
90. this is whehn you show the flaws or strengths of your character comkpared to
other characters
91. when you allow the characters actions movements or physicality to show the
reader what kind of person they are
92. shows your reader that they were correct in trusting the character in the first
place, and that you created them
in a believable way
94. will often see the protagonist face off against forces of fate, relgion ghosts
gods demons or aliens
96. narrative devices in which a story a storyteller gives an advanced hnit of what
is to come later in the story
100. made up of series of chapters or stories lnked together by the same character
place or theme
but helped apart by their individual plots , purpose and subtext
1. weaves two or more dramatic plots that are usually link by a common character
and similar theme
2. plots in whch each main character has a separate but related storyline that
merges in the end
4. permits the authors to begin the story in the midst of the action but later fill
in the background for full understanding
of present events
5. wroks best when the writer wishes to explore the personalities of the
characters, the nature of their existence and the
flavour of an era
8. assumed the the one who is telling the story from this perspective in the
narrator of the story
10. least used perspective because it assumes the reader is part of the story
12. assumes narrator of the story is omniscient and is not involved in the
characters lives and events of the story
14. is the one whose point of view is being used to show the story to the reader
16. one whom the audience can believe in and usually fades into the background,
allowing events in the plot and actions
of characters to take center stage
18. german academic who published his book about unreliable narrators
19. an unreliable narrator who always brags or exaggerates his abilities even
though they might not have done them
22. an unreliable narrator who whose perception are either too immature or limited
thorugh his/her point of view
23. an unrealiable narrator who deliberately cofuses the reader to hide his/her
shameful past
25. dictates how your reader interprets characters,events and other important
details
28. allows for greatest flexibility and also creates the most complexity
29. narrator speaks freely about everyone and everthing, there are no limits to
time space or character the narrator can
access
30. the author writes in third person but keeps the thoughts and feelings limited
to one central character
33. humans beings are inherently biased so remove the narrators subjectivity can
make the writing feel more authoritatvie
37. dialogue that happens offscreen and is usually summarized or reported by the
narrator
39. dialogue that does more than convey information or an exchange of ideas but
also functions on a
figutrative or metaphorical scale
41. might manifest in a way wrtier approaches the subject matter of the story
50. arrangement of scenery and stage properties in a play or the establishing scene
- miss-en-scene
51. refers to the phytsical world inhabited by your character or where the story
takes place.
- milieu
55. combination of time and space to create an emotional landscape felt throughout
the story
56. can refer to three things hisotrical period or knd of society that the story is
taking place
passage of time or how character perceives time
60. what the writers intention about the theme, what the writer thknks or feels
about the subject he or she is writing
61. what the reader thinks the work is about , based on the clues left behind by
the author
63. an object that represents stands for or siggests an idea that can be rendered
into conrete images
64. take the form of words, sounds, gestures or visual images and used to convey
ideas or beliefs
69. dependent on the fictional world of the story and may not carry any meaning n
the real world
70. common literary devices, motifs or figurative language that occur accross
several creative works
72. are reference to events or object beyon the story that the writer assumes the
readers knows about
73. also known as extended metaphor and uses characters and events n literary or
other art forms to represent and symbolize
abstraction
83. literaly translates to in the middle of things usually the exposition begins in
the action
88. is there a plot that makes everything move, is each scene related to each other
are your characters making sense
does your pov make sense are we looking thorugh the best lens
is the settng realized effectively does it contribute to the world of the story
can your reader understand the theme without it being said to them explicitly
89. stands alone as the only genre where the work of the writer constitutes only a
part of the complete work
90. is an inherenly collaborative genre because the writer needs actors production
designers directors etc.
95. characterized by a its focus on a hero's downfall and tragicx flaw that led
him/her to it
96. has a lighter tone and ends always with a ahppy ending for the characters of
the play
p
plot character thought diction melody spectacle
30. writer whose works are full of action, stage direction, moovement and lines
classical/universal dramatist
modern dramatist
contemporary dramatist
38. "play"
theater radio tv
49 3 act play
52, 3 dramas
54. must be explicit in the way the character acts and talks
55. is something that stands out in drama because the viewers see it on stage
59. actors
62. the costume, scenery, the gestures of the actorsl, the sound of the music, and
the resonance of the actors voice
74. in this act, we are introduced to the world of the drama nckuding the
characters and their motivation
we also see the inciting incident that properls the drama to its sceond act
75. we see the escalation of events coming out inciting incident in the first act
the characters
wants and needs come ninto conflict with each other and move the drama to its final
act
76. the conflicts that happened in the second act now come to a head this is where
the final confrontation
between the opposing forces of the drama happens. we see the outcome of the
conflict and how t affected the characters
78. where the scene is taking place what describes the actions happening in the
scene
79. tell them how to read their lines. usually found in brackets within the
dialogue of a character