ITL-HO02 Fictional Vs Nonfictional Prose Rev01

MKKPC08293 Introduction to Literature Universitas Islam Kadiri
Chapter 2
Fictional vs Nonfictional Prose
Basic Competence:
Indicate various genre in literary work (C2)
Indicators:
2.1 List the types of genres in English prose (C1)
2.2 Explain the types of genres in English prose (C2)
 Alert: Flash Fiction
This literary work is introduced in this chapter as “Road to Assignment 1”. Detail materials
related to flash fiction are provided separately from the main topic.
Before we go into this unit, we will make brief definition about literature, literary genres,
prose, and its characteristics.
It should be made clear from the onset that there is no real consensus or one all-embracing
definition of the term literature. We should also know that some of the definitions of literature
given by scholars are largely according to their wealth of life experience within their locations.
Before we move further, let us consider literature both on its broad and narrow planes.1
Gyasi (1973) defines it in its broad sense as "anything that is written"2, while Rees (1973)
sees it in the narrow sense of "writing which expresses and communicates thought, feelings
and attitudes towards life".3 The broad definition of literature appears to be vague and
amorphous in that it includes works that are not literature per se, like works in fields of
Education, Biology, History and a host of others, because they are written. However, they
cannot qualify as real literature. The narrow definition delineates literature from its general
purview to what can be called literature as a subject of study.1 Literature is thus summed up
as permanent expressions in words (written or spoken), specially arranged in pleasing
accepted patterns or forms. Literature expresses thoughts, feelings, ideas or other special
aspects of human experiences.1
Majority, there are three broad genres of literature; these are drama, poetry and prose.1
Considering that in this chapter we are going to discuss about prose, we only focus on the
definition of prose. Meanwhile, the concepts of drama and poetry will be reviewed in the next
chapters. Prose is the most typical form of language and it is derived from the Latin word
prosa which literally means 'straight-forward.'4 It is like talking to someone in a straight-
Lecturer: Teacher Training and Education Faculty

Kristanti Yuntoro Putri, S.Pd., M.Pd English Education Study Program
1
forward manner and not in a sing-song or poetic way. This means that anything we say or
write in prose is presented in a straight- forward manner. For instance, this course material is
presented in prose.4 Prose refers to any written work that follows a basic grammatical
structure (think words and phrases arranged into sentences and paragraphs).5 Prose is made
up of complete sentences which constitute paragraphs in a narrative form. Prose reflects the
pattern of everyday speech.1 Words in prose are arranged in correct sentences and in a logical
sequence for a meaningful understanding of the intended communication.1 Even in everyday
speech, we arrange words in a proper way for the presentation to make sense in the language
of communication.
After we know the definitions and contexts among literary terms, we need to recognize the
characteristics of prose work. They are:
a. The prose work is the use of language in an imaginative way. Prose is a work of the
writer's imagination. It recounts the 'writer's life experience in an imaginative manner.
When prose recounts only the artist's actual life experiences, it becomes,
autobiographical, when it presents historical facts in an imaginative, but not necessarily
an accurate manner, it becomes historical literature. When it is restricted to the record of
the life of another person by the writer, it is biographical. If the characters in the story
go from one adventure to another, it is picturesque or episodic.1
b. Prose work is dramatic. The writer creates a real or imaginary world, and presents actions
and reactions to this world in form of dialogues, conversations, symbols (concrete objects
used to represent serious ideas), images (a series of concrete objects represent ideas,
one following the other in the story), and vivid descriptions.1
c. Prose works are centered on narration. By this we mean recounting events as they occur
in spatial or chronological order. In doing this, the writer packs the narration full of
sensation, emotion, conflicting situations, sources of happiness, sadness and different
responses to life situations.1
d. Prose works combine description, argumentation, exposition, compare and contrast,
cause and effect, classification and other rhetorical forms to make the storyline vivid and
the message to come out as clearly as possible.1
e. Prose works are largely to render a message or messages. While, we cannot rule out art
for art sake, that is, writing to display sophisticated work of art, most prose works are
presented to pass to the readers important messages regarding life in general, political,
socio-economic life of a community, people or a nation, historical consequences of the
action of some people on other groups, and so on.1
Works of prose are typically divided into one of two categories: fiction vs. nonfiction. A work
of fiction might resemble the real world, but it certainly did not happen in real life. Nonfiction,
on the other hand, should not contain any fiction, as the writer’s credibility comes from the
truthfulness of the story.9
Any writer of fiction vs. nonfiction will use different skills and strategies to write in each genre.
Yet, fiction and nonfiction are more alike than you might realize. Additionally, there are many
works of prose that fall somewhere in between the fiction vs. nonfiction binary.9
This article examines, in detail, the writing strategies available to prose writers of fiction and
nonfiction. It also examines the fiction vs. nonfiction binary, and offers insight into the role
that “truth” plays in both genres of literature.9

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But first, let’s uncover what writers mean when they categorize a work of prose as fiction vs.
nonfiction. What is the difference between fiction and nonfiction?9
Fictional Prose
Overviews
“Fiction” refers to stories that have not occurred in real life. Fiction may resemble real life,
and it may even pull from real life events or people. But the story itself, the “what happens in
this text,” is ultimately invented by the author.9 Fiction is usually made up by the author.
Fiction texts could be based on the author’s own life experiences or come from their
imagination (or be a mixture of the two).6 Prose fiction from the 19th century tends to have
longer, more complex sentences, and often has more description than modern fiction texts
do.6
Different Forms of Prose Fiction
Most prose fiction is presented in the form of a novel, novella or short story.6 Another source,
call the forms of prose fiction as “Literary genre”.7 The word ‘novel’ comes from Latin and
Italian origin and means 'new’.6 Novels became popular with readers in the 18th century, so
are a fairly new type of fiction compared with poetry and drama.6
Prose texts are usually defined by their length, though there are other differences:6
1. Short stories6
a. Tell a complete story in a few

 Alert
thousand words.6 The average short
story should run anywhere from Flash Fiction16
5,000 to 10,000 words, but they can
A flash fiction story is always fewer than 1,500
be anything above 1,000 words.15
words and usually fewer than 1,000 words.16 This is
b. Have a limited number of characters. the type of short-short story you would expect to
find in a glossy magazine.17
c. Are sometimes more about
conveying an atmosphere than plot. Sometimes, flash fiction under 500 words is called
micro-fiction or micro flash fiction. The shortest
d. Often leave questions unanswered story ever written is most likely “Baby Shoes” by
for the reader to think about. Ernest Hemingway (though the authorship is
dubious). Clocking in at 6 words, “Baby Shoes”
Some writers are famous for their short reads: “For sale: baby shoes, never worn.”16
stories. Edgar Allen Poe is a famous
Of course, young children’s books are often fewer
American short story writer from the
than 1,000 words. Instead of calling them short
19th century. His short story The
stories or flash fiction, children’s books are usually
Murders in the Rue Morgue (1841) is classified as board books, picture books, and early
considered to be one of the first reader books.16
examples of a detective story.6

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2. Novellas6
a. A novella is a fictional piece between a short story and a novel with anywhere from
10,000 to 40,000 words.15
b. Usually have one plot-line.
c. Are not always divided into chapters.
Some novellas you may have heard of are Charles Dickens’ A Christmas Carol or John
Steinbeck’s Of Mice and Men. Although these forms are short, they provide the reader with
a vivid snapshot of life and have well developed characters.6
3. Novels6
a. The general rule of thumb for novel writing is a word count in the 80,000 to 100,000
range. While anything over 40,000 words can fall into the novel category, 50,000 is
considered the minimum novel length. Anything over 110,000 words is considered too
long for a fiction novel.15
b. Are a relatively modern form of literature compared to plays and poetry.
c. Often have a number of different plot lines which can support or contrast each other.
d. Usually have several characters and their stories.
e. Are often divided into chapters.
f. Normally tie up all the loose ends by the end of the book.
Some famous novels which you might have heard of include: Jane Eyre by Charlotte
Brontë, Lord of the Flies by William Golding, and Vanity Fair by William Thackeray.6
What Is Genre Fiction?7
Genre fiction is a type of novel that has a more mainstream, populist appeal than literary
fiction. Genre fiction traditionally comprises genres such as romance, mystery, thriller, horror,
fantasy, and children’s books.7
Popular genre fiction relies on familiar templates, character archetypes, and tropes to attract
readers, but the best examples use these elements in surprising and creative ways. Here as
the primary types of genre fiction:7
1. Mystery: The mystery genre is defined by an exciting hook—usually a murder—

suspenseful pacing, and a satisfying conclusion that answers all of the reader’s outstanding
questions. Popular mystery subgenres include cozy mysteries, true crime novels,
whodunnits, scientific mysteries, hardboiled detective stories, and police procedurals in the
style of English stalwarts Agatha Christie and P.D. James.
2. Thriller: Closely related to mysteries, thrillers and horror ratchet up the suspense and
shock of popular genre fiction. Authors like David Baldacci and Dan Brown dominate the
bestseller list with their thriller titles, while Stephen King reigns as the master of

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contemporary horror. Today, the category contains numerous sub-genres, such as

espionage, legal, political, crime, psychological, and techno-thrillers.
3. Romance: A romance novel is a work of extended prose fiction with a theme of love. A
romance novel focuses on the development of a romantic relationship between two people,
and contains an emotional throughline with a build toward an optimistic conclusion.7 The
relationships in romance novels are never simple, but always satisfying. Lovers often meet
under unique circumstances, they may be forbidden from loving each other, and they
always mess things up a few times before they get it right. Alongside thriller, romance is
often the bestselling genre, though it has its humble roots in the Gothic fiction of the 19th
century.8
4. Science fiction: Often set in a post-apocalyptic, dystopian future, sci-fi novels imagine
the worlds of far-flung future or alternate universes. Many sci-fi stories take place in a
dystopian past or future. Science fiction books can have a historical setting, but most are
set in the future and deal with the ramifications of technological and scientific
advancement.
5. Fantasy: You’re probably familiar with the literary giants of fantasy worldbuilding—J.R.R.
Tolkien, C.S. Lewis, J.K. Rowling, George R.R. Martin. Mythological creatures and medieval-
style kingdoms spread across imaginary lands are typical elements of fantasy novels.
Fantasy subgenres include urban fantasy, steampunk, high fantasy, epic fantasy, dark
fantasy, and sword and sorcery.7 Like Sci-Fi, many of the magical elements in fantasy
novels can double as symbols or themes. The line between Sci-Fi and fantasy is often
unclear: for example, an alien invasion is categorized as Sci-Fi, but the journey to defeat
those aliens can easily resemble a fantasy novel.8
6. Historical fiction: Historical novels offer a chance to examine the past from new angles,
imagining the inner lives of the characters defined by the historical events of a given time
period.
7. Magical realism: Magical realism is a genre of literature that depicts the real world as
having an undercurrent of magic or fantasy. Within a work of magical realism, the world is
still grounded in the real world, but fantastical elements are considered normal in this
world. Like fairy tales, magical realism novels, novellas, and short stories blur the line
between fantasy and reality.
8. Speculative fiction: Speculative fiction stories are set in a familiar reality that is twisted
in some meaningful way. They may couple the familiar and unfamiliar in an alternate
history, or take an idea from current society and move it a little further down the road.
Even if humans are short-term thinkers, this kind of fiction anticipates multiple versions of
the future.
Why Do We Read Prose Fiction?5
Prose fiction, whether in the form of the novel or the short story, is unarguably the most
popular and widely consumed literary genre. One only has to see the proliferation of
bookstalls at railway stations and airports, for example, and the predominance of novels over
other forms of writing made available in such locations to realise the appeal of fiction.5

5
Take a few moments to think about Why we read fiction? What do we hope to gain from
reading stories about imagined events that happen to imaginary people?5
Robert DiYanni begins his impressively wide-ranging study Literature: Reading Fiction, Poetry,
Drama, and the Essay (1997) with the following assertion about why we read:5
We read stories for pleasure; they entertain us. And we read them for profit;
they enlighten us. Stories draw us into their imaginative worlds and engage
us with the power of their invention. They provide us with more than the
immediate interest of narrative – of something happening – and more than
the pleasures of imagination: they enlarge our understanding of ourselves and
deepen our appreciation of life. (DiYanni, 1997:27)5
Did your own answers to the question of why we read touch on any of the reasons DiYanni
gives? I wouldn't be at all surprised if they did. It is, I think, true for all of us that there is an
element of sheer escapism in our desire to read stories, to imaginatively engage with the
incidents and events that befall the characters we read about. We often come to identify with
these fictional characters, and think perhaps about how we would react and respond to the
situations they find themselves in.5
We can immerse ourselves in a fictional world in this way without necessarily applying a great
deal of critical or intellectual effort, of course. But if fictional narratives are, as DiYanni puts
it, to ‘enlarge our understanding of ourselves and deepen our appreciation of life,’ we need,
perhaps, to read them in a more objective way, to subject them to a more critical scrutiny to
see if they reinforce or challenge our existing ideas about the world around us. Close attention
to the texts we read can only enhance our understanding, and this in turn can increase our
pleasure in reading. In this course I will concentrate largely on introducing you to the various
elements that make up a fictional narrative; the events that make up a story and how they
are arranged (the plot); the perspectives from which stories can be narrated; the act
of characterisation; the importance of setting, both in terms of time and place, and the
actual language and style which writers adopt to tell their narratives. Above all, in what
follows, and in your own readings of fictional narratives, I want to stress the importance of
always keeping in mind the question of why you think writers use particular narrative
strategies. There are an infinite number of ways in which stories can be told; the choices
made by individual writers of individual texts are not randomly made. We need to think about
why those choices might have been made. There is no single authoritative answer to such
questions. How we read is dictated largely by the experiences and contexts we each of us
bring to a particular text, and for that reason no two readings are likely to be the same, even
though we may be applying the same critical processes to our reading.5
We have spent some time in this introductory section thinking about why we read and, indeed,
what we are reading when we read a fictional narrative. I want to conclude this section with
a quotation from Ian Milligan. This, I think, encapsulates the discussion I have tried to instigate
here and gives an illuminating analysis of our reasons for reading and the need to develop
our critical faculties. Keep Milligan's words in mind as you proceed through the rest of this
course.5
Novels, then, are exciting machines (verbal machines) which transport their
readers in space and time. They challenge us to meet the unfamiliar. They
offer us a share in the pleasure of making because the designs they consist of

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are not simply there to be seen; they have to be understood, constructed,

recreated by the reader out of the materials and according to the patterns
which the fabric of their language contains – or conceals. When we become
expert readers, we may begin to see some flaws in the workmanship or in the
coherence of the design itself. But as beginning students our first task is to
become aware of the pattern of meanings which can be discerned in the novel
we are studying. It is only with practice and experience that we shall begin to
see that the flood of books we call novels have features in common which
allow us to group them together. Each novel has its own pattern, but as our
experience widens we may begin to identify patterns running through the
history of the form as a whole. These patterns cannot be assembled into a
grand design, but the forms of fiction, the ways in which stories have been
told, have their own history. An understanding of that historical pattern,
haphazard and fragmentary as it may be, does give us some insight into the
forms of life which literate societies have evolved in history, some awareness
of their predominant interests, and of the myths and guiding principles which
have sustained them. (Milligan, 1983: 7–8)5
Nonfictional Prose
“Nonfiction” refers to stories that have occurred in real life. The story may have happened in
the author’s life, in the life of someone the author has interviewed, or in the life of a
historical figure. It also describes works of journalism, science writing, and other forms of
“reality-based” writing.9
Meanwhile, these are different types of nonfiction: Memoirs, Personal essays, Biographies and
autobiographies, Books about history, Periodicals, Lyric essays, Journalism, articles, food
writing, travel writing, and other forms of feature writing, and Scholarly articles.9
Types of Nonfiction Books and Genres10
What are the types of nonfiction? Let’s examine some common forms of the genre in detail.
1. Biography
The word 'biography' is a combination of the Greek words 'bios', which means 'life',
and 'graphia', which refers to 'writing'. Simply stated, this means that a biography is a
written account of someone else's life.14 In this case, the subject, that is, the person the
biography is written about is NOT the author or the narrator of the biography. Usually, the
author and narrator of a biography, also known as the biographer, is someone who takes
a great deal of interest in the subject's life.14
The subject of the biography, that is, the person whose life the biography is describing
could be a historical figure, a celebrity, a politician, an athlete or even an ordinary person
with a life full of stories worth telling.14 A biography is usually written in a third-person
narrative voice. This distance from the subject and their experiences allows the biographer
to view the subject's experiences in the larger context of their life by comparing them to
other experiences or analysing the impact of certain experiences on the subject's
personality and life.14

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Again, a biography is most commonly written as a non-fiction recount of a famous person's

life. They include factual details as well as personal stories. Biography texts can also focus
on an event in history.12
According to the Oxford English Dictionary, a biography is defined as "The process of

recording the events and circumstances of another person's life, esp. for publication
(latterly in any of various written, recorded, or visual media); the documenting of individual
life histories (and, later, other forms of thematic historical narrative), considered as a genre
of writing or social history". Since a biography is an account of a person's life written by
someone else, it is considered to be a secondary source.11
The first-ever biographies can be traced back to Ancient Greece and Rome, where people
celebrated gods as well as notable men by writing about their personalities and life's
accomplishments. Plutarch's Parallel Lives, published about 80 A.D, is the earliest ever
recorded biographic work written solely about humans. In this work, Greeks are paired with
Romans and are held up against each other and compared, with one being a good example
to follow whilst the other's life serves as a cautionary tale14
Many modern writers have dedicated much of their careers to biographies, such as:13
• Kitty Kelley, author of Jackie Oh! An Intimate Biography; His Way: The Unauthorized
Biography of Frank Sinatra; and The Family: The Real Story of the Bush Dynasty
• Antonia Fraser, author of Mary Queen of Scots; Cromwell; Our Chief of Men; and The
Gunpowder Plot: Terror and Faith in 1605
• David McCullough, author of The Path Between the Seas; Truman; and John Adams
• Andrew Morton, author of Diana: Her True Story in Her Own Words; Madonna; and Tom
Cruise: An Unauthorized Biography
2. Autobiography
An autobiography is a non-fiction literary format that is a self-written account of a person's

life. In an autobiography, the subject of the biography and the author are the same person.
Hence, an autobiography is usually when the author is narrating their own life story, in the
way they experienced it themselves. They are written in first-person perspective.14 The
auto biographer is the subject and the author of the biography.14 After all, the word
'autobiography' means self (auto), life (bio), writing (graph). Some significant figures and
celebrities have written autobiographies that we can see on the shelves of bookshops.
However, anyone can write their life story as an autobiography.12
The Oxford English Dictionary defines autobiography as "An account of a person's life given
by himself or herself, especially one published in book form. Also: the process of writing
such an account; these considered as a literary genre". 11
An autobiographical essay is a short account of some aspect of the writer's life. It may
include a brief description of the writer's experiences, hobbies, interests and some
memorable events. Another term for an autobiographical essay is narrative essay. Since
the autobiographical form is a first-hand account of a person's life presented in its original

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form without interpretation or commentary from other writers, it is considered a primary

source.11
One of autobiography examples is I Know Why the Caged Bird Sings (1969) which is the
first edition of a seven-volume autobiographical series written by Maya Angelou. It details
her early life in Arkansas and her traumatic childhood, where she was subjected to sexual
assault and racism. The autobiography then takes us through each of her multiple careers
as a poet, teacher, actress, director, dancer, and activist and the injustices and prejudices
she faces along the way as a black woman in America.14
A few notable examples of biographies are:14
• Steve Jobs (2011) by Walter Isaacson

• The Immortal Life of Henrietta Lacks (2010) by Rebecca Skloot
• Into the Wild (1996) by Jon Krakauer
• Alexander Hamilton (2004) by Ron Cherno
3. Memoir
Autobiographies and memoirs are similar in that they both are written in the first person
and both are personal and talk about the author's life. The difference is while
autobiographies detail in chronological sequence the author's life from birth to death,
memoirs are concerned with emotional truths and focus on random aspects of the author's
life such as feelings or attitudes that stand out because they have had such an impact on
the person's life. The line between autobiographies and memoirs is fuzzy that they are
often used interchangeably.11
Memoirs are driven by narrative, and often connect the writer’s personal story to larger
human themes, such as grief, family, and youth. To see what this means in action, check
out Helen Macdonald’s H is for Hawk, which chronicles the year Macdonald spent training
a northern goshawk following her father’s death. Other memoirs include William
Finnegan’s Barbarian Days: A Surfing Life, Carmen Maria Machado’s In the Dream House,
Kiese Laymon’s Heavy: An American Memoir, and Tara Westover’s Educated.10
Memoirs, however, can also be essay-length. A great example is David Sedaris’ “The Youth
in Asia.” Structured around Sedaris and his family’s memories of pets, this humorous essay
is ultimately a story about grief, mortality and loss. This essay is excerpted from the
memoir Me Talk Pretty One Day.10
4. Travel Writing
There are many different types of nonfiction travel writing, ranging from travel guides to
blogs, journalism, and memoirs. Regardless of what form it takes, good travel writing helps
your readers to imagine and experience an unfamiliar place. Travel writers thus use
evocative prose that engages the senses with the details of a world you may not otherwise
encounter. Classic examples include Jan Morris’ Among the Cities and Ilija
Trojanow’s Along the Ganges.10

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Sometimes, the adventure of travel is less important than the internal journey that the
writer experiences. A great example of such a travel writing and memoir hybrid is Running
in the Family. Twenty-five years after leaving for Canada, the writer Michael Ondaatje
returns to his native Sri Lanka to sort out his family’s past. The book chronicles family
stories, and a major plot point is Ondaatje’s seeking of reconciliation with a father he barely
knew. Other books that fall into this category include Cheryl Strayed’s Wild: From Lost to
Found on the Pacific Crest Trail, Pico Iyer’s The Lady and the Monk, and Elizabeth
Gilbert’s Eat, Pray, Love.10
5. Literary Journalism
Sometimes called “immersion journalism,” “narrative journalism,” or “new journalism,”

literary journalism is a type of nonfiction that combines reporting with techniques and
strategies associated with creative writing, such as character development. Literary
journalists often write in a third-person limited or first-person point of view. The goal of
such works is not simply to deliver facts, but to spark a larger conversation among its
readers. Examples include Barbara Ehrenreich’s Nickel and Dimed, Michael Lewis’ The Big
Short: Inside the Doomsday Machine, and Anne Fadiman’s The Spirit Catches You and You
Fall Down.10
References
1. Ade, O. I., and Okunoye, O. (2014). An Introduction to Literature and Literary Criticism.
Abuja: National Open University of Nigeria. Retrieved March 18, 2024 from
https://nou.edu.ng/coursewarecontent/ENG%20111_0.pdf
2. Gyasi, I. K. (1988). Ordinary Level English Literature. Accra-Tema: Ghana Publishing Co.
3. Rees, R. J. (1973). English Literature: An Introduction for Foreign Readers. Basinstoke
and London: Macmillan Education Ltd.
4. Iwuchukwu, O. (2010). Introduction to Prose Fiction. Victoria Island Lagos: National
Open University of Nigeria. Retrieved March 18, 2024 from
https://nou.edu.ng/coursewarecontent/ENG%20181%20Introduction%20to%20Prose%
20Fiction.pdf
5. The Open University. (2019, October 10). Approaching Prose Fiction. Retrieved from
https://www.open.edu/openlearn/history-the-arts/literature/approaching-prose-
fiction/content-section-1
6. BBC. (n.d.) Fiction text types – Edexcel. March 18, 2024 from
https://www.bbc.co.uk/bitesize/guides/zywtnbk/revision/1
7. MasterClass. (2021, Nov 18). An Overview of Fiction Genres: 3 Types of Novels.
Retrieved from https://www.masterclass.com/articles/an-overview-of-fiction-genres
8. Glatch, Sean. (2021, October 11). Literary Fiction Vs. Genre Fiction. Retrieved from
https://writers.com/literary-fiction-vs-genre-fiction
9. Glatch, Sean. (2023, January 17). Fiction Vs. Nonfiction: What Is The Difference
Between Fiction And Nonfiction? Retrieved from https://writers.com/fiction-vs-nonfiction
10. Mok, Zining. (2022, January 25). 10 Types of Nonfiction Books and Genres. Retrieved
from https://writers.com/types-of-nonfiction

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11. Southern Connecticut State University. (2024, March 7).

Autobiography/Biography/Memoirs. Retrieved from
https://libguides.southernct.edu/biography
12. Twinkl. (n.d). Biography Vs Autobiography. Retrieved March 18, 2024 from
https://www.twinkl.co.id/teaching-wiki/biography-vs-autobiography
13. SuperSummary. (n.d). Biography:What Is Biography? Definition, Usage, and Literary
Examples. Retrieved March 18, 2024 from https://www.supersummary.com/biography/
14. StudySmarter. (n.d.) Biography. Retrieved March 18, 2024 from
https://www.studysmarter.co.uk/explanations/english-literature/literary-
devices/biography/
15. MasterClass. (2021, September 4). Word Count Guide: How Long Is a Book, Short
Story, or Novella?. Retrieved from https://www.masterclass.com/articles/word-count-
guide
16. Chesson, Dave. (2022, March 25). How Long Is A Short Story? [Comprehensive Word
Count Guide]. Retrieved from https://kindlepreneur.com/how-long-short-story/
17. Masterson, Lee. (2022). How Long Should Your Story Be?. Retrieved from
https://www.writing-world.com/fiction/length.shtml
18. Learn English. (n.d) The time travel plumber – B2/C1. Retrieved March 18, 2024 from
https://learnenglish.britishcouncil.org/general-english/story-zone/b2-c1-stories/time-
travel-plumber-b2/c1
19. English Reading Galore. (2022, January 6). English Story (英語の話) (영어 이야기) (英
语故事) -The Time Travel Plumber - level 1. Retrieved from
https://www.youtube.com/watch?v=4jIaV280AuM

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STUDENT SELF ASSSESSMENT
A. Multiple Choices
Directions: Read each question carefully, and then CIRCLE THE. ANSWER that best fits
the question.
1. What is the origin of the word 'prose'?
a. Derived from the Latin word 'straight-forward'

b. Derived from the Latin word 'song-like'
c. Derived from the Latin word 'poetry'
d. Derived from the Latin word 'drama'
2. How is prose different from poetry?
a. Prose is more formal than poetry

b. Prose follows a basic grammatical structure, while poetry is free-form
c. Prose uses rhyme and meter, while poetry does not
d. Prose is always longer than poetry
3. What characteristic distinguishes prose from other forms of language?
a. Prose is always poetic in nature

b. Prose is always written in a sing-song manner
c. Prose lacks meaning in its communication
d. Prose is presented in a straight-forward way
4. How are words arranged in prose for effective communication?
a. In illogical sequences to challenge the reader

b. In correct sentences and in a logical sequence
c. In a sing-song manner for entertainment
d. In random sequences to confuse the reader
5. What aspect of everyday speech does prose reflect?
a. Complex grammatical structures

b. Pattern of everyday speech
c. Use of exaggerated metaphors
d. Poetic rhythm and rhyme
6. Which of the following is NOT a characteristic of prose work?
a. Presenting historical facts in an imaginative manner

b. Recounting the writer's actual life experiences verbatim
c. Centering on narration and recounting events
d. The use of language in an imaginative way

12
7. What type of prose work is it when the writer presents historical facts in an imaginative,
but not necessarily accurate manner?
a. Picturesque or episodic
b. Biographical
c. Autobiographical
d. Historical literature
8. Which of the following distinguishes works of fiction from nonfiction?
a. Works of fiction resemble the real world, while nonfiction does not.
b. Writers of fiction and nonfiction use completely different skills and strategies.
c. Works of fiction are more sophisticated and artistic than nonfiction.
d. Works of fiction did not happen in real life, while nonfiction should not contain any
fiction.
9. What role does "truth" play in fiction and nonfiction genres?
a. Truth is more important in fiction than in nonfiction.

b. Truth is irrelevant in both fiction and nonfiction genres.
c. Truth is essential only in nonfiction, while fiction can be entirely made up.
d. Truth plays a significant role in both fiction and nonfiction genres.
10. How long is the average short story in terms of word count?
a. 5,000-10,000 words
b. 2,000-5,000 words
c. 10,000-15,000 words
d. 15,000-20,000 words
11. Which of the following is a characteristic of short stories?
a. Provide all answers to questions raised

b. Multiple plot lines
c. Mainly focus on conveying atmosphere over plot
d. Unlimited number of characters
12. Who is considered one of the famous American short story writers from the 19th century?
a. Nathaniel Hawthorne
b. Edgar Allan Poe
c. Herman Melville
d. Mark Twain
13. Which of the following is true about novellas?
a. Have a word count between 40,000-80,000

b. Have multiple plot-lines
c. Always divided into chapters
d. Not always divided into chapters

13
14. Which of the following is a feature commonly found in novels?
a. Usually have chapters and several characters' stories

b. Often leave questions unanswered for the reader to wonder about
c. Are never divided into chapters
d. Mainly have one character's story
15. Who is the author of the famous novel "Lord of the Flies"?
a. William Thackeray
b. Charlotte Brontë
c. John Steinbeck
d. William Golding
16. What defines the mystery genre of fiction?
a. Exploration of alternate universes

b. Emphasis on magical elements
c. Focus on futuristic settings and technology
d. Exciting hook, suspenseful pacing, and a satisfying conclusion
17. Which author is mentioned as the master of contemporary horror in genre fiction?
a. Agatha Christie
b. Stephen King
c. Dan Brown
d. David Baldacci
18. What is the primary theme of a romance novel?
a. Technological advancement
b. Exploration of psychological thrillers
c. Political intrigue
d. Development of a romantic relationship
19. Which genre typically includes mythological creatures and medieval-style kingdoms in its
worldbuilding?
a. Thriller
b. Fantasy
c. Science fiction
d. Historical fiction
20. What distinguishes the thriller genre from mysteries?
a. Focus on romantic relationships

b. Inclusion of magical elements
c. Exploration of historical events
d. Shock and suspense

14
21. What is a biography?
a. A written account of someone else's life

b. A fictional account of someone's life
c. A self-written account of a person's life
d. A historical document
22. According to the given context, who is the subject of a biography?
a. The author of the biography

b. The person whose life the biography is about
c. A fictional character
d. The narrator of the biography
23. In which narrative voice is a biography usually written?
a. First-person
b. Second-person
c. Passive voice
d. Third-person
24. What distinguishes a biography from an autobiography?
a. Biographies are always fictional

b. Autobiographies are considered secondary sources
c. The author is not the subject in a biography, but they are the same person in an
autobiography
d. Biographies are written by the subject of the story
25. Who is the author and subject of an autobiography?
a. The author is a historian

b. They are two different individuals
c. The subject is a fictional character
d. They are the same person
26. Which literary genre presents a first-hand account of a person's life without interpretation
from other writers?
a. Autobiography
b. Narrative fiction
c. Biography
d. Memoir
27. What term describes a short account of some aspect of a writer's life?
a. Autobiography
b. Novella
c. Biography
d. Memoir

15
28. What term can be used interchangeably with memoir, according to the provided context?
a. Autobiography
b. Biography
c. Narrative
d. Travel writing
29. In which literary genre do writers use evocative prose to engage readers in unfamiliar
places?
a. Literary journalism
b. Travel writing
c. Fiction
d. Poetry
30. What distinguishes literary journalism from traditional reporting?
a. It only presents facts

b. It is written in the second-person point of view
c. It includes creative writing techniques
d. It is focused on fictional characters
B. Long Answer Questions

Direction: Answer ALL questions in the space provided.
31. By using your own words, explain about fictional prose!

32. Mention three common forms of prose fiction!
33. There are at least eight genres of fiction. Please explain three of them!
34. Explain the differences among biography, autobiography, and memoirs.
35. Read the story excerpt 2.1 carefully or listen to audio 2.119 for the full story.
Identify the genre and show the evidences that can support your answer. Utilize
50 – 75 words to encapsulate your explanation.
…
'Oh. I think I'll believe you, as I'd been thinking about signing up for a while before I did,' she said. 'Say
goodbye to every problem you ever had, right? I certainly have a lot of problems!' She tried to laugh
but it came out wrong and she was almost crying again.
He took a few more details, shaking his head as if to make it clear what a big favour he was doing her.
'I'll be back in about half an hour to make sure you're happy with the work, OK?'
The plumber walked back to the road and disappeared into his van. It was a perfectly ordinary van,
and you'd never have guessed it was a time machine. The slogan Say goodbye to every* problem you
ever had! was painted on the side, with a * next to some smaller writing underneath that she couldn't
read from where she was standing.
Obviously they couldn't wait in the disgusting, smelly kitchen, so she sat outside with Charlie. He was
too tired and weak to run around, so he was watching the puppy trying to dig up the 'For Sale' sign in
the garden.
18
The time travel plumber by Nicola Prentis
16
ROAD TO ASSIGNMENT 1
A. Reading
FLASH FICTION
Like a lightning strike, flash fiction stories can be over in an instant—radically altering the
terrain of the reader’s imagination. These bite-sized stories take a lot of style, skill, and
effective word choice to pull off. Many writers try to conquer the flash fiction form in their
writing careers, but the short-short story requires lots of planning and editing, so if you’re
not sure how to write flash fiction stories, you’re in the right place.
What is flash fiction, and how do you write it? In short, it’s a story that delivers a complete
narrative, with plot, characters, and setting, in fewer than 1,500 words. As such, the form
relies on an efficient use of language and storytelling, without inhibiting the story’s flow and
impact.
Writing flash takes practice, but the form has produced some of the most interesting stories
in our literary canon. This article will discuss how to write flash fiction stories, explore some
flash fiction examples, and end with an overview of great flash fiction magazines (that
maybe you’ll get published in!)
But first, let’s answer the question: What is flash fiction?
What Is Flash Fiction?
The short definition of flash fiction is any fictional story that’s under 1,500 words long. Some
journals may have a different definition of flash fiction length, but most accept 1,500 words
as the standard maximum word count.
The form can be further subdivided based on different flash fiction word counts.
Flash Fiction Word Count
Like all definitions in literature, these aren’t strict rules, but guidelines generally followed by
publishers and literary journals.
Flash form Flash fiction word count

The Six Word Story 6 words
Twitterature <280 characters
Minisaga (also known as dribble) <50 words
Microfiction (also known as drabble) <100 words
Sudden fiction <750 words
Flash fiction <1,500 words

17
A Flash Poetics of Flash Fiction Stories
Flash fiction must accomplish the same as fiction does: namely, a complete story
with well-developed characters, a finished plot, and complex themes. The story
must feel finished in under 1,500 words.
Despite its brevity, flash fiction stories still need complexity. If the reader finishes the story
without giving it further thought, then the story has not engaged the reader enough. The
length should not inhibit the story’s value.
So, how does flash manage to be brief yet complex? Let’s explore the ways that flash
minces words, with flash fiction examples to follow.
Flash Fiction Examples and Techniques
All great flash fiction stories use the following techniques. Before we look at how to write
flash fiction, familiarize yourself with these techniques, as it will make your drafts much
easier to write and edit.
Show, Don’t Tell
Show, don’t tell is a rule that tells writers to transmit an experience through imagery and
description, rather than to state an experience plainly to the reader. It can be summarized
best by this Anton Chekhov quote: “Don’t tell me the moon is shining; show me the glint of
light on broken glass.”
Flash fiction example: Things I’m Holding For You by Kayleigh Shoen. Rather than state “my
date was abusive,” the narrator builds a character profile through his many blunders. This
results in a damning portrait of a man burdened by his own toxic masculinity, while also
saying something about the narrator as well: why does she hold onto these things, despite
all-but-admitting he’s a terrible person?
Writing Scene Vs. Summary
In fiction writing, we classify a passage of text as being either scene or summary. A scene is
a close look at an important event in the story, whereas a summary glosses over the details
while presenting the most important information. In flash fiction writing, there is generally
very little summary, and there should be only one or two scenes.
Flash fiction example: As the North Wind Howled by Yu Hua. There are only two scenes:
when the narrator’s door is kicked down, and when they arrive at their friend’s house. Each
scene forces the narrator to make certain decisions and observations, which builds the
story’s mood and characterization.
Truncation*
The language of flash fiction is sharp, economic, and to-the-point. Flash writers are often
ruthless editors, truncating their sentences and scrapping whole paragraphs.
The language of flash fiction is sharp, economic, and to-the-point.

18
Flash fiction example: A Telephone Conversation by Mark Twain. Though the first few
paragraphs are wordy, this story cuts down on words by formatting its telephone
conversations like a play. This allows Twain to juxtapose* incongruous ideas next to each
other, making this a finished, humorous story.
*) Truncation is the act of making something shorter or quicker, especially by removing the end of it.1
*) Juxtaposition refers to the close placement of contrasting ideas, images, or entities, with the intent
of highlighting the contrast between those entities. In other words, it is the implied comparison of
distinct ideas, creating space for the reader to understand and interpret the text. 2
Symbolism
Symbolism refers to the use of concrete objects to represent abstract concepts. Most flash
fiction stories have a lot of symbolism, allowing the writer to boil a wordy idea into a
symbolic object.
Flash fiction example: A Haunted House by Virginia Woolf. This prose poem advances its
narrative through its corporeal symbolism. From empty hands to the heartbeat of a home,
the heavy symbolism of the story helps contain its concise, hyperbolic emotion.
In Media Res
Many flash pieces start in media res, which means that it starts in the middle of the story,
rather than the beginning. This roundabout way of writing the plot could help crunch down
on the amount of details the story needs to be effectively told.
Flash fiction example: Everyone Cried by Lydia Davis. The story begins in the middle of its
moral: all adults want to be kids, sometimes. Though there isn’t a clear plot to the story, it
succinctly points out the irony and duality of adulthood.
Figurative Language
Flash borrows a lot from the methods of poetry, especially in terms of figurative language
and literary devices.
Flash fiction example: Sticks by George Saunders. This story abounds with metaphors,
symbolism, and image-lead narrative. The reader experiences the story through a father’s
psychosis as he communicates through the way he decorates a pole. Each image represents
the father’s slow decline, communicating its ironies in short bursts of intense feeling.
Trusting the Reader
Because flash stories are so short, writers don’t have much time to set up the world of the
story. As a result, writers might feel inclined to keep unnecessary description and
worldbuilding in the story, cutting out important moments of characterization
or dialogue instead. In truth, the best flash fiction stories trust the reader to understand
what’s going on and to lean into the mystery of what they don’t know.
Flash fiction example: My Dead by Peter Orner. The narrator is a little hard to trust at first.
Why would you drive with a stranger to visit a seance, especially if you have no one you
want to contact? But the narrator’s passiveness becomes a lens to explore spirituality and
self-destructive habits, finding something haunting in the gray, liminal spaces of existence.

19
How To Write Flash Fiction Stories: What to Leave Out
In longer works of fiction—novels, novellas, and even short stories—the writer must include
a considerable amount of detail to make the story and its characters immersive. The short
word count of flash greatly hampers the amount of details the writer can include. So,
whether you’re starting from scratch or trying to pare down your word, here are some
things you can leave out of your story.
Deep Interiority
Interiority refers to the inner life of your protagonist. What do they think, feel, and dream
about? How do they view and react to the world? Who are they when no one is looking?
Most main characters require some level of interiority, unless they’re flat characters.
Nonetheless, you don’t need too much interiority in flash. Certainly, tell us when your main
character has important thoughts, reactions, or traumas: the reader wants to connect with
your character, after all. But the reader doesn’t need to know every thought in the
protagonist’s brain: their actions and dialogue will often suffice for this.
Excess Backstory
Related to interiority is backstory. Both interiority and backstory help explain certain aspects
of your story: how certain characters think or feel, and why they think and feel those things.
Where interiority shows us the inner workings of a character’s mind, backstory provides the
events prior to the current story that influence a character’s decisions or current situation.
It makes sense to provide backstory in novels and memoirs. In flash fiction stories, less so.
The focus should be on the main scenes of the story and the actions that the character
takes: these items should either explain themselves, or provoke the reader with a certain
level of intrigue. Otherwise, excess backstory will simply waste words. Don’t try to explain
everything: leave some things to the reader’s imagination, and only explain when it’s
essential.
Moments of Inaction
Action drives the story forward. Your characters make decisions, and those decisions yield
results and further actions. When your word limit is short, stick to the nouns and verbs.
In other words, we don’t need to see your character thinking too much. We don’t need to
see their morning routine, either, or what they ate for breakfast. These details help build the
worlds of novels and memoirs, but in flash, stick to the action, and only embellish with detail
when you have the reason (and the words) to do so.
Passive Voice
These next three tips have to do with writing style. The passive voice occurs when the
subject of a sentence receives the action of the verb, rather than does the verb. The passive
voice is wordier than the active voice, and often less compelling.
Here’s an example:
Active: He scaled the mountain.

20
Passive: The mountain was scaled by him.
Sometimes you need the passive voice, especially if you want to highlight when certain
things are done to your characters. But, when your protagonist is taking action, let your
sentences also take action.
Excess Prepositions
A preposition is a word that directs the action of a sentence. They’re essential components
of speech, and you shouldn’t avoid them entirely. But you should avoid sentence
constructions that rely on prepositions when you don’t need them.
Here’s an example:
Wordy: This is the chair of my mother.
Succinct: This is my mother’s chair.
“Of” is the preposition in this sentence, but you would do much better to add an
apostrophe+s to “mother.”
Adverbs
An adverb is a descriptive word that modifies a verb. Often, but not always, adverbs end
with the suffix -ly. Sometimes, an adverb does add necessary description and detail;
however, there are plenty of verbs in the English lexicon, and you will often do better to use
one strong verb than a weak verb with an adverb.
For example:
Wordy: The lion roared deeply and loudly.
Succinct: The lion bellowed.
Wordy: The road ran haphazardly around the hills.
Succinct: The road zigzagged around the hills.
Verbs provide the actions of sentences, so using strong, descriptive verbs will better
illustrate your story in fewer words.
Writing your own Flash Fiction3
Now that you’ve read our pick of Flash Fiction, it’s time to write your own. Follow our step-
by-step guide to writing a very short story!
1. Finding inspiration
Inspiration for Flash Fiction can come from anywhere – a film, a song, a conversation
you’ve overheard, or an everyday object. Think of an object – you’re going to use that as
a prompt to write your story.
2. From prompt to story
To turn your prompt into a story, you need to ask yourself questions about the object.

21
Think about the five ‘W’ questions:
a. What is your object? What does it look/sound/feel like?

b. Who does the object belong to? This is your main character.
c. Why is the object important? The answer to this question will start to give you the
event that your story will tell.
d. Where is the object? And when? These questions will get you thinking about the
setting of your story.
Write down as much information as you can, using the mind map on the next page to
help you.
3. Writing your story
Now it’s time to get writing. Try to write the whole thing in one go if you can. Don’t
worry about it being perfect first time – you can go back and edit it later.
Here are some writing tips:
a. Keep the event in the story small – don’t try to pack in too many twists and turns!
b. Don’t give too much away too early – you need to keep some mystery to make sure
the audience wants to keep reading right to the end.
c. Think about what you know about your character and your object as you write.
4. Editing your story
Now’s your chance to make your story as good as it can possibly be. Read the story
aloud to yourself and listen out for repetitions, or any words that you could change to
make it stronger.
Think particularly about your beginning and ending – could you start the story a little
later into the action, or end it a little sooner – what is the earliest point your story can
end and still come to a good conclusion? How about your opening and closing lines –
could you change these to have more impact?
Once you’re happy with your story, swap it with a friend who can give you some
constructive feedback. Enjoy reading their story, and make your own story even better!
Reference
Glatch, Sean. (2024, March 4). How To Write Flash Fiction Stories. Retrieved from
https://writers.com/how-to-write-flash-fiction
Notes:
1. Cambridge Dictionary Online. (n.d.) Retrieved 2024, March 18 from

https://dictionary.cambridge.org/dictionary/english/truncation
2. Glatch, Sean. (2023, June 14). Juxtaposition Definition: What Is Juxtaposition In
Literature?. Retrieved from https://writers.com/juxtaposition-definition

22
3. Beyond Book Up. (n.d.) Retrieved 2024, March 18 from

https://www.booktrust.org.uk/globalassets/resources/beyond-booked-up/flash-fiction-
student-booklet-2017_press.pdf
4. Middle Town High School. (n.d.). Unit 3: Flash Fiction Assignment Rubric. Retrieved
2024, March 18 from
https://middletownhs.org/ourpages/auto/2013/3/21/58852309/FlashFictionRubric.pdf
5. Duckie77. (n.d.). iRubric: Flash Fiction rubric. Retrieved 2024, March 18 from
https://www.rcampus.com/rubricshowc.cfm?sp=yes&code=Z7398A&.Retried
6. Black, Grace., Clayton, Emily., and Nande, Anushree. (2016, March). Flash Fiction
Magazine. Retrieved from https://101words.org/wp-content/uploads/books/Flash-
Fiction-Magazine-March-2016.pdf

23
Figure 1. Mind Map for Flash Fiction3

24
Flash Fiction Example 13

25

26

27

28

29

30

31

32

33

34

35

36
B. Preparation
For Assignment 1, you will compose a flash fiction. You may use approximately 500 –
1000 words. Please think about a song, a film, or personal life that leaves a deep
impression for stimulating your story ideas. Then make a mind map to help you making
story drafting.
Do not worry to make mistake and feel free to write any story you think it is interesting.
We can always read, revise, and rewrite our story. You are not allowed (and do not feel
that you need) to do any plagiarism story idea because I do believe we have our own
unique story during our life.
Later, your work will be evaluated from the following aspects:
1. Meaningful Title
2. Narrative Elements
3. Characterization
4. Plot Structure and Conflict
5. Language
6. Word count
7. Writing Process

37
Flash Fiction Assignment Rubric
Aspects 3 2 1 0
Meaningful Title The story contains a The story contains a The story contains a The story has no
creative title title reflecting the title title.
reflecting the story's story's
significance/theme significance/theme
Narrative 1. The setting, both 1. The setting has 1. The setting is 1. There is no
Elements where and when, been established, unclear; only one description of
has been skillfully although there aspect of setting the setting.
established. may be some has been 2. The point of
2. The story confusion. established view is not
maintains a 2. The point of view 2. The point of view consistent or
consistent point of is consistent. is occasionally meaningful to
view, and the 3. The theme is consistent the story's
point of view present in the 3. The theme is progress.
chosen enhances story hard to 3. There is no
the story determine determinable
3. The theme is clear theme.
and developed
throughout the
story.
Characterization 1. Skillfully uses 1. Consistently uses 1. Inconsistently 1. There is no use
narrative narrative uses narrative of meaningful
techniques techniques techniques narrative
(dialogue, (dialogue, (dialogue, techniques
description, etc.) descriptions, etc.) descriptions, etc.) such as
to develop to develop to develop meaningful
characters. characters. characters. word choice or
2. Includes at least 2. Includes at least 2. Includes an dialogue.
one clear example one example of unclear example 2. Does not
of indirect indirect of indirect include indirect
characterization characterization characterization. characterizatio
3. Includes at least 3. Includes at one 3. Includes an n.
one clear example clear example of unclear example 3. Does not
of direct direct of direct include direct
characterization. characterization. characterization characterizatio
n.
Plot Structure 1. The story skillfully 1. The story engages 1. The story 1. There is no
and Conflict engages the the reader by introduces at conflict.
reader by introducing at least one conflict. 2. There is no
introducing at least one conflict. 2. The story uses tone and/or
least one conflict. 2. The story uses techniques to meaningful
2. The story skillfully some techniques sequence the sequence of
uses a variety of to sequence the events, but the events.
techniques to events so that purpose may be 3. There is no
sequence the they create a unclear. determinable
events so that particular tone 3. The writing progression of
they create a and outcome (e.g. contains a vague events.
particular tone a sense of progression of
and outcome (e.g. mystery, experiences and
a sense of suspense, growth, events.
mystery, etc.)
suspense, growth, 3. The writing
etc.) contains a
3. The writing consistent
skillfully contains progression of
a smooth experiences and
progression of events.

38
experiences and
events.
Language 1. Demonstrates an 1. Demonstrates a 1. Demonstrates a 1. Demonstrates
skillful command command of limited/inconsiste no command
of standard standard English nt command of of standard
English conventions, standard English English
conventions, unless dialogue conventions, conventions.
unless dialogue calls for unless dialogue 2. Does not
calls for otherwise. calls for employ
otherwise. 2. Employs language otherwise. appropriate
2. Skillfully employs and tone 2. Inconsistently language for
language and appropriate for and/or employs audience and
tone appropriate audience and language and purpose.
for audience and purpose. tone 3. Grammatical
purpose. 3. Few grammatical inappropriate for errors interfere
3. No grammatical errors that audience and with
errors that interfere with purpose. understanding.
interfere with understanding. 3. Grammatical
understanding. errors may
interfere with
understanding.
Word count 1000 words or less Over the limit by 10 Over the limit by 20 Word count not
words words included
Writing Process Devotes a lot of time Devotes some time Devotes little time Devoted little to
and effort to the and effort to the and effort to the no time to the
writing process writing process but writing process. project and the
(prewriting, drafting, was not very Doesn't seem to project is not
reviewing, and thorough. Does care. finished.
editing). Works hard enough to get by.
to make the story
wonderful.
Adapted from middletownhs.org4 and rcampus.com5

39

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MKKPC08293 Introduction to Literature Universitas Islam Kadiri

Fictional vs Nonfictional Prose

Indicate various genre in literary work (C2)

2.1 List the types of genres in English prose (C1)

2.2 Explain the types of genres in English prose (C2)

 Alert: Flash Fiction

Lecturer: Teacher Training and Education Faculty

Lecturer: Teacher Training and Education Faculty

Different Forms of Prose Fiction

a. Tell a complete story in a few

Lecturer: Teacher Training and Education Faculty

b. Usually have one plot-line.

c. Are not always divided into chapters.

b. Are a relatively modern form of literature compared to plays and poetry.

d. Usually have several characters and their stories.

e. Are often divided into chapters.

What Is Genre Fiction?7

1. Mystery: The mystery genre is defined by an exciting hook—usually a murder—

Lecturer: Teacher Training and Education Faculty

contemporary horror. Today, the category contains numerous sub-genres, such as

Why Do We Read Prose Fiction?5

Lecturer: Teacher Training and Education Faculty

Lecturer: Teacher Training and Education Faculty

are not simply there to be seen; they have to be understood, constructed,

Types of Nonfiction Books and Genres10

Lecturer: Teacher Training and Education Faculty

Again, a biography is most commonly written as a non-fiction recount of a famous person's

According to the Oxford English Dictionary, a biography is defined as "The process of

An autobiography is a non-fiction literary format that is a self-written account of a person's

Lecturer: Teacher Training and Education Faculty

form without interpretation or commentary from other writers, it is considered a primary

A few notable examples of biographies are:14

• Steve Jobs (2011) by Walter Isaacson

Lecturer: Teacher Training and Education Faculty

Sometimes called “immersion journalism,” “narrative journalism,” or “new journalism,”

Lecturer: Teacher Training and Education Faculty

11. Southern Connecticut State University. (2024, March 7).

Lecturer: Teacher Training and Education Faculty

STUDENT SELF ASSSESSMENT

1. What is the origin of the word 'prose'?

a. Derived from the Latin word 'straight-forward'

2. How is prose different from poetry?

a. Prose is more formal than poetry

3. What characteristic distinguishes prose from other forms of language?

a. Prose is always poetic in nature

4. How are words arranged in prose for effective communication?

a. In illogical sequences to challenge the reader

5. What aspect of everyday speech does prose reflect?

a. Complex grammatical structures

6. Which of the following is NOT a characteristic of prose work?

a. Presenting historical facts in an imaginative manner

Lecturer: Teacher Training and Education Faculty

8. Which of the following distinguishes works of fiction from nonfiction?

9. What role does "truth" play in fiction and nonfiction genres?

a. Truth is more important in fiction than in nonfiction.

11. Which of the following is a characteristic of short stories?

a. Provide all answers to questions raised

13. Which of the following is true about novellas?

a. Have a word count between 40,000-80,000

Lecturer: Teacher Training and Education Faculty

14. Which of the following is a feature commonly found in novels?

a. Usually have chapters and several characters' stories

16. What defines the mystery genre of fiction?