ST.

ANTHONY COLLEGE WORLD LITERATURE

CALAPAN CITY, INC.

Information Sheet 1.4

Prose and Its Elements
Learning Outcomes:

At the end of this module, you must be able to:

1. Define prose
2. Identify the two major types of prose
3. Describe the elements of Fiction and Non Fiction

Prose is a form or technique of language that exhibits a natural flow of

speech and grammatical structure. Novels, textbooks and newspaper articles are all
examples of prose. The word prose is frequently used in opposition to traditional poetry,
which is language with a regular structure and a common unit of verse based
on metre or rhyme. However, as T. S. Eliot noted, whereas "the distinction
between verse and prose is clear, the distinction between poetry and prose is
obscure"; developments in modern literature, including free verse and prose poetry,
have led to the two techniques indicating two ends on a spectrum of ways to compose
language, as opposed to two discrete options.

 Follows natural patterns of speech and communication

 Has a grammatical structure with sentences and paragraphs
 Uses everyday language
 Sentences and thoughts continue across lines

Two major types of Prose

 Fiction
 Non Fiction
Fiction generally is a narrative form, in any medium, consisting of people, events, or
places that are imaginary—in other words, not based strictly on history or fact. In its
most narrow usage, fiction refers to written narratives in prose and often
specifically novels, though also novellas and short stories. More broadly, fiction has
come to encompass imaginary narratives expressed in any form, including not just
writings but also live theatrical performances, films, television programs, radio
dramas, comics, role-playing games, and video games.

Fiction genres

✕ Science fictionFolk tales

✕ SatireFairytales
✕ FantasyFables
✕ MysteryTall Tales
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✕ Horror
✕ Legend
✕ Suspense Thriller

There are eight elements of fiction:

*Plot and Structure

*Characterization
*Theme
*Setting
*Point of View
*Style

Plot-

The sequence of incidents or events through which an author constructs a story.

The plot is not merely the action itself, but the way the author arranges the action
toward a specific end (structure).

Important elements of Plot:

A. Conflict- A clash of actions, ideas, desires, or wills

Types of Conflict:

Person vs. Person

Person vs. Environment

Person vs. Self.

B. Protagonist- The central character in a conflict

C. Antagonist- Any force arranged against the protagonist- whether persons,

things, conventions of society, or the protagonists own personality traits.

D. Suspense- The quality in a story that makes readers ask “what’s going to
happen next?”. In more literary forms of fiction the suspense involves more “why”
than “what”. Usually produced through two devices; either mystery (an unusual
set of circumstances for which the reader craves an explanation) or dilemma (a
position in which a character must choose between two courses of action, both
undesirable.)

Characterization
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 Analyzing characterization is more difficult than describing plot; human nature is

infinitely complex, variable and ambiguous. It is much easier to describe what a
person has done instead of who a person is.
 In commercial fiction, characters are often two-dimensional, and act as vehicles
to carry out the plot. The protagonist must be easily identified with and
fundamentally decent, if he has vices they are of the more ‘innocent’ type, the
kind the reader would not mind having.
 Characters are presented in two different ways- directly and indirectly.
 Direct Presentation- The reader is told straight out what the character is like.
 Indirect Presentation- The author shows the character through their actions; the
reader determines what the character is like by what they say or do.
 Dramatization- Characters are shown speaking and behaving, as in a play.

Types of Characters

Flat Characters- Usually have one or two predominant traits. The character
can be summed up in just a few lines.

Round Characters- Complex and many faceted; have the qualities of real
people.

Stock Characters- A type of flat character. The type of character that appears
so often in fiction the reader recognizes them right away.

Static Character- A character that remains essentially the same throughout.

Theme

 The theme of a piece of fiction is its controlling idea or its central insight. It
is the unifying generalization about life stated or implied by the story.
 While theme is central to a story, it is not the whole purpose. The function
of a literary writer is not to state a theme by to show and describe it.
 Theme does not equal “moral”, “lesson”, or “message”
 Theme should be expressible in the form of a statement with a subject
and predicate.
 The theme should be stated as a generalization about life.
Be careful not to make the generalization larger than is justified by the
terms of the story. Avoid terms like, every, all, always, in favor of words
such as, some, sometimes, may. 4.Theme is the central and unifying
concept of a story. Therefore it accounts for all the major details of the
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story, is not contradicted by any detail of the story, and cannot rely upon
supposed facts.
 There is no one way of stating the theme of a story. As long as the above
requirements are met the statement is valid.
Setting

The setting of a story is its overall context- where, when and in what
circumstances
the action occurs.

 Setting as Place- The physical environment where the story takes

place. The description of the environment often points towards its
importance.
 Setting as Time- Includes time in all of its dimensions. To determine
the importance, ask, “what was going on at that time?”
 Setting as Cultural Context- Setting also involves the social
circumstances of the time and place. Consider historical events and
social and political issues of the time.

Point of View

Point of View is simply who is telling the story. *To determine POV ask, “who is telling
the story”, and “how much do they know?”

Omniscient POV- The story is told in third person by a narrator who has
unlimited knowledge of events and characters.

Third Person Limited POV- The story is told in third person but from the view
point of a character in the story. POV is limited to the character’s perceptions
and shows no direct knowledge of what other characters are thinking, feeling, or
doing.

First Person POV- The author disappears into one of the characters. Shares
the limitations of third person limited. Uses the pronouns “I” and “we”.

Second Person POV- Uses the pronoun “you”. Infrequently used.

Style

•Style is the manner in which an author uses words, constructs sentences, incorporates
non-literal expressions, and handles rhythm, timing, and tone.
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•When asked to discuss style, you are being asked to describe how or explain why the
words, sentences, and imaginative comparisons are effective in terms of what is being
created.

Diction- Central to an author’s style. Includes:

1. Vocabulary- Choice of words

a. Simple words- Everyday word choice. (“She was sick for a long time.)
b. Complex words
c. Concrete words- Things we can touch, see, etc. (Jeans, book,..)
d. Abstract words- Words that express intangible ideas (freedom, heritage,
something)
2. Syntax- arrangement of words, their ordering, grouping and placement within
phrases, clauses, and sentences.

3. Rhythm- The pattern of flow and movement created by the choice of words and
the arrangement of phrases and sentences. Rhythm is directly affected by the
length and composition of sentences, the use of pauses within sentences, the use
of repetition, and the ease or difficulty in pronouncing the combinations of word
sounds in the sentences.

Non-fiction – writing based on real people, places and events

Two broad categories of Nonfiction

1. Informative nonfiction
a. written to provide factual information
b. main purpose – to inform
c. includes: science and history texts, encyclopedias, pamphlets,
brochures, telephone books, maps, atlases, and most of the articles in
magazines and newspapers.
2. Literary nonfiction
a. written to be read and experienced in much the same way you
experience fiction.
b. Different from fiction in that real people take the place of fictional
characters, and the settings and plots are not imaginary
c. Includes:
autobiography
– the true story of a person’s life, told by that person.
- almost always told in first-person point of view
- usually book length because it covers a long period of the writer’s
life.
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Short autobiographical writings include: journals, diaries, and

-
memoirs.
Biographies
– the true story of a person’s life told by someone else.
- the biographer interviews the subject if possible and also
researches the subjects life
- contains many of the same elements as fiction (character, setting,
plot, conflict).
Essays
– a short piece of nonfiction writing that deals with one subject.
- often found in newspapers and magazines.
- The writer might share an opinion, try to entertain or persuade the
reader, or simply describe an incident that has special
significance.
- Informal essays, or personal essays, explain how the author feels
about a subject.
- Formal essays are serious and scholarly and are rarely found in
literature textbooks.

Elements of Nonfiction

Four Major Elements of Nonfiction

1. Lay out
2. Information
3. Characterization
4. Style and Tone

Lay out

Layout should attract the reader and encourage reading and progression through the
book.

 Format is interesting, attractive, magnetic

 Index
 Glossary, pronunciation key
 Table of contents
 Book size
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 Photographs compliment text, located near the related text,

captions accurate. Illustrations are important but if the writer relies
too much on pictures, the reader/listener/viewer may not get a
comprehensive understanding of the information that would be
better communicated with words.

Information

Information includes facts, little known information, and ideas that spark curiosity, create
mystery, and propel the listener/reader/viewer to discover and learn.

o Qualifications of the creator suggest appropriate experience or

exceptionality
o Accurate - information can be verified with other sources-
o Includes source information
o Timely or current
o Supports the story
o Covers the topic in significant detail
o Moves from simple to complex and familiar to unfamiliar
o Creates a feeling of the setting
o Presents information in an organized sequence that enhances the topic
o Non-biased - neutral position
o Is not overly didactic
o Includes safety precautions as needed

Characterization

o Characters are well developed

o No stereotype or biased characterization
o Creates empathy for the characters
o Uses quotations and anecdotes. Particularly in biographies it is important
to use the character's real words and anecdotes that originate from
someone with first-hand knowledge of the incidents.

Style and tone

Style should maintain the reader's interest. Nonfiction presents information, but the
listener/viewer/reader doesn't need to be bored by a collection of information in choppy
sentences. Good style adds interest to the story.
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o Narration creates interest and understanding

o Clear
o Precise
o Distinguish between fact, theory, and opinion
o Vivid
o Could be personalized
o Objective non-biased or condensending or sarcastic
o Is not didactic
o Does not use propaganda techniques
o Builds suspense or sustains interest and encourages further investigation
o Moves from simple to complex and familiar to unfamiliar
o Presents information in an organized sequence that enhances the topic
o Scope is appropriate for the target audience and increases in complexity
at an appropriate rate
o Avoids anthropomorphism
o Vocabulary is relative
o Underlying themes are appropriate and helpful
o Presents ideas/topic in a unique manner or new perspective
o Illustrations compliment and don’t over power the message
o Includes a table of contents, glossary, and index
o Has a theme(s)
o Has a conclusion

Style and tone that presents information - interestingly

Readers are attracted to nonfiction because they have a question or curiosity. With the
question answered or curiosity satiated what is there to keep the reader reading?
Therefore, authors of nonfiction sequence information to create wonder for the reader
as s/he uncover facts that lead from discovery to discovery. In doing so the scope of
information must be presented from simple to complex to provide the reader essential
information for understanding ideas presented and prepare them for more complex
ideas to come.

The author must also decide the scope of information to present; giving enough detail
for comprehension but not so much as to overwhelm. Mary Lou Clark does this in You
and Relativity, she introduces the concept of relativity by saying: "relative to the sixth
floor, the third floor is down, but relative to the first floor, the third is up." Then describes
frame of reference building the vocabulary and associated concepts needed for later
understanding of relativity.

Isaac Asimov, is very good in doing this in books he wrote for children and adults. An
example is when he tells the story of how Mendeleev spent years sorting, classifying,
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and arranging cards that represented elements, until he arranged them in the order of
the periodic table, Chemistry.

Jean George in Spring Comes to the Ocean creates curiosity by her descriptions of the
animals.

"First he unhooked the muscle at the spiral end of his old shell. Then he pulled himself
out and stood vulnerable, so naked that even a wind-blown grain of sand could kill him.
His exposed belly was so delicate that a nodding grass blade could cut him in half... He
slashed his tail through the air and stuck it into the new shell. Backing carefully, he
reached his tail down and around until he felt the last coil of the shell. Then he hooked
onto it with a grip so strong that few could pull him out. When at last he had a firm hold,
he contracted all his muscles and slammed himself deep into the shell."

Rachel Carson in The Sea Around Us , increases wonder by telling no one was around
when the ocean was created long ago. We would expect it impossible to tell how, when
she surprises us by telling a us that it is possible.

"Beginnings are apt to be shadowy, and so it is with the beginnings of that great mother
of life, the sea. Many people have debated how and when the earth got its ocean, and it
is not surprising that their explanations do not always agree. For the plain and
inescapable truth is that no one was there to see, and in the absence of eyewitness
accounts, there is bound to be a certain disagreement. ... It must be a story pieced
together from many sources and containing whole chapters the details of which we can
only imagine. The story is founded on the testimony of the Earth's most ancient rocks
which were young when the earth was young."

Style and tone of a narration

Many authors use a continuous narrative to join topics in books and sustain interest,
Isaac Asimov was an expert with this technique.

Another technique, to make facts interesting, is to personalize the readers' experiences

by making comparisons and using I and you. Why Can't I?; by Jeanne Bendick ,
compares the child's feet to a flies and uses you.. "The bottoms of your feet are smooth
and slippery. You can make them a little sticky by wearing sneakers. But you're still too
heavy to walk up a wall or across the ceiling."

Another consideration in the narrative is the words. Many times authors will use smaller
words, because of readability tests or fear that children can't understand big words. But
the size of the word is less relevant than if the word is part of every child's vocabulary:
like McDonald's, hamburger, refrigerator, aluminum, dinosaur, telephone...
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Another error is personification and sentimental distortion in animal stories. Authors

should tell the story through observation not how they think the animal thinks or
feels. Yellow Eyes, by Rutherford Montgomery gives very good and interesting
descriptions.

Many children want stories that have real people telling the story, use of the pronouns
we and you achieve this.

Watch for condescension and sarcasm. Superstition in different cultures is often

treated in this manner. Edwin Tunis treats his subject this way:

"There was no Indian who was even reasonably free from superstition; it covered
everything in the world. When every animal and every tree, and every stream and every
natural phenomenon was possessed of a spirit, probably malevolent, it took a lot of
finger-crossing and wood-knockin to ward off evil. The Indian was afraid of everything ...
of killing snakes and wolves ... of witchcraft and of the owls he associated with it ...
superstition ... pervade all Indian living."

Milton Meltzer in All Times, All Peoples: A World History of Slavery wrote: "white, black,
brown, yellow, red- no matter what [your] color, it's likely that someone in [your] family
way back, was once a slave." we’re told why: "It was hard for [the earliest peoples] to
feed themselves... That is why, when they raided other people, they killed them instead
of taking them prisoner. If the winners had spared the lives of the losers, they would
have been unable to feed them." Then we are told that as farming and food production
grew, and it was possible for conquerors to feed prisoners, they kept them as slaves.

Condescension in animal stories is often in the form of anthropomorphism, suggesting

the animal is so boring that the author has to make it human to create an exciting story.

Didacticism and propaganda - it is hard for some authors not to preach, especially
when the subject is as important as drug abuse. But if the facts are carefully arranged,
the evidence presented, ideas will build to prove the point. If not the book may cause
students to dismiss it as pure propaganda or to create doubt and mistrust in what the
authors have written. The author is obligated to present the information in a scientific
manner. If there are differing theories or evidence, then the author needs to address
them.

Objective - Creators of nonfiction have the obligation of being objective. The creator

must sort through information and decide what to include or omit. How much fact and
how much narration. If the information should just be possible or probable and if
controversial information should be included.

Underlying themes are essential in nonfiction. The manner in which the information is

presented creates an underlying theme that may be positive, condescending, negative,
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curious... or what ever. It is important to consider that the reader's/viewer's/listener's

understanding and attitude will develop with respect to the ideas, subjects, or people in
the text; shaping the reader's/viewer's/listener's understanding and attitude by the
themes; shaping the ideas and emotions that they take from the piece, which may be
carried with them for life. The Invincible Louisa, Carry On, Mr. Bowditch, and Up From
Slavery, all have underlying themes which unify the story. Again this is best done with
reasoning and examples not by being didactic or preachy.