2012 what is fiction ebook
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Essentially, fiction is n
taking place in time. F
may be quite true, per
A second characteristiwhat happens, but wit
centers around a perso
Finally, most good fict
simply telling a story,
constitutes good fictio
notice what an overw
of recounting the incidthe account. Here is a
My friend went inside
escort for me, and I w
knew that he had faile
time for the evening; s
that I wasn't feeling v
get some rest. He was
him to take me to my
call the next night.
Compare this bare acc
writing from the great
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1.
hat is fiction?
arrative and all narrative tells about cha
iction is not necessarily untrue; historic
aps more fully true than history itself.
of fiction is that its chief concern is notwhat happens to somebody. It is narra
nality.
ion is descriptive. Poor writers believe t
without trying to make the reader see t
. Pick up any magazines of confession,
elming percentage of each of its stories
ents without a particle of imagination toexample:
to phone a few more guys in his effort t
ited outside with his "date." When he c
. I figured there was no use in my spoili
I told the two to go ahead without me.
ry well, and that I thought I would go
very happy and polite, but finally I pers
partment, where he left me with a prom
unt of happenings with a truly imagina
writer Robert Louis Stevenson:
nges
l fiction
withive that
at
e action,
nd
onsists
enliven
get an
me out, I
ng his
I said
ome and
aded
ise to
ive bit of
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All three peered cover
enjoying his luck. His
shut, and the other mu
people say, in terrifyin
the gruesome burden.
"He looks as if he coul
The monk shuddered,
the red embers. It was
not any excess of mor
"Come now," said Vill
And beating time with
The first of these pass
makes us see what hap
filled with images, is li
Fiction, then, is of two
second we can call ima
sort completely, and c
fiction should be imagi
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ly at the gamester. He did not seem to
outh was a little to a side; one nostril
ch inflated. The black dog was on his ba
nursery metaphor; and he breathed ha
knife him," whispered Tabary, with ro
and turned his face and spread his open
the cold that thus affected Dom Nichola
l sensibility.
n "about this ballade. How does it run s
his hand, he read it aloud to Tabary.
ges tells what happened, whereas the se
pened. The first creates no images; the s
terally imaginative.
sorts: one we can call non-imaginative,
ginative. In this book we will disregard
ncentrate on the second one. For our p
native narrative.
e
early
ck, as
d under
nd eyes.
ands to
s, and
o far?"
cond
econd,
and the
he first
rposes,
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Ima
Short stories, novels,
the writer has created
passages of necessary
writer has learned this
it in his own work, hal
An examination of any
made up of scenes s
Allan Poe's stories; so
great many, as in nove
The intervals between
with the least possible
sometimes with a row
heading; sometimes wi
following day. . ."; "It
street a week later. . .";
passage conveying nec
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2.
inative Narrative
nd dramas are all alike in being scenic; t
a series of scenes imaginatively with sho
xposition between scenes. When the fic
elementary law, and has learned how to
f his task toward writing good fiction is
well-written piece of fiction will reveal
metimes one or two as in some of E
etimes several, as in dramas; and somet
ls and most short stories.
scenes are passed over, as we suggested
fusssometimes with a simple skipping
of asterisks; sometimes with a new chap
th a few transitional phrases (such as, "
as three months later that. . ."; "He met he
nd so on); and sometimes with a brief e
essary information.
hat is,
rt
ion
abide by
done.
that it is
gar
imes a
above,
of a line;
er
n the
on the
pository
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In this book we will n
Drama differs from ot
imposed by the physic
principal limitations a
a. Intervals between s
the audience.
b. Necessary explanati
dialogue of the actors
c. The number of scen
be too frequent or too
not hold audiences in t
d. The nature of the sc
the stage; for example:
1) an airplane battl2) nor could psych
of a character
3) nor could storiebetween charact
4) nor could very strouble of scene
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3.
Drama
t consider drama separately from other
er forms of fiction only in the limitation
l restrictions of the stage and the theat
e these:
enes are indicated in the program in the
on must appear either in the program o
n the stage.
s must be limited so that scene-shifting
costly, and so that the total number of s
heir seats for more than two or three ho
enes is determined by the physical restri
e could not be presented on the stage
logical changes which do not affect the
which hinge on meaningful looks passe
ers
hort scenes which would not be worth t
shifting
fiction.
s
r. The
hands of
in the
will not
enes will
urs.
ctions of
actions
d
e
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5) nor could storiethink, and so on
Reason and experienc
dramatic material; but
dramatic presentation,
the same as story writi
scenes which the wri
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in which animals or very small childre
.
assist a writer in determining if a story
once a writer satisfies the requirements
the methods of playwriting or screenwr
ng or novel writing. All consist of a se
er imaginatively presents.
act or
is
of
iting are
ies of
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Historical
It is not uncommon fo
improbable; in respons
happened!" The fact th
story credible, probabl
opposite is almost alwusually make the poo
happened is almost pr
record it as fiction.
Anything is possible;
a million; lightning do
worthy artifacts. But a
business of the writer is
probable. Historic trut
famous example of kill
final chapter so that th
be emulated. It might
Narrative having histo
narrative having poeti
under certain circumst
concern of the fiction
fiction).
Fiction writing is like
is going to play bridge
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4.
Truth and Poetic T
a critic to tell a young writer that his s
e, the young writer cries out, "But it rea
t something really happeneddoes not ma
e, or suitable for good fiction. Indeed, th
ys true: incidents or stories from realrest sort of art. The fact that a thing h
of positive that no writer should attem
accidents do happen; rich uncles do die
s strike villains meditating among the
s the Greek philosopher Aristotle affir
ot to record the possible but, rather, to recor
is one thing; poetic truth another. An a
ing off six people ( one of them by light
e hero may live happily ever after is sho
ave happened, but it probably would no
rical truth tells what actually did happe
truth tells what would probably have
ances. It is the latter narrative that is th
riter (unless he prefers to write historic
laying a game of cards. The writer deci
, poker, hearts, or anything else; he deci
uth
ory is
ly
e the
e
lifes really
t to
nd leave
uins of
s, the
the
thor's
ing ) in a
ld not
t.
;
appened
single
al
des if he
es the
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conditions of play. He
instead of some other.
cannot change the rul
bridge game he cannot
that clubs are worth
according to the condi
Likewise, if a fiction
colonial America, he
Sidewinder missiles to
To do so would make
"improbability on th
If the hero succeeds in
than a helicopter in col
a mountain trail, with
suddenly descends a
creating an improbab
landslide would occur,
Finally, if the bloodthi
heroine, tie them to th
release them after all,
writer portraying suc
improbability. It is p
manner, but it is not p
These three types of
must ever guard agai
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is not compelled to play any one of the
But once he has decided on the conditio
s in the middle of the game. In the midd
suddenly decide that deuces outweigh
ore than spades. He must play out the g
ions of the game.
riter decides he wants to write a story a
ust not bring in a U.S. Apache helicopte
help his hero rescue the heroine from th
he writer guilty of what William Arch
external plane."
rescuing the heroine by a more plausibl
onial America, and if he is fleeing with
he villain in close pursuit, and if an av
d erases the villain, the writer is guilt
e event. It is not impossible that such a
but it is excessively improbable.
rsty villain should actually capture the
stake for burning, and then suddenly d
nd let them go free with gifts and blessi
a happy event is guilty of sychologic
ssible that the villain would change in s
obable.
improbability are the ones the fictio
nst.
ames
s, he
le of a
ces, or
me
bout
r with
e villain.
r calls
device
er along
lanche
of
timely
ero and
ecide to
ngsthe
l
ch a
writer
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Impr
In spite of what we ha
circumstances, have a
It is an old saying that
progress of a story, but s
In other words, the r
any kind of game that
conditions the writer s
expects the writer to p
conditions.
Thus, the reader migh
and wife unexpectedly
a story that began wit
The reader might balk
from a radio station tel
paid trip to Paris; but
enough as the prelimi
Indeed, using an impr
renders one of the best
Improbability is ac
impossible. For exam
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5.
bability in Fiction
e just learned, improbability may, unde
lace in fiction.
readers will "strain at a gnat of improbab
allow a camel at the very beginning."
ader will go along with the writer, play
he writer wishes under whatever rules
pecifies; but once the game is started, th
lay according to the announced rules an
t shy away at having a story end with a
inheriting a fortune; but he would readil
the couple just having inherited a fort
at a story that ended with an unannoun
ling a woman she had just won an all-e
he reader would accept such a condition
ary condition of a story.
bable situation at the beginning of a sto
starting points for a story.
ceptable in a story when the story is
le, fantasies such as Andersen's fairy tal
certain
ility in the
almost
r
reader
husband
y accept
ne.
ced call
penses-
readily
ry
es, Alice
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in Wonderland, the Ara
impossible, may be im
miracles may happen i
learn to speak, storm
anything else not spec
Improbability is ac
ies in its improbabil
screen contain this typ
incredible encounters,
and vast misunderstan
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bian Nights, and so on, which are funda
robable without shocking the reader. T
them, sudden rescues may come, anim
nd lightning may destroy the old witch,
fically bargained for at the beginning m
ceptable when the main charm of the
ties. Many comedies which one sees on
e of improbability. There are impossible
sensational accidents, astonishing strok
dings.
entally
at is,
ls may
or
ay occur.
story
stage or
escapes,
s of luck,
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Chan
Technically, we can de
happening of two relat
same way except that
distinction is more of
coincidencehappen in rcoincidence are justifia
could happen in life, b
set of conditions. Cha
regulate their lives a
according to what will
improbability (of whic
chance and coincidenc
Long ago Aristotl
of chance that seems
murderer who, happen
murdered, was himsel
down and crushing hi
Aristotle doubtless ap
destiny or fate existin
A similarly intense bel
tricky, unity ofWillia
is perfectly satisfying,
only ending that could
Deceiver" exacts the pa
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6.
e and Coincidence
fine chanceas "an unexpected and simult
ed events"; and we can define coincidence
hree or more events are involved. Actu
cademic interest. It is true that chancea
al life. Many people say that chance andble in fiction. But fiction is not a picture
t of what would probably happen under
ce plays a part in all lives; but few pe
cording to chance. Most people make
probably happen. Nevertheless, as with
chance and coincidence are only one as
may sometimes have a place in fiction.
mentioned as permitted in tragedy
to imply design. And he told the story
ing to lean against the statue of the man
killed by the statue unexpectedly tumbl
. The accident seems to imply design; a
roved it because of the old Greek belief
superior to the gods themselves.
ief in destiny forms the basis of that nea
Sydney Porter's stories. The "Porter
not because it is a surprise, but because i
possibly have happened. His "Double-D
ttern of Aristotle's illustration mentione
aneous
in the
lly, the
d
of what
a given
ople
plans
pect),
hat kind
of the
he had
ing
nd
in
, almost
ending"
t is the
ed
d above.
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A young man kills ano
from justice; through
foster son of the paren
working itself out. Th
circumstances ( if we o
it is the one ending po
The same thing is true
A weak young man le
takes one branch, has
certain way. Then the
certain other adventur
then the story is again
adventures, and comes
the story is that a man
inevitable end, no mat
destiny lies within hi
idea of an external des
Destiny and chanc
In any event, a story
author wishes to show
Many ofThomas Har
because the author wis
Immanent Will, and is
Joseph Conrad writes
is determined by chan
universe or in his own
Finally, chance is j
circumstances. When
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ther young man; the murderer becomes
ne chance after another he finally beco
s of the young man he had slain. Here i
ending is a surprise; but under the
nly believe in the inevitable rightness o
sible.
of another story of Porter's, "Roads of
ving home comes to a branching of the
ertain adventures, and comes by his dea
story is re-started: he takes the other br
es, and comes by his death in the same
re-started: he goes back home, has cert
by his death in the same way. The idea
of a certain character will eventually co
er what he does in the meantime that a
self. This is a progression over the old
iny, but the effect in fiction is the same.
e are close kin. Perhaps they are the sa
ay justifiably use chance or coincidence
that chance (or destiny) governs men's l
dy's novels have coincidence piled on co
hes to show that mankind is the playthi
not the master of his fate. In a similar
an entire novel, Chance, to show that m
e alone, not by anything sane or rationa
nature.
ustifiable in fiction under certain tec
chance complicates the difficulties of th
a refugee
es the
destiny
things)
estiny."
oad. He
th in a
nch, has
ay. And
in
ehind
e to an
an's
reek
e thing.
when the
ives.
incidence
g of the
ay,
n's fate
l in the
nical
author
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and his characters inst
story. If, for example,
prison-camp through
dog chasing a rat unco
reader will accept the
author and for his cha
escape and a guard is c
runs up and bites the
hero escapes, the read
for the writer and for
Despite popular opinio
seldom used nowadays
reasonable regard to p
character, to philosop
surprise only in its ext
evidence of poor struc
the story that leads th
certain thing is happe
the end with the revel
been happening. It is
hardly be forgiven.
Any surprise in a sto
reader the ending he exp
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ad of solving them, chance is forgivabl
character has carefully planned to esca
tunnel he has dug under the fence, and
vers the tunnel and reveals it to the gua
hance; it makes matters more difficult f
acter. But if, just as the prisoner is abou
oming to investigate a suspicious noise,
uard's leg, and distracts his attention w
r will balk; the chance has made matters
is character.
7.Surprise
n to the contrary, outright surprise in fi
by great writers. A plot built up with a
obability, to natural law, to consistency
ic necessity, to cause and effect, can usu
ernals, not in the plot itself. Real surpris
ure. Even worse (and dreadfully amate
reader to believe through several page
ing, and then brings the reader up abru
tion that something altogether different
eliberate deception, outright lying. I
y must be a surprise in method. "Giv
cts in a way that he doesn't expect." It is an
in a
e from a
if a small
ds, the
r the
to
the dog
ile the
easier
tion is
y
of
lly
e is clear
rish) is
that a
tly at
has
can
the
cient
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advice, but is good. Pe
give a reader an ending
about the ending in an o
and unexpected endin
coincidence. But the c
it involves only a met
For example, the endi
beginning; it is imposs
tragedy. But the actual
about at the end invol
cup (accidentally?) use
and unexpected. Trag
What would have bee
the play with all the vi
everyone, Opheliaprov
Hamletmarrying, and
Shakespeare does hav
but nobody thinks the
particular plays are gr
Stevenson says that if
begin ending tragicall
not want characters t
characters to act "out
fifths of a story for on
we do not want the la
hero is to rescue the h
unexpected way; if our
himself elected in som
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haps it would be better if it were writte
that he has had no reason to expect, but alw
iginal and unexpected way." Actually, the
may sometimes border on chance or
ance or coincidence is not vital in the st
od of ending, not the real ending.
ng ofHamletis destined to be tragic fro
ible that the characters could have avoid
methods by which their deaths are bro
e accidentally exchanged swords and a
d by the Queen. Only the method here i
dy would have arrived somehow, in any
inexcusable would have been a happy e
llains deciding to reform, Hamletforgivi
ed to have been not drowned after all, h
verybody living happily ever afterward
e certain plays ending in such a way, it i
are the greater for such endings. Thes
at in spite of their plots, not because of
a story is going to end tragically, it oug
with its very first sentence. At any rat
undergo sudden conversions; we do n
f character"; we do not want to prepar
kind of ending, and then get the opposi
ws of nature and of probability suspend
roine, he must do it in an original and
hero is to be elected to Congress, he m
original and unexpected way; if our he
: "Never
ys bring
original
ry itself;
the
ed
ght
oisoned
original
event.
ding to
g
r and
.
true;
hem.
ht to
, we do
t want
four-
e kind;
d. If our
st get
o is to
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marry the heiress, he
unexpected way.
In conclusion, two sp
1) Don't have a charac
finding that he has ha
2) Don't kill off a char
the story somehow.
be suspicious of yours
reasons for doing so, b
end.
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ust win her hand in some original and
cial don'ts:
er escape from his difficulties by wakin
a dream.
cter at the end just because you have to
henever you feel inclined to kill off a ch
lf. Don't kill him unless you have excell
esides the necessity of bringing the stor
The End
up and
finish
racter,
nt
to an