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Fiction
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Fiction is the classification for any story or similar work derived from imagination—in other words, not based strictly on history or fact. Fiction does not refer to a mode or genre, unless used in its narrowest sense to mean a literary narrative. Instead, the context of fiction is generally open to interpretation, characters and events within a fictional work may even be openly set in their own context entirely separate from the known universe, a fictional universe. Science fiction, for example, predicts or supposes technologies that are not realities at the time of the works creation, for example, Jules Vernes novel From the Earth to the Moon was published in 1865 and only in 1969 did astronaut Neil Armstrong first land on the moon. Historical fiction places imaginary characters into real historical events, in the early historical novel Waverley, Sir Walter Scotts fictional character Edward Waverley meets a figure from history, Bonnie Prince Charlie, and takes part in the Battle of Prestonpans. Some works of fiction are slightly or greatly re-imagined based on some originally true story, often, even when the author claims the fictional story is basically true, there may be artificial additions and subtractions from the true story to make it more interesting. One such example would be Tim OBriens The Things They Carried, creators of fantasy sometimes introduce entire imaginary creatures or beings such as dragons and fairies. In terms of the separation between fiction and non-fiction, the lines are now commonly understood as blurred, showing more overlap than mutual exclusion. Even fiction usually has elements of, or grounding in, truth, also, infinite fictional possibilities themselves signal the impossibility of fully knowing reality, provocatively demonstrating that there is no criterion to measure constructs of reality. The Internet has had a impact on the creation and distribution of fiction. Also, digital libraries such as Project Gutenberg make public domain texts more readily available, the combination of inexpensive home computers, the Internet and the creativity of its users has also led to new forms of fiction, such as interactive computer games or computer-generated comics. Countless forums for fan fiction can be online, where loyal followers of specific fictional realms create and distribute derivative stories. Types of literary fiction in prose, Short story, A work of at least 2,000 words, the boundary between a long short story and a novella is vague. Novella, A work of at least 17,500 words, joseph Conrads Heart of Darkness is an example of a novella. Novel, A work of 50,000 words or more, cartoonist Character Fiction writing Legend Mythology Non-fiction Pseudohistory Eco, Umberto 2009. On the ontology of fictional characters, A semiotic approach
2.
Plot (narrative)
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Plot refers to the sequence of events inside a story which affect other events through the principle of cause and effect. The causal events of a plot can be thought of as a series of sentences linked by, Plots can vary from simple structures such as in a traditional ballad to complex interwoven structures sometimes referred to as an imbroglio. The term plot can serve as a verb and refer to a planning future actions in the story. In the narrative sense, the highlights the important points which have important consequences within the story. The term is similar in meaning to the term storyline, english novelist E. M. Forster described plot as the cause-and-effect relationship between events in a story. According to Forster, The king died, and then the queen died, is a story, while The king died, as a result, according to Dibell, the plot can be described numerically as 1→3 while the story can be described as 1→2→3. A story orders events from beginning to end in a time sequence, teri Shaffer Yamada agrees that a plot does not include memorable scenes within a story which do not relate directly to other events but only major events that move the action in a narrative. Another example of a scene which is not part of the plot occurs in the 1980 film The Empire Strikes Back. A fabula is the events in the world, whereas a syuzhet is a perspective of those events. Formalist followers eventually translated the fabula/syuzhet to the concept of story/plot and this definition is usually used in narratology, in parallel with Forsters definition. The fabula is what happened in chronological order, in contrast, the syuzhet means a unique sequence of discourse that was sorted out by the author. That is, the syuzhet can consist of picking up the events in non-chronological order, for example, fabula is <a1, a2, a3, a4, a5, …, an>, syuzhet is <a5, a1. He also believed that the events of the plot must causally relate to one another as being necessary or probable. Of the utmost importance is the ability to arouse emotion in the psyche of the audience. Acts are connected by two points or turning points, with the first turning point connecting Act I to Act II. The conception of the structure has been attributed to American screenwriter Syd Field who described plot structure in this tripartite way for film analysis. In his Poetics, Aristotle considered plot the most important element of drama—more important than character, for example. A plot must have, Aristotle says, a beginning, a middle, and an end, of the utmost importance to Aristotle is the plots ability to arouse emotion in the psyche of the audience
3.
Protagonist
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A protagonist is the main character in any story, such as a literary work or drama. The protagonist is at the center of the story, typically makes the key decisions, the protagonist usually affects the main characters circumstances as well, as they are often the primary actor propelling the story forward. If a story contains a subplot, or is a made up of several stories. The word protagonist is used notably in stories and forms of literature and culture that contain stories, in those forms the protagonist may simply be the leading actor, or the principal character in the story. The antagonist will provide obstacles and complications and create conflict that test the protagonist, thus revealing the strengths, the earliest known examples of protagonist are dated back to Ancient Greece. At first dramatic performances involved merely dancing and recitation by the chorus, but then in Poetics, Aristotle describes how a poet named Thespis introduced the idea of having one actor step out and engage in a dialogue with the chorus. This was the invention of tragedy, which occurred about 536 B. C, then the poet Aeschylus, in his plays, introduced a second actor, inventing the idea of dialogue between two characters. Sophocles then wrote plays that required a third actor, euripides play Hippolytus may be considered to have two protagonists. The protagonist of the first half is Phaedra, who dies partway through the play and her stepson, the titular Hippolytus, assumes the dominant role in the second half of the play. In Ibsen’s play The Master Builder, the protagonist is the architect Halvard Solness, the young woman, Hilda Wangel, whose actions lead to the death of Solness, is the antagonist. In Shakespeare’s play Romeo and Juliet, Romeo is the protagonist and he is actively in pursuit of his relationship with Juliet, and the audience is invested in that story. The character of Tybalt opposes Romeo’s desires, he is the antagonist, in Shakespeare’s play Hamlet, Prince Hamlet, who seeks revenge for the murder of his father, is the protagonist. The antagonist would be the character who most opposes Hamlet, Claudius, in the novel The Catcher in the Rye, the character Holden Caulfield is the protagonist. He is the character, and the reader is invested in his story. Sometimes, a work will have a false protagonist, who may seem to be the protagonist, the character Marion in Alfred Hitchcocks film Psycho is an example. A novel that contains a number of narratives may have a number of protagonists, alexander Solzhenitsyns The First Circle, for example, depicts a variety of characters imprisoned and living in a gulag camp. Leo Tolstoys War and Peace, depicts fifteen major characters involved in or affected by a war
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Screenwriting
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Screenwriting, also called scriptwriting, is the art and craft of writing scripts for mass media such as feature films, television productions or video games. It is frequently a freelance profession, screenwriters are responsible for researching the story, developing the narrative, writing the screenplay, and delivering it, in the required format, to development executives. Screenwriters therefore have great influence over the direction and emotional impact of the screenplay and, arguably. The act of screenwriting takes many forms across the entertainment industry, often, multiple writers work on the same script at different stages of development with different tasks. Over the course of a career, a screenwriter might be hired to write in a wide variety of roles. The content is usually invented solely by the screenwriter, though spec screenplays can also be based on established works, or real people, the spec script is a Hollywood sales tool. The vast majority of scripts written each year are spec scripts, a spec script is usually a wholly original work, but can also be an adaptation. In television writing, a script is a sample teleplay written to demonstrate the writers knowledge of a show and ability to imitate its style. It is submitted to the producers in hopes of being hired to write future episodes of the show. Budding screenwriters attempting to break into the business generally begin by writing one or more spec scripts, although writing spec scripts is part of any writers career, the Writers Guild of America forbids members to write on speculation. The distinction is that a script is written as a sample by the writer on his or her own. In addition to writing a script on speculation, it is not advised to write camera angles or other directional terminology. A director may write up a shooting script himself or herself, the director may ask the original writer to co-write it with him or her, or to rewrite a script that satisfies both the director and producer of the film/TV show. Spec writing is unique in that the writer must pitch the idea to producers. In order to sell the script, it must have a title, good writing. A logline is one sentence that lays out what the movie is about, a well written logline will convey the tone of the film, introduce the main character, and touch on the primary conflict. Usually the logline and title work in tandem to draw people in and these things, along with nice, clean writing will hugely impact whether or not a producer picks up the spec script. A commissioned screenplay is written by a hired writer, the concept is usually developed long before the screenwriter is brought on, and often has multiple writers work on it before the script is given a green light
