The Elements of Literature
Protagonist (hero): the central figure with whom we
usually sympathize or identify
(villain): the figure who opposes the protagonist and
creates the conflict
Character: the figure whose personality traits are the
opposite of the main characterís. This is a supporting
character and usually made to shine the protagonist.
ways characters are portrayed:
Characters (stock, static characters or stereotypes):
they have no depth and no change; we only see one side or
aspect of them. Most supporting characters are portrayed in
this way, for example, a strict teacher, a helpful
policeman, and an evil stepmother.
Characters (dynamic character): they have more
fully developed personalities. We expect the protagonists
and antagonists to be rounded individuals who express a
range of emotion and change throughout the narrative,
usually toward greater maturity.
ways characters are revealed:
narrator says about the character
other characters say about the character
character says about himself or herself
character actually does
setting refers to the time, the geographical locations,
and the general environment and circumstances that
prevail in a narrative. The setting helps to establish the
mood of a story.
types of setting:
Setting: the setting is fully described in both time and
place, usually found in historical fiction.
Setting: the setting is vague and general, which helps
to convey a universal, timeless tale. This type of setting
is often found in folktales and simply sets the stage and
the mood. For example, "long
ago in a cottage in the deep woods"
and "once upon a time there was a
great land that had an Emperor."
Narrative Point of View
Narrator (First-person Narrator; the
narrator uses "I" to refer to himself/herself): the
narrator is a character in the story, often, but not
necessarily, the protagonist. This narrative point of view
allows for a very personal touch in the story telling.
Omniscient Narrator (multiple points of view; the
narrator is "all-knowing"): the
narrator is not a character in the story but knows
everything about the story. The omniscient narrator can show
the thoughts and experiences of any character in the story.
It permits the writer the broadest scope.
Limited Narrator (External
Subjective Narrator; the 3rd person point of
view): the narrator is not a character in the story but
looks at things only through the eyes of a single character.
This type of narrative permits the narrator to quickly build
a close bond between the protagonist and the reader, without
being confined by the protagonistís educational or language
plot of a story is a series of interconnected events in
which every occurrence has a specific purpose. A plot is
all about establishing connections, suggesting causes,
and showing relationships.
types of plot structure:
A Dramatic or
Progressive Plot: This is a
chronological structure which first establishes the setting
and conflict, then follows the rising action through to a
climax (the peak of the action and turning point), and
concludes with a denouement (a wrapping up of loose ends).
Episodic Plot: This is also a chronological structure,
but it consists of a series of loosely related incidents,
usually of chapter length, tied together by a common theme
and/or characters. Episodic plots work best when the writer
wishes to explore the personalities of the characters, the
nature of their existence, and the flavor of an era.
A Parallel Plot:
The writer weaves two or more dramatic plots that are
usually linked by a common character and a similar theme.
A Flashback: This structure conveys information about
events that occurred earlier. It permits authors to begin
the story in the midst of the action but later fill in the
background for full understanding of the present events.
Flashbacks can occur more than once and in different parts
of a story.
types of conflicts:
Protagonist against Another
Protagonist against Society
Protagonist against Nature
Protagonist against Self
single story may contain more than one type of conflict,
although one often predominates. The conflict provides the
excitement and makes possible the growth and development of the
theme is the main, underlying idea of a piece of
literature. It is woven subtly into the fabric of the
story rather than being lectured or preached by the author.
the frequently found thematic issues in childrenís literature
are the problems of growing up and maturing, such
as adjustment to society, love and friendship, achieving oneís identity,
and finding one's place in the world.
Length and Construction
sentences best convey suspense, tension, and swift action.
sentences work best when explanations and descriptions are
Prose has rhythm
as poetry does. Its rhythm can be produced by the
juxtaposition of sounds, the use of repetition with a slight
variation of patterns, and the varied length of sentences.
the narratorís passages that provide background information
and/or introduce characters to help readers understand the
events of a story. Children prefer a balance between exposition
the words spoken by the characters, usually to each other, not
to the reader.
Children especially enjoy dialogue as a realistic and convincing
way of defining character.
refers to the authorís mood and manner of expression
in a work of literature. The tone can be serious, didactic,
humorous, satirical, caustic/sarcastic, passionate, sensitive,
sentimental, zealous, indifferent, poignant, warm, agitated, and
is the foundation of humor. We laugh at the tension
resulting from something out of the ordinary.
to be age specific.
be either sympathetic or negative. One prerequisite is that
the victim must seem to deserve the fate or the harm must
not be critical.
Ten Types of humor most common in childrenís books (Kappas,
Humor: word play, name-calling, jokes and puns, malapropisms
(the unintentional misuse of language), or the
misinterpretation of language.
A parody is
a literary imitation of another piece of literature, usually
using exaggeration for comic purpose.
implies a degree of sophistication that deconstructs the
original story and depicts the characters from a different
can demonstrate the vitality of literature and can suggest
new ways of interpreting old tales.
4) Condescending tones:
are inappropriate for children's stories, placing the adult
narrator in a superior position.
For examples, a
moralizing, didactic, sentimental, or cynical tone is not
appreciated in children's literature nowadays.