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In [[literature]], '''style''' refers to the codified gestures<ref>R. Rawdon Wilso (2002) [http://books.google.com/books?id=BxSMGjkLbyoC&pg=PA28 ''The hydra's tale: imagining disgust''] p.28 quotation: {{quotation|The other alternative is to become a style; that is, to become codified into ritual gestures...}}</ref> in which the author tells the story. Style is considered one of the fundamental components of [[fiction]], along with [[Plot (narrative) |plot]], [[Character (arts)|character]], [[Theme (literature)|theme]], and [[Setting (narrative)|setting]].<ref>[[#Obstfeld|Obstfeld]], 2002, pp. 1, 65, 115, 171.</ref> Style in fiction includes the use of various [[literary techniques]]. |
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==Components== |
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[[Fiction]] is a form of [[narrative]], one of the four [[rhetorical modes]] of discourse. Fiction-writing also has distinct forms of [[Fiction-writing mode|expression, or modes]], each with its own purposes and conventions. Agent and author Evan Marshall identifies five fiction-writing modes: action, summary, dialogue, feelings/thoughts, and background {{Harvard citation | Marshall | 1998 | pp = 143–165}}. Author and writing-instructor [[Jessica Page Morrell]] lists six delivery modes for fiction-writing: action, exposition, description, dialogue, summary, and transition {{Harvard citation | Morrell | 2006 | p = 127}}. Author [[Peter Selgin]] refers to ''methods'', including action, dialogue, thoughts, summary, scene, and description {{Harvard citation | Selgin | 2007 | p = 38}}. Currently, there is no consensus in the writing community on the number and composition of [[fiction-writing mode]]s and their uses. |
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The '''narrator''' is the teller of the story, the orator, doing the ''mouthwork'', or its written equivalent. A writer is faced with many choices regarding the narrator of a story: [[first-person narrative]], [[third-person narrative]], [[unreliable narrator]], [[stream-of-consciousness writing]]. A narrator may be either obtrusive or unobtrusive, depending on the author's intended relationship between himself, the narrator, the point-of-view character, and the reader. The '''[[Point of view (fiction)|point of view]]''' represents the consciousness the reader hears, sees, and feels the story from. |
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'''An allegory''' is a work of fiction in which the symbols, characters, and events come to represent, in somewhat point-by-point fashion, a different metaphysical, political, or social situation. '''[[Symbol]]ism''' refers to any object or person which represents something else. |
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'''[[Tone (literature)|Tone]]''' refers to the attitude that a story creates toward its subject matter. Tone may be formal, informal, intimate, solemn, somber, playful, serious, ironic, condescending, or many other possible attitudes. Tone is sometimes referred to as the '''mood''' that the author establishes within the story. |
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[[Punctuation]] is everything written other than the actual letters or numbers (including '''punctuation marks''', [[Interword separation|inter-word spaces]], and indentation).<ref name="Todd">Todd, Loreto (2000). ''The Cassell Guide to Punctuation''. Cassell, ISBN 978-0-304-34961-6.</ref> |
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[[Imagery (literature)|Imagery]] is used in [[fiction]] to refer to descriptive language that evokes [[sensory experience]]. Imagery may be in many forms, such as [[metaphor]]s and [[simile]]s. [[Imagination]], also called the faculty of '''imagining''', is 'the mind's capacity to generate images of objects, states, or actions that have not been felt or experienced by the senses.'<ref>{{Cite book|title = The Concise Oxford Dictionary of Literary Terms|last = Baldick|first = Chris|publisher = Oxford University Press|year = 2001|isbn = 0-19-280118-X|location = New York|pages = 121-122}}</ref> |
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[[Diction]] – the primary meaning – refers to the writer's or speaker's distinctive [[vocabulary]] choices and style of expression. Literary diction analysis reveals how a passage establishes [[tone (literature)|tone]] and characterization; for example, a preponderance of verbs relating physical movement suggests an active character, while a preponderance of verbs relating states of mind portrays an introspective character. |
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In [[linguistics]], [[grammar]] refers to the [[logic]]al and [[structural]] rules that govern the composition of [[sentence (linguistics)|sentences]], [[phrase]]s, and [[words]] in any given [[natural language]]. Grammar also refers to the study of such rules. This field includes [[morphology (linguistics)|morphology]] and [[syntax]], often complemented by [[phonetics]], [[phonology]], [[semantics]], and [[pragmatics]]. In [[grammar]], the [[Voice_(grammar)|voice]] (also called '''diathesis''') of a verb describes the relationship between the action (or state) that the verb expresses and the participants identified by its [[verb argument|argument]]s (subject, object, etc.). When the [[subject (grammar)|subject]] is the agent or actor of the verb, the verb is in the '''active voice'''. When the subject is the patient, target or undergoer of the action, it is said to be in the '''passive voice'''. |
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[[Cohesion (linguistics)|Cohesion]] is the [[grammar|grammatical]] and [[Lexicon|lexical]] relationship within a text or [[sentence (linguistics)|sentence]]. Cohesion can be defined as the links that hold a text together and give it meaning. |
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'''[[Suspension of disbelief]]''' is the reader's temporary acceptance of story elements as believable, regardless of how implausible they may seem in real life. |
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== See also == |
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* [[Writing style]] |
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* [[Fiction]] |
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* [[Creative nonfiction]] |
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* [[Fiction-writing modes]] |
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* [[Show, don't tell]] |
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* [[Narrative]] |
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==Footnotes== |
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{{reflist}} |
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== References == |
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*{{cite book |
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|title = The Marshall Plan for Novel Writing |
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|first = Evan |
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|last = Marshall |
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|publisher = Writer's Digest Books |
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|location = Cincinnati, OH |
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|year = 1998 |
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|pages = 143–165 |
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|isbn=1-58297-062-9 |
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}} |
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*<cite id = Obstfeld>{{cite book |
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|title = Fiction First Aid: Instant Remedies for Novels, Stories and Scripts |
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|first = Raymond |
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|last= Obstfeld |
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|authorlink = Raymond Obstfeld |
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|publisher = Writer's Digest Books |
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|location = Cincinnati, OH |
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|year = 2002 |
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|isbn = 1-58297-117-X |
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}} |
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*{{cite book |
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|title = Between the Lines: Master the Subtle Elements of Fiction Writing |
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|first = Jessica Page |
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|last = Morrell |
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|publisher = Writer's Digest Books |
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|location = Cincinnati, OH |
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|year = 2006 |
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|page = 127 |
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|isbn = 978-1-58297-393-7 |
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}} |
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*{{cite book |
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|first = Peter |
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|last = Selgin |
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|title = By Cunning & Craft: Sound Advice and Practical Wisdom for fiction writers |
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|publisher = Writer's Digest Books |
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|location = Cincinnati, OH |
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|year = 2007 |
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|page = 38 |
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|isbn=978-1-58297-491-0 |
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}} |
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==Further reading== |
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*{{cite book |
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|last = Bickham |
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|first = Jack M. |
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|title = Scene & Structure |
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|pages = 12–22, 50–58 |
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|publisher = Writer's Digest Books |
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|year = 1993 |
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|isbn = 0-89879-551-6 |
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}} |
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*{{cite book |
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|title = Self-Editing for Fiction Writers: How to Edit Yourself into Print |
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|last = Browne & King |
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|publisher = Harper Resource |
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|location = New York |
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|year = 2004 |
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|pages = 12, 117 |
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|isbn= 0-06-054569-0 |
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}} |
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*{{cite book |
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|title = Character & Viewpoint |
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|first = Orson Scott |
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|last = Card |
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|publisher = Writer's Digest Books |
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|location = Cincinnati, OH |
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|year = 1988 |
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|isbn= 0-89879-307-6 |
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}} |
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*{{cite book |
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|title = Finding Your Voice: How to Put Personality in Your Writing |
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|first = Les |
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|last = Edgerton |
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|publisher = Writer's Digest Books |
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|location = Cincinnati, OH |
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|year = 2003 |
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|isbn = 1-58297-174-9 |
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}} |
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*{{cite news |
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|first = Nancy |
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|last = Kress |
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|periodical = Writer's Digest |
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|date = August 2003 |
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|page = 38 |
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|ref = harv |
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|postscript = <!--None--> |
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}} |
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*{{cite book |
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|first = Ben |
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|last = Yagoda |
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|title = The Sound on the Page: Great Writers Talk About Style and Voice in Writing |
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|publisher = HarperResource |
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|location = New York |
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|year = 2004 |
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|isbn= 0-06-093822-6 |
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}} |
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{{Narrative}} |
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{{Authority control}} |
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[[Category:Fiction]] |
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[[Category:Style (fiction)| ]] |
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Latest revision as of 17:13, 3 July 2016
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