Narrative Mode - Wikipedia, The Free Encyclopedia

Narrative mode - Wikipedia, the free encyclopedia
Log in / create account
Article Talk
Read Edit View history
Narrative mode
From Wikipedia, the free encyclopedia
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Toolbox
The narrative mode (also known as the mode of narration) is the set of methods the author of
a literary, theatrical, cinematic, or musical story uses to convey the plot to the audience. Narration,
the process of presenting the narrative, occurs because of the narrative mode. It encompasses
several overlapping areas of concern, most importantly narrative point-of-view, which determines
through whose perspective the story is viewed and narrative voice, which determines a set of
consistent features regarding the way through which the story is communicated to the audience.
The narrator may be a fictive person devised by the author as a stand-alone entity, or may even be a
character. The narrator is considered participant if an actual character in the story, and nonparticipant
if only an implied character, or a sort of omniscient or semi-omniscient being who does not take part
in the story but only relates it to the audience.
Ability to use the different points of view is one measure of a person's writing skill. The writing mark
schemes used for National Curriculum assessments in England reflect this: they encourage the
awarding of marks for the use of viewpoint as part of a wider judgment.
The narrative mode encompasses not only who tells the story, but also how the story is described or
expressed (for example, by using stream of consciousness or unreliable narration).
Contents [hide]
Print/export
Languages
Deutsch
Franais
Galego
Nederlands
Svenska
Trke
1 Narrative point of view

1.1 First-person view
1.2 Second-person view
1.3 Third-person view
1.4 Alternating person view
2 Narrative voice
2.1 Stream-of-consciousness voice
2.2 Character voice
2.2.1 Unreliable voice
2.3 Epistolary voice
2.4 Third-person voices
2.4.1 Third-person, subjective
2.4.2 Third-person, objective
2.4.3 Third-person, omniscient
3 Narrative tense
3.1 Past tense
3.2 Present tense
3.3 Future tense
4 Other narrative modes
4.1 Fiction-writing mode
4.2 Other types and uses
5 Further reading
6 Notes
Narrative point of view
http://en.wikipedia.org/wiki/Narrative_mode#Alternating_person_view[27/02/2012 09:29:55]
[edit]
Narrative point of view in the creative writing of fiction describes the narrator's position in relation to
the story being told. [1] Point of view differs from similar terms and concepts such as perspective,
viewpoint, or the point-of-view of a camera. Perspective refers to a particular attitude toward or a
way of regarding something; when discussed in fiction writing, perspective means the subjective
perception of a character. Viewpoint refers to the position from which something is viewed, and pointof-view in film refers to the view captured by the cameras optics. The viewpoint of a person or the
point-of-view of a camera is not analogous to narrative point of view in literature. [2]
First-person view
[edit]
Main article: First-person narrative

In a first-person narrative the story is relayed by a narrator who is also a character within the
story, so that the narrator reveals the plot by referring to this viewpoint character as "I" (or, when
plural, "we"). Oftentimes, the first-person narrative is used as a way to directly convey the deeply
internal, otherwise unspoken thoughts of the narrator. Frequently, the narrator's story revolves around
him-/herself as the protagonist and allows this protagonist/narrator character's inner thoughts to be
conveyed openly to the audience, even if not to any of the other characters. It also allows that
character to be further developed through his/her own style in telling the story. First-person narrations
may be told like third-person ones, with a person experiencing the story without being aware that
they are actually conveying their experiences to an audience; on the other hand, the narrator may be
conscious of telling the story to a given audience, perhaps at a given place and time, for a given
reason. In extreme cases, the first-person narration may be told as a story within a story, with the
narrator appearing as a character in the story. The first-person narrator also may or may not be the
focal character.
The narrator in the stories that narrated by I perspective is protagonist and the main subject. We
become aware of the events and characters of story by his view to and his knowledge of the story.[3]
As aforementioned, the first-person narrator is always a character within his/her own story (whether
the protagonist or not) and this viewpoint character takes actions, makes judgments and has opinions
and biases, therefore, not always allowing the audience to be able to comprehend some of the other
character's thoughts, feelings, or understandings as much as this one character. In this case, the
narrator gives and withholds information based on his/her own viewing of events. It is an important
task for the reader to determine as much as possible about the character of the narrator in order to
decide what "really" happens. Example:
"I could picture it. I have a habit of imagining the conversations between my friends. We went out
to the Cafe Napolitain to have an aperitif and watch the evening crowd on the Boulevard." from
The Sun Also Rises by Ernest Hemingway. The narrator is protagonist Jake Barnes.
In very rare cases, stories are told in first person plural, that is, using "we" rather than "I". Examples
are the short stories Twenty-Six Men and a Girl by Maxim Gorky and A Rose for Emily by William
Faulkner, and the novels Anthem by Ayn Rand, The Virgin Suicides by Jeffrey Eugenides, During the
Reign of the Queen of Persia by Joan Chase, Our Kind by Kate Walbert, I, Robot by Isaac Asimov,
and Then We Came to the End by Joshua Ferris. [4]
The narrator can be the protagonist (e.g., Gulliver in Gulliver's Travels), someone very close to him
who is privy to his thoughts and actions (Dr. Watson in Sherlock Holmes), or an ancillary character
who has little to do with the action of the story (such as Nick Carraway in The Great Gatsby).
Narrators can report others' narratives at one or more removes. These are called 'frame narrators':
examples are Mr. Lockwood, the narrator in Wuthering Heights by Emily Bront, and the unnamed
narrator in Heart of Darkness by Joseph Conrad.
In autobiographical fiction, the first person narrator is the character of the author (with varying
degrees of accuracy). The narrator is still distinct from the author and must behave like any other
character and any other first person narrator. Examples of this kind of narrator include Jim Carroll in
The Basketball Diaries and Kurt Vonnegut Jr. in Timequake (in this case, the first-person narrator is
also the author). In some cases, the narrator is writing a book "the book in your hands"
therefore it has most of the powers and knowledge of the author. Examples include The Name of the
Rose by Umberto Eco, and The Curious Incident of the Dog in the Night-Time by Mark Haddon.
A rare form of first person, is the first person omniscient, in which the narrator is a character in the
story, but also knows the thoughts and feelings of all the other characters. It can seem like third
person omniscient at times. Two notable examples are The Book Thief by Markus Zusak, where the
narrator is Death, and The Lovely Bones by Alice Sebold, where a young girl, after having been
raped and murdered, watches from Heaven how her family struggles to cope with her disappearance.
Typically, however, the narrator restricts the events relayed in the narrative to those that it could
reasonably have knowledge of.
Second-person view
[edit]
Main article: Second-person narrative

Probably the rarest mode in literature (though quite common in song lyrics) is the second-person
narrative mode, in which the narrator refers to one of the characters as "you", therefore making
the audience member feel as if he or she is a character within the story. Another common place to
see this is in preschool television shows in which characters will tell the audience to follow them, or
ask the audience questions. Second-person narrative mode is often paired with the first-person
narrative mode in which the narrator makes emotional comparisons between the thoughts, actions,
and feelings of "you" versus "I". Often the narrator is also a character in his or her story, in which
case it would technically still be employing the first-person narrative mode; an example of this form is
A Song of Stone by Iain Banks.
In letters and greeting cards, the second-person narrative mode is often used in a non-fictional
atmosphere.
Perhaps the most prominent example of this mode in contemporary literature is Jay McInerney's
Bright Lights, Big City. In this novel, the second-person point of view is intended to create an intense
sense of intimacy between the narrator and the reader, causing the reader to feel implicit in and
powerless against a plot that leads him, blindly, through his (the readers and the narrators) own
destruction and redemption:
"You are not the kind of guy who would be at a place like this at this time of the morning. But
here you are, and you cannot say the terrain is entirely unfamiliar, although the details are fuzzy.
You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the
Lizard Lounge. All might become clear if you could just slip into the bathroom and do a little more
Bolivian Marching Powder. Then again, it might not. A small voice inside you insists that this
epidemic lack of clarity is a result of too much of that already."
Third-person view
[edit]
Third-person narration provides the greatest flexibility to the author and thus is the most commonly
used narrative mode in literature. In the third-person narrative mode, each and every character
is referred to by the narrator as "he", "she", "it", or "they", but never as "I" or "we" (first-person), or
"you" (second-person). In third-person narrative, it is necessary that the narrator be merely an
unspecified entity or uninvolved person that conveys the story, but not a character of any kind within
the story being told[citation needed] . Third-person singular (he/she) is overwhelmingly the most
common type of third-person narrative, although there have been successful uses of the third-person
plural (they), as in Maxine Swann's short story "Flower Children".[5] Even more common, however, is
to see singular and plural used together in one story, at different times, depending upon the number
of people being referred to at a given moment in the plot. Sometimes in third-person narratives, a
character would refer to himself in the third-person e.g., "(Character name) would like to come with
you". [citation needed]
If the narrator of the story is not present or is present but not a protagonist and a story told by
someone else and not his own, the story is narrated by He/She perspective.[6]
The third-person modes are usually categorized along two axes. The first is the subjectivity/objectivity
axis, with "subjective" narration describing one or more character's feelings and thoughts, while
"objective" narration does not describe the feelings or thoughts of any characters. The second axis is
between "omniscient" and "limited", a distinction that refers to the knowledge available to the
narrator. An omniscient narrator has omniscient knowledge of time, people, places and events; a
limited narrator, in contrast, may know absolutely everything about a single character and every piece
of knowledge in that character's mind, but it is "limited" to that characterthat is, it cannot describe
things unknown to the focal character.
Alternating person view

[edit]
While the general rule is for novels to adopt a single approach to point of view throughout, there are
exceptions. Many stories, especially in literature, alternate between the first and third person. In this
case, an author will move back and forth between a more omniscient third-person narrator to a more
personal first-person narrator. The Harry Potter series is told in third person limited for much of the
seven novels, but deviates to omniscient in that it switches the limited view [citation needed] to other
characters from time to time, rather than only the protagonist. However, like the A Song of Ice and
Fire series, a switch of viewpoint is done only at chapter boundaries. Omniscient point of view is also
referred to as alternating point of view [citation needed] , because the story sometimes alternates
between characters. Often, a narrator using the first person will try to be more objective by also
employing the third person for important action scenes, especially those in which he/she is not
directly involved or in scenes where he/she is not present to have viewed the events in first person.
This mode is found in the novel The Poisonwood Bible.
Epistolary novels, which were very common in the early years of the novel, generally consist of a
series of letters written by different characters, and necessarily switching when the writer changes;
the classic books Frankenstein by Mary Shelley, Dracula by Abraham "Bram" Stoker and The
Strange Case of Dr. Jekyll and Mr. Hyde take this approach. Sometimes, though, they may all be
letters from one character, such as C. S. Lewis' Screwtape Letters and Helen Fielding's Bridget
Jones's Diary. Robert Louis Stevenson's Treasure Island switches between third and first person, as
do Charles Dickens's Bleak House and Vladimir Nabokov's The Gift. Many of William Faulkner's take
a series of first-person points of view. E.L. Konigsburg's novella The View from Saturday uses
flashbacks to alternate between third person and first person throughout the book; as does Edith
Wharton's novel Ethan Frome. After the First Death, by Robert Cormier, a novel about a fictional
school bus hijacking in the late seventies, also switches from first to third person narrative using
different characters. The novel The Death of Artemio Cruz, by Mexican writer Carlos Fuentes,
switches between the three persons from one chapter to the next, even though all refer to the same
protagonist. The novel Dreaming in Cuban, by Cristina Garca, alternates between third person
limited and first person depending on the generation of the speaker; the grandchildren recount events
in first person while the parents and grandparent are shown in third person limited.
Narrative voice
[edit]
The narrative voice describes how the story is conveyed (for example, by "viewing" a character's
thought processes, by reading a letter written for someone, by a retelling of a character's
experiences, etc.).
Stream-of-consciousness voice
[edit]
Main article: Stream of consciousness (narrative mode)

A stream of consciousness gives the (almost always first-person) narrator's perspective by
attempting to replicate the thought processes (as opposed to simply the actions and spoken words)
of the narrative character. Often, interior monologues and inner desires or motivations, as well as
pieces of incomplete thoughts, are expressed to the audience (but not necessarily to other
characters). Examples include the multiple narrators' feelings in William Faulkner's The Sound and
the Fury and As I Lay Dying, the character Offred's often fragmented thoughts in Margaret Atwood's
The Handmaid's Tale, and the development of the narrator's nightmarish experience in Queen's hit
song, Bohemian Rhapsody.
Character voice
[edit]
One of the most common narrative voices, used especially with first- and third-person viewpoints is
the character voice in which an actual conscious "person" (in most cases, a living human being)
is presented as the narrator. In this situation, the narrator is no longer an unspecified entity, but
rather, a more relatable, realistic human character who may or may not be involved in the actions of
his or her story and who may or may not take a biased approach in the storytelling. If he or she is
directly involved in the plot, this narrator is also called the viewpoint character. The viewpoint
character is not necessarily the focal character: examples of supporting viewpoint characters include
Doctor Watson, Scout in To Kill a Mockingbird, and The Great Gatsby's Nick Carraway.
Unreliable voice
[edit]
Main article: Unreliable narrator

Under the character voice is the unreliable narrative voice which involves the use of a noncredible or untrustworthy narrator. This mode may be employed to give the audience a deliberate
sense of disbelief in the story or a level of suspicion or mystery as to what information is meant to be
true and what is false. This unreliability is often developed by the author to demonstrate that the
narrator is psychologically unstable, has an enormous bias, is unknowledgeable, ignorant or childish,
or is perhaps purposefully trying to deceive the audience. Unreliable narrators are usually first-person
narrators. However, when a third-person narrator is considered unreliable for any reason, his or her
viewpoint may be termed "third-person, subjective."
Examples include "Chief" Bromden in One Flew Over the Cuckoo's Nest by Ken Kesey, [7] Holden
Caulfield in the novel The Catcher In The Rye, Dr. James Sheppard in The Murder of Roger Ackroyd
by Agatha Christie, and Humbert Humbert in the novel Lolita by Vladimir Nabokov.[citation needed]
A naive narrator is one who is so ignorant and inexperienced that he/she actually exposes the faults
and issues of his/her world. It is used particularly in satire, in situations where the user can draw
more inferences about the narrator's environment than the narrator. Child narrators can also fall
under this category.
Epistolary voice
[edit]
Main article: Epistolary novel

The epistolary narrative voice uses a (usually fictional) series of letters and other documents to
convey the plot of the story. Although epistolary works can be considered multiple-person narratives,
they also can be classified separately, as they arguably have no narrator at alljust an author who
has gathered the documents together in one place. One famous example is Mary Shelley's
Frankenstein which is a single story written in a letter. Another is Bram Stoker's Dracula, which tells
the story in a series of diary entries, letters and newspaper clippings. Les Liaisons dangereuses
(Dangerous Liaisons) by Pierre Choderlos de Laclos is again made up of the correspondence
between the main characters, most notably the Marquise de Merteuil and the Vicomte de Valmont.
Langston Hughes does the same thing in a shorter form in his story "Passing," which consists of a
young man's letter to his mother.
Third-person voices
[edit]
The third-person narrative voices are narrative-voice techniques employed solely under the category
of the third-person view.
Third-person, subjective
[edit]
The third-person subjective is when the narrator conveys the thoughts, feelings, opinions, etc.
of one or more characters. If it is just one character, it can be termed third-person limited, in
which the reader is "limited" to the thoughts of some particular character (often the protagonist) as in
the first-person mode (though still giving personal descriptions using "he", "she", "it", and "they", but
not "I"). This is almost always the main charactere.g., Gabriel in Joyce's The Dead, Nathaniel
Hawthorne's Young Goodman Brown, or the elderly fisherman in Hemingway's The Old Man and the
Sea. Certain third-person omniscient modes are also classifiable as "third person, subjective" modes
that switch between the thoughts, feelings, etc. of all the characters.
This style, in both its limited and omniscient variants, became the most popular narrative perspective
during the twentieth century. In contrast to the broad, sweeping perspectives seen in many
nineteenth-century novels, third-person subjective is sometimes called the "over the shoulder"
perspective; the narrator only describes events perceived and information known by a character. At
its narrowest and most subjective scope, the story reads as though the viewpoint character were
narrating it; dramatically this is very similar to the first person, in that it allows in-depth revelation of
the protagonist's personality, but it uses third-person grammar. Some writers will shift perspective
from one viewpoint character to another.
The focal character, protagonist, antagonist, or some other character's thoughts are revealed through
the narrator. The reader learns the events of the narrative through the perceptions of the chosen
character.
Third-person, objective
[edit]
The third-person objective employs a narrator who tells a story without describing any
character's thoughts, opinions, or feelings; instead it gives an objective, unbiased point of view. Often
the narrator is self-dehumanized in order to make the narrative more neutral; this type of narrative
mode, outside of fiction, is often employed by newspaper articles, biographical documents, and
scientific journals. This point of view can be described as a "fly on the wall" or "camera lens"
approach that can only record the observable actions, but does not interpret these actions or relay
what thoughts are going through the minds of the characters. Works of fiction that use this style put a
great deal of emphasis on characters acting out their feelings in an observable way. Internal
thoughts, if expressed, are given voice through an aside or soliloquy. While this approach does not
allow the author to reveal the unexpressed thoughts and feelings of the characters, it does allow the
author to reveal information that not all or any of the characters may be aware of. A typical example
of this so called camera-eye perspective is e.g. Hills Like White Elephants by Ernest Hemingway.
The third-person objective is preferred in most pieces that are deliberately trying to take a neutral or
unbiased view, like in many newspaper articles. It is also called the third-person dramatic,
because the narrator (like the audience of a drama) is neutral and ineffective toward the progression
of the plot merely an uninvolved onlooker. It was also used around the mid-twentieth century by
French novelists writing in the nouveau roman tradition.
Third-person, omniscient
[edit]
Main article: Third-person omniscient narrative

Historically, the third-person omniscient perspective has been the most commonly used; it is
seen in countless classic novels, including works by Jane Austen, Leo Tolstoy, Charles Dickens, and
George Eliot. This is a tale told from the point of view of a storyteller who plays no part in the story
but knows all the facts, including the characters' thoughts. It sometimes even takes a subjective
approach. One advantage of omniscience is that this mode enhances the sense of objective reliability
(i.e. truthfulness) of the plot. The third-person omniscient narrator is the least capable of being
unreliablealthough the omniscient narrator can have its own personality, offering judgments and
opinions on the behavior of the characters.
In addition to reinforcing the sense of the narrator as reliable (and thus of the story as true), the main
advantage of this mode is that it is eminently suited to telling huge, sweeping, epic stories, and/or
complicated stories involving numerous characters. The disadvantage of this mode is that it can
create more distance between the audience and the story, and thatwhen used in conjunction with
a sweeping, epic "cast of thousands" storycharacterization is more limited, which can reduce the
reader's identification with or attachment to the characters. A classic example of both the advantages
and disadvantages of this mode is J. R. R. Tolkien's The Lord of the Rings series.
Some writers and literary critics, make the distinction between the third-person omniscient and the
universal omniscient, the difference being that in universal omniscient, the narrator reveals
information that the characters do not have. This is also called "Little Did He Know" writing, as in,
"Little did he know he'd be dead by morning." Usually, the universal omniscient enforces the idea of
the narrator being unconnected to the events of the story.
Some more modern examples are Lemony Snicket, James Eugene Robinson in his novel, The
Flower of Grass, and Philip Pullman. In some unusual cases, the reliability and impartiality of the
narrator may in fact be as suspect as in the third person limited.
Narrative tense
[edit]
The narrative tense or narrative time determines the grammatical tense of the story; whether
in the past, present, or future.
Past tense
[edit]
The most common in literature and story-telling in the English, Chinese, and Portuguese languages;
the events of the plot are depicted as occurring sometime before the current moment or the time at
which the narrative was constructed or expressed to an audience. (e.g. "They drove happily. They
had found their way and were preparing to celebrate.")
Present tense
The events of the plot are depicted as occurring nowat the current momentin real-time. (e.g.
[edit]
"They drive happily. They have found their way and are now preparing to celebrate.") In English this
tense, known as the "historical present", is more common in spontaneous conversational narratives
than in written literature.
Future tense
[edit]
Extremely rare in literature; the events of the plot are depicted as occurring soon or eventually; often,
these upcoming events are described in a way that makes it seem like the narrators uncannily know
(or believe they know) the future. Some future-tense stories have a prophetic feel. (e.g. "They will
drive happily. They will find their way and will prepare to celebrate.")
Other narrative modes
[edit]
Fiction-writing mode
[edit]
Narration has more than one meaning. In its broadest sense, narration encompasses all forms of
story-telling, fictional or not; personal anecdotes, "true crime," and historical narratives all fit here,
along with many other "non-fiction" forms. More narrowly, however, "narration" refers to all written
fiction. Finally, in its most restricted sense, narration is the fiction-writing mode whereby the narrator
communicates directly to the reader.
Along with exposition, argumentation, and description, narration (broadly defined) is one of four
rhetorical modes of discourse. In the context of rhetorical modes, the purpose of narration is to tell a
story or to narrate an event or series of events. Narrative may exist in a variety of forms: biographies,
anecdotes, short stories, novels. In this context, all written fiction may be viewed as narration.
Narrowly defined, narration is the fiction-writing mode whereby the narrator is communicating directly
to the reader. But if the broad definition of narration includes all written fiction, and the narrow
definition is limited merely to that which is directly communicated to the reader, then what comprises
the rest of written fiction? The remainder of written fiction would be in the form of any of the other
fiction-writing modes. Narration, as a fiction-writing mode, is a matter for discussion among fiction
writers and writing coaches.
Other types and uses
[edit]
Main article: Narrator

In literature, person is used to describe the viewpoint from which the narrative is presented. Although
second-person perspectives are occasionally used, the most commonly encountered are first and
third person. Third person omniscient specifies a viewpoint in which readers are provided with
information not available to characters within the story; without this qualifier, readers may or may not
have such information.
In movies and video games first- and third-person describe camera viewpoints. These have nothing
to do with linguistic persons. The first-person is from a character's own perspective, and the thirdperson is the more familiar, "general" camera showing a scene. A so-called second-person may also
be used to show a main character from a secondary character's perspective.
For example, in a horror film, the first-person perspective of an antagonist could become a secondperson perspective on a potential victim's actions. A third-person shot of the two characters could be
used to show the narrowing distance between them.
In video games, a first-person perspective is used most often in the first-person shooter genre, such
as in Doom, or in simulations (racing games, flight simulation games, and such). Third-person
perspectives on characters are typically used in all other games. Since the arrival of 3D computer
graphics in games it is often possible for the player to switch between first- and third-person
perspectives at will; this is usually done to improve spatial awareness, but can also improve the
accuracy of weapons use in generally third-person games such as the Metal Gear Solid franchise.
Text-based interactive fiction conventionally has descriptions written in the second person (though
exceptions exist), telling the character what he is seeing and doing, such as Zork. This practice is
also encountered occasionally in text-based segments of graphical games.
Further reading
[edit]
Card, Orson Scott. Characters and Viewpoint. Cincinnati: Writer's Digest Books 1988.
Fludernik, Monika. Towards a "Natural" Narratology. London: Routledge 1996.
Genette, Grard. Narrative Discourse. An Essay in Method. Transl. by Jane Lewin. Oxford:
Blackwell 1980 (Translation of Discours du rcit).
Stanzel, Franz Karl. A theory of Narrative. Transl. by Charlotte Goedsche. Cambridge: CUP 1984
(Transl. of Theorie des Erzhlens).
Ranjbar Vahid. (2011) The Narrator, Iran:Baqney
Notes
[edit]
1. ^ James McCracken, ed. (2011). The Oxford English Dictionary

Retrieved October 16, 2011.
(Online ed.). Oxford University Press.
2. ^ James McCracken, ed. (2011). The Oxford English Dictionary (Online ed.). The Oxford English
Dictionary. pp.Derived from multiple dictionary definitions and also film curricula. Retrieved October 16,
2011.
3. ^ Ranjbar Vahid. The Narrator, Iran:Baqney. 2011
4. ^ Miller, Laura (April 18, 2004). "We the Characters"
5. ^ Maxine Swann, "Flower Children"
. nytimes.com. Retrieved 2007-02-25.
6. ^ Ranjbar Vahid. The Narrator, Iran:Baqney 2011

7. ^ Jill Walker Rettberg. "trusting kids with unreliable narrators"
v
Narrative
Character
Plot
.
[hide]
Antagonist/Archenemy Characterization Deuteragonist False protagonist Focal character

Foil character Protagonist Supporting character Tritagonist Viewpoint character
Climax Conflict Dnouement Dialogue Dramatic structure Exposition Falling action
Plot device Subplot Trope-Clich
Setting
Dystopia Fictional city Fictional country Fictional location Fictional universe Utopia
Theme
Leitmotif Moral Motif
Style
Diction Figure of speech Imagery Literary technique Narrative mode Stylistic device
Suspension of disbelief Symbolism Tone
Form
Fable-Parable Fabliaux Fairy tale Flash story Folktale-Legend Hypertext Novel Novella
Play Poem Screenplay Short story List of narrative forms
Genre
Adventure Comic Crime Docufiction Epistolary Erotic Faction Fantasy Historical

Horror Magic realism Mystery Paranoid Philosophical Political Romance Saga Satire
Science Speculative Superhero Thriller Urban
Narrator
Tense
Alternating person First-person Second-person Third-person (Limited Objective Omniscient

Subjective) Stream of consciousness The narrative types of the narrator Unreliable
Past tense Present tense Future tense
Medium
Screenwriting
Related
Audience Author Fiction writing Creative nonfiction Literary theory Narrative structure
Narratology Other narrative modes Rhetoric Storytelling
Literature portal
Categories: Fiction Style (fiction)

Descriptive technique
Point of view
Narratology
Literary concepts
This page was last modified on 21 February 2012 at 19:27.

Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of
use for details.
Wikipedia is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Contact us

Privacy policy
About Wikipedia
Disclaimers
Mobile view

Narrative Mode - Wikipedia, The Free Encyclopedia

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Narrative Mode - Wikipedia, The Free Encyclopedia

Uploaded by

Copyright:

Available Formats

Narrative mode - Wikipedia, the free encyclopedia

Log in / create account

Read Edit View history

1 Narrative point of view

Narrative point of view