2. Theory – Structure/Composition

Theory – Structure and Composition

Elements of narrative

Most narratives follow a basic plot structure. You should have encountered these since primary  school, but here is a refresher in case you need it.

● Orientation

The orientation comes at the beginning of a narrative. It introduces you to the main character/s  and setting, and also sets up the premise for the plot events that will unfold. For example, in the  Hobbit, we are introduced to Bilbo and his quiet life at Bag End in the orientation.

● Complication

The complication is something that happens after the orientation that forces the main  character/s out of their comfort zone and kick-starts the action. To take the Hobbit as an  example again, the complication happens when Gandalf appears with the dwarves to invite Bilbo  on a quest—an invitation that he accepts.

● Series of events 

The series of events is the longest part of a narrative. Here, after the complication, a series of  escalating events happen, which build up in tension. In the Hobbit, the series of events is the  quest that Bilbo and the dwarves undertake to the Lonely Mountain.

● Climax

The climax is the high point of a narrative, when the building tension finally releases in one  emotionally-satisfying scene. This usually comes towards the end of a narrative. Again, in the  Hobbit, this happens during the climactic Battle of the Five Armies in which Thorin, the king of  the dwarves, is killed.

● Resolution

The resolution in a narrative comes after the climax, and is where the action begins to calm  down after the emotional release. In the Hobbit, this is Thorin’s reconciliation with Bilbo in his  dying words.

● Coda 

Not every narrative has a coda, but it is essentially like an epilogue: an emotionally-satisfying  conclusion to a story. In the Hobbit, this is when Bilbo returns home with his new treasures and  the memories of his adventures.

Forms of narrative

● Prose

Prose is written or spoken language in its ordinary form. It is structured by sentences and  paragraphs, as opposed to metre. Prose is a common way of telling narratives, and is found in  texts types such as short stories and novels. Its greatest strength is that it imitates the natural  flow of speech and grammar, but because of this it does not lend itself as well to artistic  experimentation as other forms like poetry.

● Poetry

Poetry is writing which prioritises aesthetics as part of its meaning-making. It can manipulate  form, use metre, play with language techniques and images, and prioritise feelings and ideas.  For this reason, it often reflects on certain situations rather than progressing a narrative. Poetry  is also an ideal place for literary experimentation. 

● Letters (epistolary)

Letters are a physical form of personal communication, mostly written in prose. They take the  form of sheets of paper which are sent between two parties. Since ancient times, personal letters  which detail some sort of philosophical standpoints or have admirable literary qualities have  been published for wide readership. Some narrative writing may also take an epistolary form,  with the story revealed in each “letter” sent to the other party.

● Diary entries

Diaries are personal accounts of the writer’s life, thoughts, and reflections. They provide a  recount of recent events from the writer’s perspective, and often also detail the writer’s personal  feelings—as such, it is considered taboo to read others’ diaries without their permission.

● Script 

Scripts are written for dramatic performance, the most common of which are theatre and film.  They follow a rigid structure, containing mostly dialogue and stage directions. They are written  for a director to interpret, so can be either detailed or leave room for the director’s creativity.  Since they cannot explicitly say what a character’s internal thoughts and emotions are, scripts  must use speech and stage directions to reflect these—or they may even be left ambiguous.

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Genre

● Fantasy

The fantasy genre contains unrealistic characteristics such as magical, mythical, or supernatural  elements. A common subgenre is “High Fantasy”, which is often set in a mediaeval-inspired  world with epic story elements (see: the Lord of the Rings, A Song of Ice and Fire). Popular  fantasy texts include Harry Potter, The Chronicles of Narnia, and Spirited Away.

● Historical fiction

Historical fiction takes place in a past setting relative to the author. It attempts to recreate the  society, culture, and attitudes of the past—but may also comment on the present in some way.  The subgenre of “Alternate History” describes historical fiction that diverges from true historical  events. Examples of historical fiction include Gladiator, Titanic, and The Boy in the Striped  Pyjamas.

● Romance

The central plot element in romance is focused on love, particularly falling in love. Romance also  describes a mediaeval literary genre involving tales of knights, chivalry, and maidens (see: King  Arthur). Popular romance texts include Pride and Prejudice, The Notebook, and Romeo and  Juliet.

● Thriller

Thrillers are characterised by the feelings of suspense, excitement, and anticipation they elicit  from the reader. They often involve crime, risk of life, espionage, conspiracies, and adventure.  Examples include Gone Girl, The Girl with the Dragon Tattoo, and Ocean’s Eleven.

● Mystery

In mystery, the reader and the characters in the text are presented with a problem that must be  solved over the course of the story. These are often crimes such as theft or murder, and the  characters (or a single character who is the detective) must find the culprit. Examples include  Sherlock Holmes, Hercule Poirot, and Nancy Drew.

● Dystopia

Dystopian fiction presents a future, apparently-utopic world which turns out to be deeply  problematic. These worlds often act as a comment on problematic trends in contemporary  society. Dystopian societies are often post-apocalyptic, in that they form after a cataclysm that  wipes out much of the world. Protagonists within dystopian novels are often rebels who don’t fit  into the society, and attempt to break free by deposing the system. Dystopian texts include the  Hunger Games, Nineteen Eighty-Four, and the Matrix.

● Science fiction 

Science fiction (aka sci-fi) deals creatively with science and technology, exploring concepts such  as space travel, time travel, and extraterrestrials. It explores the potential or consequences of  innovation. Science fiction often overlaps with dystopian, as both often explore the future.  Examples include the X-Files, Doctor Who, and the Invisible Man.

Structure

● Linear

Linear narratives sequence the events that happen within the story in chronological order.

● Non-linear 

Non-linear narratives have an event/events that are out of chronological order. These steps out  of order may take the form of flashbacks or flash-forwards (or foreshadowing). 

● Cyclical 

Cyclical narratives end where they begin. This often means that the end and beginning share  common features (i.e. same setting, same time, or using the same language structures and  words/phrases), although the characters within have changed because of the narrative that has  taken place between.

What are some other elements to do with composition and structure?

–         Flashback/forward: when your story goes back or forward in time. One of the above sections could be presented this way at another point in the story

–         Intertextuality: when the text refers to other literary texts. The other text will help shape the meaning of the text you are reading/viewing. Composers (writers, film directors, script writers, poets) will use quotation/allusion.

–         Time jumps: when you skip forward in time across sections

– Foreshadow: when a writer gives hints about what is about to happen, before the event actually happens

– Dramatic irony: when the responder (reader, viewer, audience) is aware of the situation but the characters are not

– Extended metaphor: an analogy that is used throughout the text