© 2019 Steve Campsall
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Writing an essay based on a story can seem difficult not only because stories are often long, but also because the language of story-telling is often so seemingly ordinary and everyday. What is there to say about its form, structure and language? There's plenty! You're about to find out just what examiners look for and the way to a higher grade.
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What causes lost marks?
A lack of knowledge of the text. That's it. It's easily the number one cause of lost marks. This might not be good news if it applies to you, but there's no escaping the fact that you can't write in detail about a text you don't know well. What to do? Well... there's no time like the present to get it sorted and get reading. But wait - there's help at hand...
First, focus you're mind not on the hard work involved, but on the higher grade it will bring. Kick future hassle, frustration and disappointment into touch by recognising the benefits of re-reading and reflecting deeply on your story - with the essay question firmly in mind as you re-read. But not just yet! You'll need help as you read so either find a friend to share the strain with or, at the very least, get hold of one of the free study guides available from the links above. Oh, and don't forget to read the rest of this guide, too - it will guide your reading so that you know exactly what to look for as you read.
Pre-1914 stories can pose particular difficulties - not surprisingly as they were often written with an older, highly educated audience in mind. Understanding these texts really can become much easier if you have a study guide to refer to as you read them. Try the links above.
You can never know all there is to know about a text so, if you've read it in class and re-read it again at home (along, perhaps, with a study guide), then rest peacefully in the knowledge that you've done all you can. Do read this guide, too, though as it will guide you to what examiners are looking for.
Be sure to ask your teacher
for some past CA or exam questions. Practising these is an excellent
way to prepare and reduce the tension of the CA or exam.
What's needed to gain a high grade?
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The 'avoid at all costs' list...
1. Don't retell the events of the story.
2. Fictional characters and events aren't real - so avoid writing about them as if they are.
3. Answer the question, the whole question and nothing but the question!
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Now for some detail!
Teachers and examiners look for examples in your work of the following and award marks according to how well you have tackled the three areas:
INTERPRETATION & EVALUATION |
LANGUAGE & LITERARY DEVICES |
STRUCTURE |
Marks are awarded when you show you have understood the deeper levels of meaning in the story. |
You also need to show how the writer has used language and literary devices effectively. |
Finally, you need to discuss how the sequence of events in the story works effectively. |
How to analyse a story and discuss what you find
All of the stories you will read during your course will be based on what is called narrative. An understanding of this will, therefore, provide you with the tools to write a top class essay or exam answer.
It is because stories are told as narratives that they are engaging, absorbing and believable. No-one quite knows why it is but we seem to have an inbuilt psychological need to have events (whether real or imaginary) told to us using the form and structure of narrative. It's such a powerful means of telling about events. We all hear and use narratives each and every day, even if we never pick up a book to read!
The reason narrative is so successful and popular as a means of telling stories is connected with the fact that it works by building a sense of anticipation, suspense and tension. This creates an enjoyable sense of wanting to know what will happen next. That's why when you read a really good book or hear a juicy story from a friend, you're sometimes held spellbound.
It's important to realise that when well constructed, narratives
are also highly persuasive - we are easily convinced by them and often
believe in them rather too unquestioningly.
An important aspect of all narratives is the quality of the
narrative voice. This is the 'voice' that 'tells' those parts of the story
that are not
dialogue. We seem to have a built in desire to want to trust and
enjoy listening to certain types of narrative voice; again, no one
really knows why this is.
Here is a short piece of fictional narrative. Can you work out what quality makes it seem authentic, compelling and - above all - trustworthy?
'Through the
hot, cloudless days in the back of New South Wales, there is always
something beside the sun watching you from the sky. Over the line of
the hills, or above the long stretches of plains, a black dot swings
round and round; and its circles rise slowly or fall slowly, or
simply remain at the same height, swinging in endless indolent
curves, while the eyes watch the miles of earth below, and the six-
or maybe nine-foot wingspan remains motionless in the air...'
from 'The Wedge-tailed Eagle' by Geoffrey Dutton |
Information can be dry and boring; converted into narrative, that same information becomes compelling and interesting - and far more persuasive.
The Form and Structure of Narrative
When you write about a story, you are being asked to analyse and discuss why and how the writer has put to use the various forms and structures of narrative. So let's look at the basics of narrative.
In a typical narrative, fictional or otherwise, the story concerns a series of events, and often leading to a climax of events, that cause some kind of change in the life of a single main character - technically termed, the protagonist.
The events that cause a change in the life of the protagonist usually occur early in the story, shortly after the main characters in the story and the setting have been introduced. This initial setting up of the story is called the exposition. It's called this because the reader needs to be 'exposed' to certain key details in order for the story to 'work'.
The changes to the protagonist's life are caused by some kind of conflict. This is often created by another character - the antagonist - or by a social system such as, perhaps, parental authority or the law, or even the trials and tribulations of growing up!
It is the conflict that creates what is called the complication of the story. This initial complication is developed by the author into the story's rising action. This moves the story towards its climax, a point almost at the end of the story when problems for the protagonist reach a peak. This quickly leads to a satisfying ending, and a sense of closure, called the resolution. The final 'drawing together' of any loose ends is called the story's dénouement.
Not all narratives are 'complete' in terms of
the above basic structure. We have all grown up immersed in a world of
narratives and so have become entirely capable of 'filling in' any part of a
narrative that is
missed out. We make assumptions about the parts
that are missing based on what we expect to have occurred.
For example, a story can start straight into its conflict; and yet we know, as readers, that the protagonist's life was - and should be - uneventful and peaceful, so we assume that the first part of the narrative existed in this way and we believe that the protagonist will want that peaceful life to return.
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KEY
FEATURES OF NARRATIVE
PLOT
An author works hard to develop a basic storyline into what is called a plot. Various plot
'devices' are used to create tension and to make the reader
want to guess what will happen next; at it's best this keeps us
wanting to turn the page to find out - we are made to feel that we just can't put
the book down.
This tension is generated in part by the slow release of detail and the
introduction of various character types and conflicts but, most of all, by the
narrative device of making all events seem to be connected, leading on one from
another. This 'connectedness' means that we have a chance of guessing where the
story is leading - and we just love guessing and either being right or being
surprised by a 'twist in the tale'. We are also naturally rather nosy and enjoy
a quick peek into another person's life - even if it's a fictional life. It can
be very enjoyable experiencing the world vicariously - which means 'at one
remove', experiencing dangers from the safety of our seat.
THEMES and CHARACTERS
These are the two key aspects of narrative - and they form the basis of most
exam and essay questions.
Few stories are written simply to entertain - some young children's stories
might be, but most stories are, in reality, an entertaining 'vehicle' or means
for their author to present a series of persuasive ideas to the reader. These
ideas are called the themes of the story; they are the author's views concerning
some important aspect - one if the 'big issues' - of life. Many authors choose
themes that relate to aspects of their society's prevailing or dominant
ideologies.
Writers are peculiarly creative and sensitive individuals; they can be deeply
aware of the frictions within society. They use their imaginative genius to
weave compelling stories around interesting characters to highlight and help you
sympathise with certain ideas and points of view.
If you have read 'Of Mice and Men', for example, by John Steinbeck, however much
you enjoyed the story, after you finish the last page and close the cover, many
of its ideas will stay with you for a long time, if not for the remainder of
your life. These ideas or themes will have been revealed and explored in the
story through the actions of its characters. You will have been brought to
empathise with and often feel sympathy for the plight of certain characters in a
story, and to dislike others. Those with which you sympathise, you will tend to
feel strongly about, even identify with. What happens to them will interest you
- and it is in this way that many ideas about society can be highlighted and
brought to your attention.
So... in 'Of Mice and Men', again, you will find yourself sympathising with some
of the working men on the ranch - and you are brought to feel strongly about
such issues as sexism, racism, exploitation and violence as well as coming to
recognise the importance of friendship and trust.
Understanding the themes an author explores in a story and the way these are
made persuasive through its characters and events is crucial to your coursework
and exams. A vital part of this is to understand how to close read a story to
allow you to analyse its style and structure, as only this will allow you to
develop sophisticated insights into its author's themes.
NARRATIVE VOICE
An important decision an author must make before writing a story is who will
'tell' it to the reader. This 'person' supplies the story's narrative voice and
is called the story's narrator. There are two main choices: a story can be told
either through one of its characters (usually the protagonist - using the first
person pronoun, 'I') or by a person outside the story itself (which seems often
to be that of the author and which uses the third person pronouns 'he', 'she' or
'they'). Most importantly, it is the narrative voice that creates a particular
kind of relationship with the reader that mediates all that the reader can
understand about other characters and the events and ideas of the story.
Working out and considering the effects of the
author's particular choice of narrative voice adds to your understanding of
the characters, the story and the themes. How obvious is this voice? What
are its qualities - its effects on you, the reader? Does it seem entirely
trustworthy? Is it reliable? Is it educated? Is it biased towards a
particular character or way of viewing society? Working out how the
narrative voice mediates what you come to know and understand about the
characters, events and themes is a key exam and coursework skill - and is
highly rewarded as it is classed as a high level skill. First Person Narrative The important thing to remember here is the limitations of this choice of narrator: a first person narrator is limited by time and place, by who they are, by what they know and what other characters tell them. But this choice of narrator is able to create a close relationship with the reader - indeed, it is highly possible for the reader to feel as if they are the narrator in this kind of narrative, so close is the relationship that develops. Third Person Narrative A third person narrator can 'see' and 'tell' everything about each character, and be anywhere at any time, able to judge and comment upon events and characters at will; however, third person narrators are usually not neutral and are given limited and biased viewpoints by the writer such that the narrative voice leads the reader to support the 'hero' and criticise the 'villain'. A third person narrator is sometimes referred to as an omniscient narrator when the viewpoint is more neutral and 'all-knowing'. |
NARRATIVE STRUCTURE
Narratives are told in such a way that they allow the plot to be slowly
revealed. This technical device causes the reader to become enjoyably absorbed
and involved in the plot as we enjoy guessing and predicting what might happen
next. Clearly the sequence of events that develop the plot is an important
consideration when you are analysing and discussing a particular story. Again,
this is classed as a high level skill and so can attract many marks.
More about structure...
The following table shows graphically how writers often structure their stories
in a way that they know a reader will feel is most satisfying and which will
allow the plot to be developed slowly and most convincingly:
BEGINNING | > | MIDDLE | > | END |
'Exposition' | > | 'Conflict and rising action' | > | 'Resolution' |
In the opening, the reader needs to be 'exposed' to sufficient information and detail to allow the story to 'work'; they also need to be 'hooked' into the imagined 'story-world'. This is the role of the opening section, the 'exposition'. It gives answers to key questions: who (the protagonist) , where, when and in what (cultural) situation (all part of the 'setting'): all narrated in an interesting lively way. An intriguing 'plot hook' is given early, 'hooking' the reader into the storyworld. A suitable mood helps, often given through careful description of setting; this helps the reader 'feel' a sense of 'being in the fictional story-world'. A story can begin in media res - in the middle of the action - but this forces the need for some kind of flashback device. In the exposition, the sense that the main character's life is in 'equilibrium' is suggested - a balance about to be disturbed by the 'conflict'! | > | The protagonist meets a problem - his or her life is disturbed in some way the action is built up to a climax the protagonist deals with the conflict. The reader will be brought to sympathise with the protagonist during the conflict and to feel anger at the role of the antagonist. | > | The conflict resolves in a way that will seem satisfying; the story ends and the life of the protagonist enters a new 'equilibrium'. He or she has changed, becoming wiser having dealt with life's problems. |
CHARACTERISATION
Characterisation is the term for
the creation of characters. To discuss aspects of characterisation,
you'll need to consider how the author helps you to believe in and either empathise
with (i.e. 'understand') or distrust the story's characters.
Some characters can be called rounded. These are those who are
of most importance to the story. Other, lesser, characters can seem flat
in comparison, and might be more simplistically drawn to be a stock
character - a kind of fictional stereotype
(see below for more).
Look for ways in which you have been brought to an emotional 'relationship' with
certain characters, either for or against them. You will find yourself, likely, empathising, even sympathising
at times,
with the protagonist, engaging with what they are involved in and
the way they are thinking. Why do you think it is that readers always identify
with the 'good guy' and never the 'bad guy'? Look closely at your story and see
how this literary trick was achieved.
DIALOGUE The reader's relationship with a character is
often helped to develop by what characters are given to say and how they say it. The
technical term for speech in a story is dialogue and it can be very effective at
drawing a reader into a story and making the characters seem very believable.
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DESCRIPTION
Look out for the ways
description has been used to create an effective mood or atmosphere (especially tension), and how this supports the action or characterisation.
'TELLING' vs. 'SHOWING' Although it is usually far quicker to do so, writers will often try to avoid simply 'telling' a reader about things; instead, they prefer to 'show' the reader what something or someone is like. For example, instead of telling you a character is, say, 'evil', an effective writer would rather 'show' the character acting in an evil way, or describing features that seem evil. This is far more convincing ploy. 'Showing' acts by involving the reader and engaging them in an emotional or 'sensory' way with the story's details: seeing, hearing, touching, almost sometimes tasting what is described.
Read how John Steinbeck mixes 'showing' with 'telling' in this brief extract from the opening of 'Of Mice and Men'
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SETTING
Setting refers to the time, place and situation in which the author sets the characters and action. Sometimes, the term 'landscape' is used to refer specifically to place the description of place. Importantly, setting is almost always important to the story in terms of its mood, atmosphere, characterisation or themes.
'MENTAL LANDSCAPE'
The term mental landscape is the name of a commonly used literary device. When an author creates a 'mental landscape', he or she describes a setting in a way that not only creates a sense of place but also works to suggest the mood of the scene or the characters within it. Ghost stories rely heavily on the use of mental landscapes, for example, when a fearful and foreboding setting is described, we know that what the author wants us to recognise also is the fear in the minds of the characters. This technique can also be called pathetic fallacy. |
LITERARY CONVENTIONS
Fiction only appears realistic to make it work we have, in fact, to 'suspend
disbelief' and we do this willingly. Conventions are a part of the experience of
reading a story because we 'suspend disbelief' we are rarely aware they even
exist. Here are a few: the events described in a story are not truly realistic
because they focus only on what happens to particular characters and only those
actions needed to move the plot along are described, all else is ignored
'flashbacks' and 'letters' may be used to help fill in background, and so on.
You can see that fiction relies on a willing co-operation between writer and
reader.
VERISIMILITUDE
When you are analysing and writing about a story, it is important that you keep
reminding yourself that - however believable and realistic the story may seem -
it is purely an imaginative invention of its author.
Stories appear realistic and believable through the author's skilful use of various literary devices. The most important of these is the author's choice to use the most trusted form of storytelling, i.e. narrative.
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UNITY
Unity describes the way a story pursues
a single main idea, which is the writer's
theme; coherence is the way a story 'holds
logically together', with each part existing in a kind of 'cause and effect'
relationship with previous and following parts of the story.
Even description and dialogue are constructed so as to seem to 'hold together' in this way. They are only ever used when they will add to the overall coherence and unity of the narrative.
Notice how, in any professionally written story, the author includes only those elements (i.e. of plot, dialogue, description, etc.) that are required to develop its overall theme.
Real life, of course, is certainly not coherent or unified, and this
should show you just how unrealistic stories really are (although this lack of realism is hidden very well indeed).
We are all certainly very easily fooled by
narrative conventions into thinking that the story is true-to-life. But it is only
these narrative conventions, such as unity and coherence, that fool us into thinking that we are reading is believable in reality, of course, a narrative is always nothing more than someone else's
version of reality.
You should approach all stories with the realisation that they are, at heart, a construction: no more than a vehicle for the author both to entertain you... and persuade you to see the world in a certain way: the way the author wishes!
All stories have - woven into every aspect of them - their author's 'controlling' or 'dominant' idea (these are the reasons that motivated the author to write it - his or her themes). No part of what an author writes will lead you away from this dominant idea: there are never any loose threads in a well-woven professionally written story at all times you will be aware that what you are being told is important in some way to the story that is slowly and inexorably unfolding.
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USING QUOTATIONS
Using
quotations effectively will
boost your marks and grade!
You'll definitely receive low marks if you don't use
quotations in your answers but avoid
opening a paragraph with a quotation.
Instead, structure each body paragraph by opening it with a point that in some clear way is helping to answer the essay question. Follow this with a quotation that shows the point to be soundly based on the text, i.e. to show how that part of the text made you think the way you have explained in your opening point.
See this in action, here:
Steinbeck's use of description is an important aspect of his style and is obvious even in the opening lines of 'Of Mice and Men' where he paints a paradise like version of nature: 'the Salinas River drops in close to the hill-side bank and runs deep and green. The water is warm too, for it has slipped twinkling over the yellow sands in the sunlight...' |
The purpose of the quotation is to show that the point you have just made
is based on an interpretation of the text.
As you can only have arrived at the points you open your paragraphs with because of some aspect of the text you have read, it follows that you should be able to find a small part of the text to show how it made you feel that way... and this is what you should quote (and please remember, it's 'a quotation' not 'a quote').
A quotation is the obvious and most effective way to support each point you make in your essay.
Using a quotation gives you the opportunity then to comment on the language of the quotation (see below).
Sometimes a description is needed instead
of a quotation - especially when your point concerns structure
(in an essay on a play, you will be describing the stage action, too).
The quotation you choose needs to be just sufficient to show why you said you were led to think in the particular way that your opening point says you do.
Choose a quotation that shows just what it was that led you to your point.
Keep quotations apt and short - just sufficient to clearly support your point (never more than two lines is a good rule of thumb).
Typically, you should find yourself using, perhaps, one quotation per paragraph (of course, in a comparative essay, two quotations are more likely).
If the quotation is just a few words long (and the majority probably should be), keep it within your own sentence but always within quotation marks.
If the quotation needs to be longer, for example if you need to quote more than a single line of a play or a poem, you should set it off from your own writing on a new line, as if it were a new paragraph (as shown in the examples above and below).
Don't worry about leaving lots of space like this - it's the standard way to do it.
As suggested, the quotation or description needs to support the point it follows - after all, that's the reason you've chosen it.
If your quotation does not support your point clearly and obviously, choose another!
Overlong quotations lose marks and are a waste of time and space.
Now to what gains most marks in an English essay...
If every point is followed by a quotation, then, just as importantly, each of these quotations must be followed by a substantial explanatory comment.
This is where you explain your interpretation in depth by discussing the effects, qualities, methods and purposes of the language the writer used in the quotation you have used.
It is this comment on the author's choices of effective
language,
style
and
structure
that gains the majority of marks in your essay.
You can easily extend your comment by discussing the effects and purposes of the language of each quotation by explaining how it is working in two ways: both at the part in the text where it occurs and how it contributes to the whole story (i.e. how it acts to develop the reader's understanding of the overall story - its plot and themes).
This is particularly important to your overall marks and it will increase the depth and quality of your essay.
FINDING
THE BEST QUOTATIONS
If you are writing answers on an extract printed on your exam paper, there are few problems with finding quotations as they are printed there in front of your eyes; however, for texts studied in class, you cannot take the text into the exam so will need to have learned by heart a number of short key quotations.
You are not expected to remember long quotations.
You will not be penalised if your quotations are not entirely accurate.
You will need to identify, with your teacher's help, a representative selection of quotations for each major character at key moments of the story that relate to important themes.
For each quotation you learn, make sure you can say something useful about its author's uses of language and style and how it helps the reader in some way understand the story and its themes better. This means working out the EFFECTS the quotations create on the reader and the PURPOSES intended by the author.
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