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An in-depth exploration of the key elements of narrative storytelling, focusing on exposition, rising action, climax, falling action, and resolution. how each element contributes to the development of a story, offering examples and questions to help readers better understand these concepts.
Typology: Schemes and Mind Maps
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The word “exposition” comes from Latin, meaning “to put forth.” During the exposition of a narrative, the author introduces the major characters of the story, including their physical descriptions, history, behaviors, motivations, fears, and relationships to other characters. During this stage of the story, the author establishes the setting by determining the time and location where the action will take place.
The mood of the story – that is, the emotional atmosphere (for example, the story may be light-hearted [“Once upon a time…”] or scary [“It was a dark and stormy night…”]) – is often established during the exposition, as is the tone – the way in which the narrator tells the story (for example, the narrator might have a romantic way of describing what happens, or a bitter and ironic take on the events).
Although exposition often takes place at the beginning of a narrative, sometimes it is woven throughout (often through the use of flashbacks) as a way of starting the action of the story sooner.
In well-crafted exposition, only the details that are essential to understanding the progression of the story are including. This principle is sometimes referred to as “Chekov’s Gun” – the Russian writer Anton Chekov is reputed to have said “Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.”
The rising action stage begins when something occurs to disrupt the balance established during exposition. (This event is sometimes called the “inciting incident” or “catalyst.”) This disruption creates a conflict that the protagonist must face. It could be a conflict with another character (called the “antagonist” – not necessarily a villain, but someone who gets in the protagonist’s way and prevents the main character from getting what he or she wants). Alternatively, the protagonist could be in conflict with society as a whole, with the forces of nature, fate, God, or even with him or herself. Rising action can include multiple kinds of conflict – for example, the protagonist might be fighting against a challenging enemy but may also have to confront his or her own flaws. The expression “the plot thickens” refers to the complexity introduced by these conflicts.
Rising action usually involves multiple steps, including smaller challenges that will prepare the protagonist for the most significant struggle. The steps or episodes that take place during the rising action stage of the story often force the protagonist to change by developing a greater understanding of him or herself and the world. The protagonist may grow stronger as a result of these challenges. Secondary characters – mentors and sidekicks – may help the protagonist along in the journey.
Rising action creates tension by introducing uncertainty about the consequences of events. The reader should feel an incentive to continue reading to find out what happens next. The more significant the conflict, the greater the drama will be – if the protagonist has a lot at stake, the reader should feel more deeply invested in discovering the outcome.
During falling action, the immediate consequences from the outcome of the climax are made apparent. Minor conflicts, or conflicts resulting from the climax, are resolved. Characters struggle to come to terms with the new situation.
At the resolution stage (also sometimes called dénouement), balance is reestablished. The conflicts of the story have all been resolved, and so the dramatic tension is reduced. Often (but not always) the major characters will have experienced significant internal or external changes. If there are lessons to be learned from the story, they are made apparent by the resolution.
The writer Kurt Vonnegut said that a well-crafted ending to a story should feel as though insects ate the last few paragraphs of the paper – that is, the reader should have a sense of what will happen after the story has ended without the author explicitly stating it.
Resolutions also often take the main characters back to the same place (physically or emotionally) at which the story began as a way of calling the reader’s attention to what has changed (or what has not changed). This is called a full-circle ending.