PROSE

Prose is Prose : - Fiction : Novel, novelettte, short story - non-fiction : Science, history, religion, etc. Novel is considered as the longest one than other. 50000 or more words, at least 300 pages. Conflict is more complicated Short story : only one characters
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Fiction
Is action which primarily appeals to the imagination (Sulki suradinata, 1992:1) - invented story (contrasted with truth) (Oxford Dictionary)
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Novel - is a fiction written in a literary form of prose, dealing with human manners and characters (Selki Suradinata 1992:1) The variety of Novel -The early novel ~ 18th century - Advebture *Romantic - Horror & Macabre *Oriental - Crime & Detection *Satirical - Spy & Espionage *Domestic 5/3/12 - Historical *Social

Adventure : The Central character usually goes through all shorts of unusual & dangerous adventures, often in search of hidden wealth. e.g : Treasure Island (Robert Louis Steven Son)

Horror : These Novels may be about monsters, supernatural powers (especially those of evil), or place and buildings (especially castles) where strange & frightening happenings occur. e.g : Frankenstein (Mary Shelley) ; Dracula (Bram Stoker)

Crime & Detection : murder or theft ~ 19th Century e.g : The Moonstone (Wilkie Collins)

Mystery : It usually centres which is solved in the end. e.g : The Woman in white (Wilkie Collins)

Spy & Espionage : Secret agents, espionage & all mystery & danger that go with them. e.g : The Deadly Affair (John Le Carre)

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Historical : e.g : The Talisman (Walter Scott)

Romantic : Love between a man & a woman e.g : Jane Eyre (Charlotte Bronte)

Oriental : The Subject deals with the story in Eastern World. e.g : Rosselas Prince Abessinia (Samuel Johnson)

Satirical : These novels usually make fun of human feelings, political & religious organizations, habits & social customs, rich and poor, or the powerful & the weak. e.g : Gulivers Travel (Jonathan Swift)

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Element of Novel by William Victor, J.L Character The imaginary people you write about in your fiction or drama. e.g : Hamlet, Cinderella. The main character of your story is called protagonist.
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2. Plot Is what happens in a work of fiction, and the order that it happens in. For a work of fiction to be worth reading something has to happen by the end. You have to take the reader to form point A to point B. 3. Setting Is where your novel takes places. Your setting might be a room, a forest, a battle field, a spaceship. 4. Point of view Narrative point of new is the perspective from which you tell a work of fiction. 5. Dialogue
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The elements of novel by Suradinata

Theme : A main of basic idea of a story. Plot : A plan or an outline of the events a story. Characters : Person who act activities in the events of a story. Setting : Is scene considered as a background of a story (atmosphere) Verisimilitude : The credibility of a story. VERISIMILITUDE: The sense that what one reads is "real," or at least realistic and believable. For instance, the reader possesses a sense of verisimilitude when reading a story in which a character cuts his finger, and the finger bleeds. If the character's cut finger had produced sparks of fire rather than blood, the story would not possess verisimilitude. Note that even fantasy novels and science fiction stories that discuss impossible events can have verisimilitude if the reader is able to read them with suspended disbelief. Viewpoint : Who tells the story.

Setting Time a. Present time : his own time, thing that are happening around him (e.g. Oliver Twist by charles Dickens) (masih hidup dan menyaksikan) b. Past time : Go backwards in time, historical events, illiminate the past (e.g. The Talisman by Walter Scott) c. Future time : Take his reader into the future (e.g. 1984 by George Orwell) 5/3/12
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Place : Familiar place (e.g. Oliver Twist), unfamiliar place

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Familiar place : e.g. Oliver Twist by Charles Dickens Unfamiliar place : e.g. Burmese Days (George Orwell) Imaginary place : e.g. Guliver Travel (Jonathan Swift) No specific place Atmosphere : General feeling that is conveyed the readers.

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Credibility of a story Credibility (willingness to accept something as true in the characters and in their story world) must be meticulously nurtured in the literary story as an art form. Often credibility slips with illogical progression of plot ideas, or with poorly integrated character thoughts, actions, and words. Readers will fail to connect to a story where there is erosion of credibility, and the writing will not succeed. Even if the story requires suspension of disbelief as all stories do to some degreethere is always a dependency on the absolutely logical association and progression of ideas for good writing. Credibility in plot logic is the easiest to identify and discuss. As characters move through the story, choices are made for their action in the plot. Lazy or untalented choices will sink the story. For example, a prodigal son comes to the bedside of his dying father whom he has not seen since childhood. What happens next? He falls on his knees and weeps. He smothers his father to death with a pillow. He asks his sister to bring him a drink. He remains motionless, unable to feel emotion. And so forth. There are so many choices, but there is only one right choice for any one great story. An author finds that best choice after he or she seeks alternative after alternative. Most of these choices are made in the mind. But often an outline helps for timing and positioning, especially with critical story actions. Never take your first thought as your best, it rarely will be. 5/3/12

In characterization the credibility issue constantly lurks. It is a common error by an author that makes the reader reject and dislike the storyin varying degrees. You may think of credibility issues on two levels. First, the immediate. Is immediate story action, thought, reflection, or words of a character logical for that moment, and for what the reader knows about that character at that moment? Second, overall. Is the character developing in the story logically and along lines closely related to the theme of the story? Characters are chosen for a story by authors for (1) the capabilities of either having significant enlightenment about something or (2) for their potential of have significant change in their thinking and beliefs about something. As characters are developed, details and actions must be logical for how the characters will be irreversibly changed. Credible emotional content in a scene must also be considered to match exactly what is needed for the story for the moment. Paradoxically, to create tension in the reader from emotions in the story, it is not sufficient to crank up the language with four letter expletives, two-word sentences and imperatives, and describe things as brightest and loudest. In fact, for best writing, worthy emotional scenes are created without emotionally charged abstract language (he was flooded by fear and love), but by terse clear concrete language and structure. The emotional valence of a scene must also coincide with what the reader will expect at any point in the story 5/3/12

And surprise is a necessary component in story telling, but the surprise must be credible too. To fail breaks the connection between reader and character that is necessary for good stories. It may seem odd, but credibility need not relate to the reality of the readers world. Credibility is judged by the story world created by the author and told by the narrator. So a plot shift or a character decision set in 1929 needs only be credible for the story, and need not be credible for the readers time in existence. As the story is introduced, there is a contract of details established between author and readerunstated of coursethat continues to develop throughout the story and that will establish what is and is not credible. There is a tendency for an author to dismiss consideration of credibility. But authors cannot afford to risk rejection of a story by a reader because of failure to address credibility issues. Successful story writing needs credible plot and characters. In summary: for credibility, the final story productnovel or short storymust have reasonable thoughts and actions built on logical associations and progressions, total reader acceptance of timing and progression of story elements, and total believability that the emotional content of the writing matches the need for story development. 5/3/12

Ways of Telling a Story Autobiographical method -. The story is told in the first person ~ I e.g : Stevensons - Treasure Island
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2. Epistolary method -. The form of a series of letter between the various characters. e.g : Samuel Richardson PAMELA 3. Eye of God method -. No actual narrator at all -. an anonymous source which seems to be all knowing & all present -. Access to information hidden deep in the minds of characters. e.g : alfred Duggans Elephant and Castles 4. Stream of consciousness method -. This method follows the inners flow & life of the mind rather than the sequence of physical events in the time scale. -. A lot of things can happen in the mind in a short space e.g : James Joyces - Ulysses 5/3/12

5. Mixed method -First person ~ Stream of conciousness - Eye of God method ~ Stream of conciousness ~ Letters & diaries. - Letters ~ 1st person narrative e.g : Mary Shelley Frankenstein 6. Personal Authorial Interuption -Authors did step right into the narrative and address the readers directly in their own persons. e.g : Henry Fieldings Tom Jones

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