A story or narrative is a connected series of events told through words (written or spoken), imagery (still and

moving), body language, performance, music, or any other form of communication.

All stories can be divided into two very broad categories: fiction and nonfiction. Within each there are a
huge number of possibilities in terms of subject matter, genre, type of delivery (oral, written,
performance), narrative style, and so on.

An autobiography (from the Greek auton, meaning “self”, bios meaning “life” and graphein meaning
“write”) is a biography written by the subject or composed conjointly with a collaborative writer (styled
“as told to” or “with”). The term dates from the late eighteenth century, but the form is much older.
Biographers generally rely on a wide variety of documents and viewpoints; an autobiography may be
based entirely on the writer‟s memory.

A memoir is slightly different from an autobiography. Traditionally, a memoir focuses on the “life and
times” of the character, while an autobiography has a narrower, more intimate focus on his or her own
memories, feelings and emotions. Memoirs have often been written by politicians or military leaders as a
way to record and publish an account of their public exploits. Modern memoirs are often based on old
diaries, letters, and photographs. Mark Twain was probably the first popular person to include
photography in his autobiography. He was especially interested and involved in the taking of the pictures
to control his photographic persona.

Biography (from the Greek words bios meaning “life”, and graphein meaning “write”) is a genre of
literature based on the written accounts of individual lives. While a biography may focus on a subject of
fiction or non-fiction, the term is usually in reference to non-fiction. As opposed to a profile or
curriculum vitae, a biography develops complex insight and highlights different textures of personality
including intimate details of experiences. A biography is more than a list of impertinent facts like birth,
education, work, relationships and death. It also delves into the emotions of experiencing such events.

A folk tale is a tale or legend originating and traditional among a people or folk, especially one forming
part of the oral tradition of the common people (including fairy tales, fables, old wives‟ tales).

A fairy tale is a story featuring folkloric characters such as fairies, goblins, elves, trolls, giants and others.
The fairy tale is a sub-class of the folk tale. These stories often involve princes and princesses, and
modern versions usually have a happy ending. In cultures where demons and witches are perceived as
real, fairy tales may merge into legendary narratives, where teller and hearers as having historical
actuality perceive the context. However, unlike legends and epics they usually do not contain more than
superficial references to religion and actual places, persons, and events.

In its strict sense a fable is a short story or folk tale embodying a moral, which may be expressed
explicitly at the end as a maxim. Fable comes from Latin fabula (meaning “conversation”, “narrative”,
“tale”) and shares a root with faber, “maker, artificer”. Thus, though a fable may be conversational in
tone, the understanding from the outset is that it is an invention, a fiction. A fable may be set in verse,
though it is usually prose. In its pejorative sense, a fable is a deliberately invented or falsified account.
The device of personification may be extended to anything inanimate, such as trees, flowers, stones,
streams and winds.

Fantasy is a genre of art, literature, film, television, and music that uses magic and other supernatural
forms as a primary element of either plot, theme, setting, or all three. The genre is generally
distinguished from science fiction and horror by overall look, feel, and theme of the individual work,
though there is a great deal of overlap between the three. In its broadest sense, fantasy covers works by
many writers, artists, and musicians, from ancient myths and legends, to many recent works embraced
by a wide audience today.
Science fiction is a genre of fiction in which advances in science, or contact with more scientifically
advanced civilizations, create situations different from those of both the present day and the known
past. Although science fiction is often written primarily to entertain, many authors use the genre to
provide insight into science, society, or the human condition. Broadly speaking, the science fiction genre
is concerned with the effects of science or technology on society or individuals. These effects may be
epic in scope or personal. The science-fictional elements may be imagined or rooted in reality, original or
cliché.

Horror fiction is, broadly, fiction intended to scare, unsettle or horrify the reader. Historically, the cause
of the “horror” experience has often been the intrusion of an evil, or occasionally misunderstood,
supernatural element into everyday human experience. Since the 1960s, any work of fiction with a
morbid, gruesome, surreal, exceptionally suspenseful or frightening theme has come to be called horror.

Crime fiction is the genre of fiction that deals with crimes, their detection, criminals, and their motives.
It is usually distinguished from mainstream fiction and other genres such as science fiction or historical
fiction, but boundaries can be, and indeed are, blurred. It has several sub-genres: detective fiction
(including the whodunnit1), legal thriller, courtroom drama, and hard-boiled fiction.

Detective fiction is a branch of crime fiction that centres upon the investigation of a crime, usually
murder, by a detective, either professional or amateur. It is closely related to mystery fiction but
generally contains more of a puzzle element that must be solved, generally by a single protagonist,
either male or female.

Mystery fiction is a distinct subgenre of detective fiction that entails the occurrence of an unknown
event which requires the protagonist to make known (or solve). It is similar to the whodunit in that the
clues may often be given to the reader by subtle means. Though it is often confused with detective
fiction, it does not require a crime to have occurred or the involvement of law enforcement.

As a literary genre, romance refers to a style of heroic prose and verse narrative current in Europe from
the Middle Ages to the Renaissance. Many medieval romances recount the marvelous adventures of a
chivalrous, heroic knight, often of super-human ability, who, abiding chivalry‟s strict codes of honour
and demeanour, fights and defeats monsters and giants, thereby winning favour with a beautiful but
fickle princess. The story of the medieval romance focuses not upon love and sentiment, but upon
adventure; some would call contemporary comic books and sci-fi the genre‟s successors.

Historical story is a genre in which the story is set among historical events, or more generally, in which
the time of the action predates the lifetime of the author. Historical fiction may centre on historical or on
fictional characters, but usually represents an honest attempt based on considerable research (or at least
serious reading) to tell a story set in the historical past as understood by the author‟s contemporaries.
Those historical settings may not stand up to the enhanced knowledge of later historians.

A psychological story is a work of fiction which places more than the usual amount of emphasis on
interior characterization, and on the motives, circumstances, an internal action which springs from, and
develops, external action. In this type of writing character and characterization are more than usually
important.

The adventure story is a literary genre that has adventure, an exciting undertaking involving risk and
physical danger, as its main theme. Adventure has been a common theme since the earliest days of
written fiction.

Thriller fiction, sometimes called suspense fiction, is a genre of literature that typically entails fast-paced
plots, numerous action scenes, and limited character development. It is sometimes called suspense
fiction because of the heightened level of stress or excitement that it induces in the reader. Along with
the aforementioned suspense fiction, it has more than a dozen sub-genres, including action-adventure
thriller, techno-thriller, conspiracy thriller, medical thriller, serial killer thriller, political thriller, military
thriller, romantic thriller, legal thriller, forensic thriller, and spy fiction.

Summary is a clear concise orderly retelling of the contents of a story and is generally about 10
sentences. However, the length of the summary may depend on the story itself.

Here is a general procedure you can use for composing a summary:

1. Read the text carefully. Divide it into logical parts. Sum up each part in 1–2 sentences.

2. A good summary of fiction includes: characters, setting, important events arranged in the logical
order.

3. Avoid minor details and repetitions.

4. Change direct narration into indirect.

5. Use your own words instead of words used by the author. Do not give quotations.

6. Avoid figurative language.

7. Stick either to the Past or the Present Tenses.

8. Avoid expressing your own judgements, opinions, deductions, interpretation or comments.

Plot is a chain of fictional events arranged in a meaningful pattern.

The way, in which the story elements arranged, is called a Plot‟s structure. Components of the
traditional plot development:

Exposition usually includes the establishment of the setting (time and place), the introduction of the
theme and some or all of the characters, creates the tone. Usually, in the exposition a reader can
discover the answers to the following questions: “Who? What? When? Where?” The exposition ends
when the problem or conflict is introduced. The inciting incident ends the exposition. It is the incident in
the story without which there would be no story. The inciting moment sets the rest of the story in
motion. When the conflict enters the narrative, the exposition ends and the rising action begins.

Complications (or rising action) follow the exposition and, as a rule, consist of several events which
become tenser as the plot moves towards the moment of decision (the climax). During the rising action,
the main character or protagonist of the story may struggle with the conflict but be unable to resolve it.

Climax is the turning point in plot development, the moment when the character makes decision which
course of action to take. This point in the story is when things finally start to move in a different direction
and it may not always be a positive direction. Identifying the climax or turning point is the first thing
that you should do when identifying the structure of a story. To find the climax, look for changes in the
main character. The main character may change, learn a lesson, or meet an important person, and this
change will prepare the main character to resolve the conflict in the story.

Falling action: During the falling action, the conflict unravels with the main character either winning or
losing. Thus, the falling action of a story is often developed in one of two ways: if the problem of the
story was solved during the climax, the falling action will simply “wind-down” to the end of the story;
however, if the conflict was not resolved during the climax, the falling action may have the protagonist
preparing to meet or address the conflict in an impending moment of final suspense. To put it more
simply, falling action refers to any event after the climax right up until the end of the story.

A moment of final suspense occurs when the protagonist, after having experienced a change during the
climax, meets or addresses the conflict. This is the last part in the story when there is tension, as the
resolution of the story depends on the outcome of the moment. Not every story has a moment of final
suspense, but many stories do.

Denouement is the action that follows the resolution of the conflict; the event or events that bring an
action to an end. At this point the fate of the main character is clarified. The conflict is resolved. A story
may have no denouement. By leaving it out the author invites the readers to reflect on the story and to
image the outcome of all the events themselves.

A work of narrative prose that has all the above-mentioned elements is said to have a closed plot
structure. A literary work in which some elements are omitted or are not represented in their
conventional form is said to have an open plot structure. Thus, writers may vary the plot‟s structure
depending on the needs of the story.

Man in a hole: The action begins with a man or group of men getting trapped in some kind of a hole,
goes on to show how they try to climb out and ends with them either escaping to safety or sliding back
to the bottom for good. It is a dramatic or progressive plot: A chronological structure which first
establishes the setting and conflict, then follows the rising action through to a climax and concludes with
a denouement.

Man on the road: This kind of plot is found more often in a novel than in a short story. Many novels and
short stories achieve their unity, not through a single action, but through a single hero, walking through
various stages on the road of life. Man on the road is episodic: it consists of a series of loosely related
incidents, usually of chapter length, tied together by a common theme and /or characters. Episodic plots
work best when the writer wishes to explore the personalities of the characters, the nature of their
existence, and the flavour of an era.

Man in a tub plot is connected to the story of the Greek mathematician, Archimedes who was once
asked to determine whether a crown belonging to a ruler, was made of pure gold. When he hit upon a
method of determining the purity of gold while bathing he shouted “Eureka!” (“I have found it!”). Man
in a tub involves two steps: first a straightforward, constructed, usually commonplace event, and then a
flash of realization. Man in a tub plot is focused internally (limited physical movement in the tub), thus
being closely related to Man against himself conflict.

A fictional plot is usually based on a conflict. Conflict in a literary work is a situation or problem which a
character tries to resolve. Conflict is essential to the growth of the character over the course of the story:
It is the engine that drives the plot. Conflicts can take various forms: internal – within the character‟s
consciousness or soul and external – a conflict between a character and outside forces.

Setting means the time and place that form the background for the story (when and where the story
happens). It‟s a literary element of literature used in novels, short stories as well as in plays and films,
and it is usually introduced during the exposition (beginning) of the story, along with the characters.

Possible elements of the setting:

1. Physical objects (e. g. elements of domestic interior).

2. Social and cultural environment.

3. Geographical location and landscape.

4. Historical period.

Possible functions of the setting:

1. Setting the story in a particular environment, the author creates the necessary atmosphere.
2. Setting the story in a true-to-life environment, the author increases the credibility of the characters
and events in the story (such a setting may include geographical names and allusions to historical
events).

3. The setting, e. G. Descriptions of nature, may function as means of expressing the emotional state of
the character.

4. The setting may also enhance characterization by either paralleling or contrasting the character‟s
mood and actions.

5. The main function of the domestic interior as an element of the setting is individualization of the
character, revealing certain personality traits.

6. The setting may serve as contrasting background to the action of the story. Descriptions of peaceful
and undisturbed nature may precede stormy violent action in the story, and thus help the author to take
the reader by surprise.

7. The setting may function as a main force opposing the character (protagonist), if the story is based on
the man-versus-nature conflict. In that case the setting becomes the antagonist whom the main
character must overcome.

8. The setting often acquires a symbolic meaning and helps to reveal the central idea(s) of the story. The
setting in a story may perform either one or several functions simultaneously.

Narrative structure, also referred to as a storyline or plotline, describes the framework of how one tells
a story. It is how a book is organized and how the plot is unveiled to the reader.

Linear / Chronological / Straight-line narrative: the author tells a story in chronological order. This
structure can include flashbacks, but the majority of the narrative is told in the order that it occurs. Most
books tend to fall under this narrative structure.

An episodic plot: this is also a chronological structure, but it consists of a series of loosely related
incidents, usually of chapter length, tied together by a common theme and/or characters. Episodic plots
work best when the writer wishes to explore the personalities of the characters, the nature of their
existence, and the flavour of an era.

Nonlinear / fractured: a nonlinear structure tells the story out of chronological order, jumping
disjointedly through the timeline. David Mitchell‟s Cloud Atlas is an example of this narrative structure,
as it switches between multiple characters at different points in time.

Nonlinear / complex structure: events are not arranged in chronological order and flashbacks are used
to bring the past of the characters into the story.

Circular: in a circular narrative, the story ends where it began. Although the starting and ending points
are the same, the character(s) undergo a transformation, affected by the story‟s events. S. E. Hinton‟s
The Outsiders is an example of circular narrative structure.

Parallel / frame structure: this is a story within the story; the two stories contrast or parallel. In parallel
structure, the story follows multiple storylines, which are tied together through an event,character, or
theme. F. Scott Fitzgerald‟s The Great Gatsby or the movie Finding Nemo are both examples of this
structure.

Interactive structure occurs when the reader makes choices throughout the interactive narrative,
leading to new options and alternate endings. These stories are most prominent as “choose your own
adventure” books.
In nonlinear plots, authors may employ different literary techniques to tell their stories. A narrative
technique is a strategy used in the making of a narrative to relay information to the audience and,
particularly, to “develop” the narrative, usually in order to make it more complete, complicated, or
interesting. Some common techniques include flashback, foreshadowing, retardation, subplots, parallel
plots, trick ending, etc.

A flashback is a scene that is interjected into a story; it takes it back in time. It is primarily used to tell
about events that occurred before the main timeline of a story or to provide a back story on a character
or situation.

Foreshadowing occurs when the author hints at future events that may occur in a story. This can be
done through dialogue, a character‟s actions, the setting, or another event. It helps readers develop
expectations about the story.

Flash-forwarding and foreshadowing are similar. However, a flash-forward shows what will actually
happen in the future, while foreshadowing only hints at what will happen. Foreshadowing does not
include a depiction of the complete scene, but just a sense of a theme that will reoccur, highlighting a
minor character who will later become important, or dropping a few hints about how a conflict will be
intensified or resolved.

Retardation is the withholding of information (the author holds some facts back and keeps the reader
guessing).

Subplots refer to secondary events and actions in a story that can connect to and / or support a main
plot. They can involve the main characters or focus on supporting characters instead.

Parallel plots refer to two or more narratives that are connected together by a common character,
theme, or event. Sometimes the narratives occur at the same time, but other times, one will take place
in a different time period.

Trick ending: also called O. Henry ending or a surprise ending, this term refers to a totally unexpected
and unprepared turn of events, one which alters the action in a narrative, the end of a short story comes
out as a complete surprise. The term comes from the short stories of O. Henry, which typically involve
such a conclusion. O. Henry ending is usually a positive term of praise for the author‟s cleverness. O.
Henry endings usually do not work well with foreshadowing, but particularly clever artists may craft their
narratives so that the foreshadowing exists in retrospect.

Deus ex machina, (Latin god from the machine) a person or thing that appears or is introduced into a
situation suddenly and unexpectedly and provides an artificial or contrived solution to an apparently
insoluble difficulty. The term was first used in ancient Greek and Roman drama, where it meant the
timely appearance of a god to unravel and resolve the plot. The deus ex machina was named for the
convention of the god‟s appearing in the sky, an effect achieved by means of a crane.

A red herring misleads the audience, guiding them towards one outcome with the intention of hiding
the actual outcome. In many murder mysteries, for example, the author leads the reader to believe that
a certain character is the killer, taking away all suspicion away from the real killer. The term originated in
the 18th century, when dog trainers would use pickled herring (a very pungent fish with reddish meat) to
distract their tracking hounds. In order to succeed in their task, the trainee dogs would have to ignore
this powerful odour and follow the original scent.

Chekhov’s gun is a device used in drama and literature that requires every element of a story to be vital.
The idea is that if there is a gun on the stage in one scene, it should be fired in a future scene. So, an
object that seems insignificant may turn out to be a key element later on.
First person singular point of view uses the “I” pronoun to refer to the narrator. This narrator is usually
the protagonist of the story, and this point of view allows the reader access to the character‟s inner
thoughts and reactions to the events occurring. Sometimes the narrator is not the main character but an
important character who is witnessing what happens to the main character. Like Sherlock Holmes‟
assistant Dr.Watson tells the story of Sherlock‟s investigations. All of the action is processed through the
narrator‟s perspective, and therefore this type of narrator may be unreliable. An unreliable narrator
doesn‟t tell the true and complete story. It could be the character is immature or intellectually
undeveloped, like the developmentally delayed character, Charlie, in Daniel Keyes‟ Flowers for Algernon.
The choice to write from an unreliable first person point of view gives the reader a chance to figure out
what is reality and what is a creation on the part of the narrator. A reliable narrator tells us what
happens in a way that is true and undistorted. Most first person narrators are reliable.

First person plural point of view is extremely uncommon, as it uses “we” as the primary pronoun. This
implies a group of people narrating the story at once. While it is unusual now, most Greek tragedies
contained a chorus that narrated the events of the play together. To use this point of view successfully,
there must be a sense of group identity, either facing a similar challenge together or placing themselves
in opposition to another “outside” group.

First person point of view is divided into the following categories:

− Subjective Narrator: character gives his/her thoughts and feelings along with the events in the story.

− Objective Narrator: character tells the events only without including his/her reactions to them.

−Multiple Narrators: first person accounts by several characters.

Another uncommon point of view is second person, using the “you” pronoun to narrate the story. This
point of view either implies that the narrator is actually an “I” trying to separate himself or herself from
the events that he or she is narrating, or allows the readers to identify themselves with the central
character. This was popularized in the 1980s series by R. A. Montgomery Choose Your Own Adventure.

Third person point of view uses “he” and “she” as the pronouns to refer to different characters, and
provides the greatest amount of flexibility for the author. There are three main possibilities for the third
person point of view: limited, omniscient and objective.

In a third person limited point of view, the reader is privy only to one usually main character‟s thoughts.
In this way, it is similar to the first person singular point of view, since the focus stays tightly on one
character but the narrator is not the character in the story.

Third person omniscient point of view allows the author to delve into the thoughts of any character,
making the narrator seem godlike. Omni means all and scientia means knowledge, thus omniscient is all-
knowing. So, an omniscient narrator literally knows everything about what is going on in the story. The
narrator can know what the character is thinking, or what all the characters are thinking, or even what
an inanimate object feels. This kind of narrator can even know what will happen to the characters in the
future if the writer so chooses. It is like the voice of all-knowing God floating over the action, leading the
reader through the narrative. The third person omniscient narrator speaks in the third person and is not
a character in the story. This was a popular point of view in the 19th century novels.

Third person objective narrator is not a character in the story, speaks in the third person voice and can
tell only what is observable through the five senses. This narrator describes what the characters say or
do without offering information on the characters thoughts, feelings or reactions. It‟s like a video
camera that records the events, but only sees the factual surface of the events and lets the reader to
infer what is going on beneath the surface.
1.Direct or explicit characterization. This kind of characterization takes a direct
approach towards building the character. It uses another character, narrator, or the
protagonist himself to tell the readers or audience about the subject. Direct
characterization means the way an author or another character within the story
describes or reveals a character, through the use of descriptive adjectives, epithets,
or phrases. In other words, direct characterization happens when a writer reveals
traits of a character in a straightforward manner, or through comments made by
another character involved with him in the storyline. Direct characterization helps
the readers understand the type of character they are going to read about.
Function of direct characterization: direct characterization shows traits as well
as motivation of a character. Motivation can refer to desires, love, hate, or fear of the
character. It is a crucial part that makes a story compelling. Descriptions about a
character‟s behaviour, appearance, way of speaking, interests, mannerisms, and
other aspects draw the interest of the readers and make the characters seem real.
Also, good descriptions develop readers‟ strong sense of interest in the story.

2. Indirect or implicit characterization. This is a more subtle way of introducing the character to the
audience. The audience has to deduce for themselves the characteristics of the character by observing
his / her thought process, behaviour, speech, way of talking, appearance, and manner of communication
with other characters, as well as by discerning the response of other characters.

Characterization is an essential component in writing good literature. To put it briefly, it helps us make
sense of the behavior of any character in a story by helping us understand their thought processes. A
good use of characterization always leads the readers or audience to relate better to the events taking
place in the story. Dialogues play a very important role in developing a character, because they give us an
opportunity to examine the motivations and actions of the characters more deeply.

There are a number of means of indirect characterization:

1. Speech: What does the character say? How does the character speak?

Verbal behaviour (the way a character speaks, or what acharacter says in a certain situation) is a
powerful means of characterization, revealing the social and intellectual standing, age, education and
occupation, individual experiences and psychology of a character. It also expresses a character‟s state
ofmind and feelings, the attitude to his interlocutors. When analyzing speech characteristics, one should
be alert for:

a) markers of official style (I presume, I beg your pardon, etc.), or markers of informal conversational
style: contracted forms, colloquialisms, elliptical sentences, tag constructions (as you know), initiating
signals (Well, Oh), hesitation pauses, false start – all of which normally occur in spontaneous colloquial
speech and often remain unnoticed, but in “fictional conversation” they may acquire a certain function,
as they create verisimilitude and may indicate some features of the speaker‟s character;

b) markers of the emotional state of the character: emphatic inversion, the use of emotionally coloured
words, the use of breaks- in-the-narrative that stand for silence, the use of italics, interjections,
hesitation pauses;

c) attitudinal markers: words denoting attitudes (hate, adore, despise), intensifiers (very, absolutely,
etc.);

d) markers of the character‟s educational level: bookish words, rough words, slang, vulgarisms,
deviations from the standard;
e) markers of regional and dialectal speech, which define the speaker as to his origin, nationality and
social standing: foreign words, etc.;

f) markers of the character‟s occupation: terms, jargonisms;

g) markers of the speaker‟s idiolect, i.e. his individual speech peculiarities which serve as a means of
individualization and verisimilitude.

2. Thoughts: What is revealed through the character‟s private thoughts and feelings? If an author is
omniscient, or able to relay every character‟s thoughts, then we can learn a lot about the character
through their thoughts. Do they go home and brood angrily by the fire? Do they worry and wonder
through their days, hoping they haven‟t offended a soul and garnered everyone‟s affection?

3. Effect on others: What is revealed through the character‟s effect on other people? How do other
characters feel or behave in reaction to the character?

4. Actions: What does the character do? How does the character behave? Is he or she rash and
spontaneous? Or, is he or she quiet, reserved, and slow to making any sort of change?

5. Looks: What does the character look like? How does the character dress? The writer often marks
some suitable feature in the character‟s portrait that is suggestive of his nature. In literature physical
portrayal often suggests moral, mental or spiritual characteristics.

6. Psychological portrayal and analysis of motive: The penetration into the mind of the character and
his thoughts, description of the mental processes and subtle psychological changes that motivate his
actions – all that is an effective means of characterization that writers often resort to.

7. Description of the world of things that surround the character. The character‟s room, clothes,
belongings may serve as a means of characterization. Domestic interiors of the setting are sometimes
treated as metonymic, or metaphoric, expressions of character.

8. The use of a foil. The foil may be introduced as a means of characterization in order to accentuate the
opposing features of a character he is contrasted with.

9. The naming of characters. The name may be deliberately chosen to fit a certain character. For
example, such names as Murdstone (murder + stone), Backbite, Shark are suggestive as they bring into
play the associations which the words they are composed of have.

Types of characters
All stories need certain necessary elements. Without these elements, literary works often fail to make
sense. For instance, one of the essential elements of every story is a plot with a series of events.
Another important element is a character.
A character is a person, animal, being, creature, or thing in a story. Writers use characters to perform
the actions and speak dialogue, moving the story along a plotline. A story can have only one character
(protagonist) and still be a complete story. This character‟s conflict may be an inner one (within him /
herself), or a conflict with something natural, such as climbing a mountain. Most stories have multiple
characters interacting, with one of them as the antagonist, causing a conflict for the protagonist.
The main function of a character in a story is to extend or prolong the plot, make it readable and
interesting. Many stories use multiple characters, and every story has a main character that affects the
plot a great deal. The main character could be a protagonist, an antagonist, a dynamic, a static, a flat,
or a round character.Readers feel that the characters given in the literary pieces exist, and they enjoy
reading their real and lifelike figures and actions.
The characters in a story can be divided into main (key, major) and minor (subordinate) ones. There are
many types of the characters.
Every story has a protagonist, the main character, who creates the action of the plot and engages
readers, arousing their empathy and interest. The decisions made by this character will be affected
by a conflict from within, or externally through another character, nature, technology, society, or
the fates / God.
An antagonist is a character, or group of characters, causes the conflict for the protagonist. However,
the antagonist could be the protagonist, who is torn by a problem within. Most times, something
external is causing the problem. A group of people causing the conflict would be considered society,
perhaps the members of a team, community, or institution. Additionally, the antagonist could be a
part of nature, such as an animal, the weather, a mountain or lake. A different kind of antagonist
would be an item such as a pen, car, phone, carpet, etc. These are all considered technology, since
they are instruments or tools to complete a job. Finally, if the conflict comes from something out of
the character‟s control, the antagonist is fate or God.
These are the other characters in a story. They are not as important as the major characters, but still
play a large part in the story. Their actions help drive the story forward. They may impact the
decisions the protagonist or antagonist makes, either helping or interfering with the conflict.
Character Development is the change in the person from the beginning to the ending of a story.
A dynamic character changes during the course of a novel or a story. This change in character or his / her
outlook is permanent. That is why sometimes a dynamic character is also called a developing character.
A static character remains the same throughout the whole story.
Even the events in a story or novel do not change character‟s outlook, perceptions, habits, personality,
or motivations.
Round characters are well-developed and complex figures in a story. They are more realistic, and
demonstrate more depth in their personalities. They can make surprising or puzzling decisions, and
attract readers‟ attention. There are many factors that may affect them, and round characters react
to such factors realistically.
A flat character does not change during a story. Also, he or she usually only reveals one or two personality
traits.
A stock character is a flat character that is instantly recognizable by readers. Like a flat character, the
stock character does not undergo any development throughout the story.
A symbolic character represents a concept or theme larger than themselves. They may have dynamic
qualities, but they also exist to subtly steer an audience‟s mind toward broader concepts. Most are
supporting characters, but some stories have symbolic protagonists, such as Dostoevsky‟s The Idiot.
When it comes to symbolic supporting characters, Boo Radley in To Kill A Mockingbird is an example,
representing a much larger legion of outcasts. A symbolic character is used to represent something larger
and more important than themselves, which usually ties into the overall message of the book or series.
This type must also be used sparingly – or at least subtly, so the reader doesn‟t feel like the symbolism is
too heavyhanded. As a result, the true nature of a symbolic character may only be fully understood at the
very end of a story.
A confidante is someone in whom the main character confides. He reveals the central character‟s
thoughts, intentions, and personality traits. However, a confidante need not necessarily be a person. An
animal can also be a confidante. Confidants are often best friends, but they may also be a potential love
interest or even a mentor. The protagonist shares their thoughts and emotions with this person, even
when they‟re reluctant to share with anyone else. However, the confidant might also be someone the
main character turns to, not because they want to, but because they feel they have no other choice.
A foil is a character that has opposite character traits from another, meant to help highlight or bring out
another‟s positive or negative side. Many times, the antagonist is the foil for the protagonist.
A villain is a bad guy, the one who comes up with diabolical plots to somehow cause harm or ruin. The
villain may truly believe that he / she is helping society, but causes harm in the process. In the old days,
the villain (usually a man) would somehow be harming the damsel-in-distress (helpless female), who
needed the hero (the strong he-man) to save her. Nowadays, we are seeing more women as villains and
heroes, and the damsel-in-distress may be a man or a community.
The author’s mouthpiece is a character, expressing the author‟s view point to the problems raised
in the story and sharing his ideas and set of values.
A caricature is a character who is given a combination of oversimplified and exaggerated
characteristics and features. Caricature examples in literature can often include personality features
that are oversimplified or exaggerated. Caricatures can often be used for satirical purposes, or to
generalize about a group of people. Authors often choose to use caricature in their works of
literature to criticize qualities they see in their own societies.

Character archetypes
Characters in a work of fiction can usually be grouped into archetypes. An archetype is an idea,
symbol, pattern, or charactertype in a literary work. It is a story element that appears again and
again in stories from cultures around the world that symbolizes something universal in the
human experience. These archetypes have been categorized by Swiss psychologist Carl Jung, the
American literary theorist Joseph Campbell, and generations of authors, screenwriters, and
storytellers.
Here are some commonly discussed character archetypes:
The Lover: the romantic lead who is guided by the heart. Their strengths include humanism, passion,
and conviction. Their weaknesses include naiveté and irrationality. Some famous lovers are
Romeo, Juliet, and Scarlett O‟Hara.
The Hero: the hero could be the warrior, scapegoat, etc.; the protagonist who rises to meet a
challenge and saves the day. Their strengths are courage, perseverance, and honour. Their
weaknesses include overconfidence and hubris. These are especially common in fairy and folk tales.
The Magician: a powerful figure who has harnessed the ways of the universe to achieve their goals.
Their strengths may include omniscience, omnipotence, and discipline, while their weaknesses
center on corruptibility and arrogance. Prospero, Gandalf, Morpheus, and Dumbledore are famous
magician characters. The Outlaw: the rebel who won‟t abide by society‟s demands. The outlaw can
be a bad guy, but not always. The outlaw‟s strengths include independent thinking and skepticism.
Their weaknesses may include self-involvement and criminality. Among the famous outlaws are Han
Solo, Dean Moriarty, and Humbert Humbert.
The Explorer: a character naturally driven to push boundaries and find what‟s next. Their strengths: they
are curious, driven, and motivated by self-improvement. They are weak in that they are restless,
unreliable, and never satisfied. Famous explorers include Odysseus, Sal Paradise, and Huckleberry Finn.
The Sage: a wise figure with knowledge for those who inquire. Strengths of the sage include wisdom,
experience, and insight. In terms of weakness, the sage may be overly cautious and hesitant to actually
join the action. A few famous sages: Athena, Obi-Wan Kenobi, and Hannibal Lecter (an evil sage).
The Innocent: a morally pure character, often a child, whose only intentions are good. Their strengths
range from morality to kindness to sincerity. Their weaknesses start with being vulnerable, naive, and
minimally skilled. Famous innocents are Tiny Tim, Lennie Small, Cio-Cio-San.
The Creator: a motivated visionary who creates art or structures during the narrative. Their strengths
include creativity, willpower, and conviction. Their weaknesses include self-involvement,
singlemindedness, and lack of practical skills. Famous creators include Zeus, Dr. Emmett Brown, and Dr.
Moreau.
The Ruler: a character with legal or emotional power over others. The ruler‟s strengths include
omnipotence, status, and resources. Their weaknesses include aloofness, being disliked by others, and
always seeming out of touch. Famous rulers include Creon, King Lear, and Huck Finn‟s Aunt Sally.
The Caregiver: a character who continually supports others andmakes sacrifices on their behalf. Among
their strengths, caregivers are honorable, selfless, and loyal. Among their weaknesses, they lack personal
ambition or leadership. Sometimes they even lack self worth. Famous caregivers include Dolly Oblonsky,
Calpurnia, and Samwell Tarly.
The Everyman: a relatable character who feel recognizable from daily life. When it comes to strengths,
they are grounded, salt-of-the- earth, and relatable. In terms of weaknesses, they typically lack special
powers and are often unprepared for what is to come. Famous everymen: Bilbo Baggins, Leopold Bloom,
Leslie Knope.
The Jester: an intentionally funny character who provides comic relief but may also speak important
truths. Strengths include the ability to be funny, disarming, and insightful. Weaknesses include the
capacity to be obnoxious and superficial. Famous jesters range from Sir John Falstaff to King Lear‟s Fool
to George‟s parents in Seinfeld.
How to write a character’s sketch
There are two effective ways of arranging your character sketch. One of them is naming the qualities
of a character first and then supporting your opinion with the evidence from the text. The other one
is analyzing a character‟s behaviour in certain circumstances and deducing his / her traits of
character. While making a character sketch you should try to find answers to the following
questions:
1. Who are the main characters? Are they like real people?
2. Do they remind you of certain types of people? Which are the most interesting? Why?
3. Does the character seem to develop and change as the story progresses, or does he / she remain
about the same from beginning to end?
4. What are the strengths and weaknesses of the character under study? What incidents from the
text can you cite to support your conclusions?
5. To what extent does the personality of the character determine his / her success or failure?
6. What character did you like most and which did you dislike?
7. With which ones did it make a difference to you whether they were happy or not? Why?
8. Which ones helped you to understand people a little better than before?
9. How well does the author seem to know people and what
“makes them tick”?