Perrine's Chapter Introductions Study Guide

What four expectations does a reader come to a piece of commercial fiction with?

1) A sympathetic hero or heroine--someone with whom the reader can identify and whose adventures and triumphs the reader can share 2) A defined plot in which something exciting is always happening and in which there is a strong element of suspense (thus the term "page-turner" often applied to a successful commercial novel 3) A happy ending that sends the reader away undisturbed and optimistic about life 4) A general theme, or "message," that affirms widely held, conventional views of the world

What expectations does a reader come to a piece of literary fiction with?

A reader is willing to expect the unexpected, instead of adopting a conventional way of storytelling, a literary author may create a unique style or angle of vision in order to express his or her artistic truth; and instead of a happy or conventional ending in which everything is tied together in a neat package, a literary work may end in an unsettling or even unresolved way, forcing us to examine our own expectations about the story itself, about the way the story is told, and about our ingrained, perhaps unconscious way of viewing a certain topic or idea that may have been challenged or changed by what we have read. In short, when reading literary fiction, we must keep an open mind and stay receptive to the author's imaginative visions, however different it may be from our own habits of perceiving and "reading" the world.

Define allegory, and explain how it is different from symbolism.

Allegory- A narrative or description that has a second meaning beneath the surface, often relating each literal term to a fixed, corresponding abstract idea or moral principle; usually, the ulterior meanings belong to the pre-existing system of ideas or principles. Allegory is different from symbolism because it puts less emphasis on the literal meanings and more on the ulterior meanings, which tend to constitute a pre-existing system of ideas of principles.

Define artistic unity.

Artistic unity is The condition of a successful literary work whereby all its elements work together for the achievement of its central purpose. In an artistically unified work nothing is included that is irrelevant to the central purpose, nothing is omitted that is essential to it, and the parts are arranged in the most effective order for the achievement of that purpose.

How do characters in literary fiction differ from those in commercial fiction?

Characters in literary fiction are composed of both good and evil impulses, three-dimensional human beings who live in our memory as "real" people long after we have stopped reading. However, characters in commercial fiction is attractive, sympathetic, and is easily identifiable.

Explain the difference between commercial and literary fiction.

Commercial fiction: The kind intended solely to entertain (legal thrillers and romance novels), written and published primarily to make money because it takes readers away from the real world, offering immediate pleasure, temporarily forgetting our troubles. Literary fiction: The primary subject of this book, written in hopes by the author to broaden, deepen, and sharpen reader's awareness of life. It hopes to provide a complex, lasting aesthetic and intellectual pleasure rather than a simple, escapist diversion; its object is to offer pleasure plus understanding.

How are themes different in commercial and literary fiction?

Commercial stories confirm their readers' prejudices, endorse their opinions, ratify their feelings, and satisfy their wishes. They are widely accepted platitudes of experience that may or may not be supported by the life around us. Literary fiction are likely to question these beliefs and often to challenge them.

Are commercial writers more concerned with plot or characterization? Literary writers?

Commercial writers are more concerned with plot, while literary writers are usually more concerned with characterization.

Define conflict, and identify the different types of conflict that Perrine gives.

Conflict is a clash of actions, desires, ideas, or goals in the plot of a story or drama. Conflict may exist between the main character and some other person or persons; between the main character and some external force--physical nature, society, or "fate"; or between the main character and some destructive element in his or her own nature.

How is conflict handled differently between commercial and literary fiction?

Conflict is handled in commercial fiction by emphasizing only the confrontation between man and man, depending on the element of physical conflict to supply the primary excitement. The conflict often is clearly defined in terms of moral absolutes: the "good guy" versus the "bad guy". Literary fiction uses all four major kinds of conflict. The contrasts are usually less distinct. Literary writers are aware of the complexity and more concerned with displaying its various shadings of moral values than with presenting glaring, simplistic contrasts of good and evil, right and wrong.

Define direct presentation (or characterization) and indirect presentation (or characterization). Which method is preferred in literary fiction, and why?

Direct presentation- That method of characterization in which the author, by exposition or analysis, tells us directly what a character is like, or has someone else in the story do so. Indirect presentation- That method of characterization in which the author shows us a character in action, compelling us to infer what the character is like from what is said or done by the character. Writers of literary fiction prefer indirect presentation because in order to involve the reader in a character, the author must show the character in action.

Define epiphany, and explain its relation to the term dynamic character.

Epiphany- A moment or event in which a character achieves a spiritual insight into life or into her or his own circumstances. In relation to the term dynamic character, the epiphany usually defines the moment of the developing character's change.

Define fantasy.

Fantasy- A kind of fiction that pictures creatures or events beyond the boundaries of known reality.

Why does fiction offer us greater insight into human nature than real life does?

Fiction offers a greater insight because it enables us to know people, understand them, and to develop compassion for them in a way we might not do without reading serious fiction, offering an exciting opportunity to observe human nature in all its complexity and multiplicity.

Define, fully, first-person point of view.

First-person point of view- The story is told by one of its characters, using the first person.

Define flat character, round character, stock character, static character, and dynamic character.

Flat character- A character whose distinguishing moral qualities or personal traits are summed up in one or two traits. Round character- A character whose distinguishing moral qualities or personal traits are complex and many-sided. Stock character- A stereotyped character: one whose nature is familiar to us from prototypes in previous literature. Static character- A character who is the same sort of person at the end of a work as at the beginning. Dynamic character- A character who during the course of a work undergoes a permanent change in some distinguishing moral qualities or personal traits or outlook.

Define happy ending, unhappy ending, and indeterminate ending. What are the two justifications Perrine offers for the use of unhappy endings?

Happy ending- An ending in which events turn out well for a sympathetic protagonist. Unhappy ending- An ending that turns out unhappily for a sympathetic protagonist. Indeterminate ending- An ending in which the central problem or conflict is left unresolved. The two justifications are: many situations in real life do have unpleasant outcomes; therefore, if fiction is to reflect and illuminate life, it must acknowledge human defeats as well as triumphs. The other justification is in its value in forcing us to ponder the complexities of life.

Where does suspense come from in commercial fiction? In literary fiction?

In commercial fiction, suspense comes from cliffhangers, which are supposed to make readers want to know who did it. In literary fiction, suspense comes from the questions that readers ask such as, "Why did he do it?"

How does the importance of theme differ between commercial and literary fiction?

In literary fiction, it is the primary purpose of the story; in commercial fiction, it is usually less important than such elements as plot and suspense.

Do we have to know every single character's thoughts for a story to be in omniscient point of view? Explain.

No, we do not because stories told from an omniscient point of view can vary in the amount of omniscience the narrator is allowed.

Define, fully, objective point of view.

Objective point of view- The author tells the story using the third person, but is limited to reporting what the characters say or do; the author does not interpret their behavior or tell us their private thoughts or feelings.

Define, fully, omniscient point of view.

Omniscient point of view- The author tells the story using the third person, knowing all and free to tell us anything, including what the characters are thinking or feeling and why they act as they do.

Explain what Perrine means when he states that "[m]ost successful stories are characterized by compression."

Perrine means that the writer's aim is to say as much as possible as briefly as possible, making sure that nothing is wasted and that the author chooses each word and detail carefully for maximum effectiveness.

What suggestions does Perrine offer about how to read literary fiction?

Perrine suggests to read any piece of literary fiction at least twice in order to fully grasp what it has to offer. 1) Read the book the first time to enjoy and familiarize yourself 2) Read the book a second time, reading slowing and deliberately to fully understand the significance.

Define plot, and explain how it is handled differently in commercial and literary fiction.

Plot is the sequence of incidents or events of which a story or play is composed. In commercial fiction, the plot may include many surprising twists and turns and a culminating, climatic incident; because the main goal is to keep the reader turning the pages. In literary fiction, a complex structure is often required to convey complex meanings.

Define plot manipulation, deus ex machina, chance, and coincidence.

Plot manipulation- A situation in which an author gives the plot a twist or turn unjustified by preceding action or by the characters involved. Deus ex machina- ("God from the machine") The resolution of a plot by use of a highly improbable chance or coincidence (so named from the practice of some Greek dramatists of having a god descend from heaven at the last possible minute--in the theater by means of a stage machine---to rescue the protagonist from an impossible situation). Chance- The occurrence of an event that has no apparent cause in antecedent events or in predisposition of character. Coincidence- The chance concurrence of two events having a peculiar correspondence between them.

Define point of view.

Point of view- The angle or vision from which a story is told.

Define protagonist and antagonist.

Protagonist- The central character in a story or play. Antagonist- Any force in a story/play that is in conflict with the protagonist. An antagonist may be another person, an aspect of the physical or social environment, or a destructive element in the protagonist's own nature.

How should readers of literary fiction evaluate the appropriateness of an ending?

Readers should evaluate the appropriateness of an ending by whether it is logical within the story's own terms and whether it affords a full, believable revelation. An ending that meets these tests can be profoundly satisfying, whether happy or unhappy.

Define stream of consciousness.

Stream of consciousness- Narrative that presents the private thoughts of a character without commentary or interpretation by the author.

Define surprise ending. What are the two ways by which the legitimacy and value of a surprise ending may be judged?

Surprise ending is a completely unexpected revelation or turn of plot at the conclusion of a story/play. The two ways are by the fairness with which the surprise is achieved and by the purpose that it serves.

Is suspense more important in commercial or literary fiction? Explain your answer.

Suspense is more important in commercial fiction because suspense makes readers what to keep reading, otherwise the story has little merit.

Define suspense.

Suspense is the quality in a story or play that makes the reader eager to discover what happens next and how it'll end.

Define symbol.

Symbol- Something that means more than what it is; an object, person, situation, or action that in addition to its literal meaning suggests other meanings as well.

Why four cautions does Perrine give about looking for symbolic meanings in a piece of literature?

The four cautions are: 1) The story itself must furnish a clue that a detail is to be taken symbolically. Symbols nearly always signal their existence by emphasis, repetition, or position. 2) The meaning of a literary symbol must be established and supported by the entire context of the story. The symbol has its meaning in the story, not outside. 3) To be called a symbol, an item must suggest a meaning different in kind from its literal meaning; a symbol is something more than the representative of class or type. 4) A symbol may have more than one meaning. It may suggest a cluster of meanings. The possibility of complex meaning plus concreteness and emotional power gives the symbol its peculiar compressive value.

What is the only time it is appropriate to claim that a narrator's attitude is the same as the author's?

The only appropriate time is if and when they are justified by the material of the story that supports them, or if outside information supports the identification. Caution should be taken because the author intends 1st point of view to suggest conventional sets of perceptions and attitudes.

What role do the presence or absence of morals, "facts", and fantasy play in determining whether a work should be classified as commercial or literary?

The role of the presence or absence of morals does not necessarily mean that the work is classified as commercial or literary. Similarly, "facts" and fantasy do not dictate whether a work is commercial or literary.

Explain the six principles that Perrine offers concerning theme.

The six principles are: 1)

What three conditions must a character change meet in literary fiction in order to be convincing?

The three conditions are: 1) It must be consistent with the individual's characterization as dramatized in the story 2) It must be sufficiently motivated by the circumstances in which the character is place 3) The story must offer sufficient time for the change to take place and still be believable.

What three considerations does Perrine give for examining a story's point of view?

The three considerations are: 1) Readers should know whether the events of the story are being interpreted by a narrator or by one of the characters 2) Readers should ask whether the writer has chosen the point of view for maximum revelation of the material or for another reason. 3) Readers should ask whether the author has used the selected point of view fairly and consistently.

What three principles of characterization does good fiction follow?

The three principles of characterization are: 1) The characters are consistent in their behavior: they do not behave one way on one occasion and a different way on another unless it is a clear and sufficient reason for the change. 2) The characters' words and actions spring from motivations the reader can understand and believe. 3) The characters must be plausible or lifelike, they cannot be perfectly virtuous or monsters of evil; nor can they have some impossible combination of contradictory traits.

To what extent is the use of chance and coincidence appropriate in literary fiction?

The use of chance and coincidence in literary fiction is only used to initiate the story because it offers an opportunity to view human nature in conditions that may be revealing.

Why is theme a preferable term to use than moral?

Theme is a preferable term because it is less likely to obscure the fact that a story is not a preachment or a sermon and it should keep us from trying to wring from every story a didactic pronouncement about life. Writers want to give a greater awareness and a greater understanding of life, not to inculcate a code of moral rules for regulating daily conduct.

Why is theme more often left implicit rather than explicitly stated?

Theme is more often left implicitly stated because the goal of writers is to reveal life and not comment on it. Also, they feel as if they should not explain things because it tests the hard work they have put into writing the story. Authors believe that readers should be able to make their own generalizations, instead of the author spoiling the book.

Define theme, and explain how it relates to a story's central purpose.

Theme- The central idea or unifying generalization implied or stated by a literary work. Theme relates to a story's central purpose because it tells what view of life it supports or what insight into life it reveals.

Define, fully, third-person limited point of view.

Third-person limited point of view- The author tells the story using the third person, but is limited to a complete knowledge of one character in the story and tells us only what that one character thinks, feels, sees, or hears.

What three questions does Perrine suggest asking yourself when determining a story's point of view?

Three questions he suggests to ask are: 1) "Who tells the story?" 2) "How much is this person allowed to know?" 3) "To what extent does the narrator look inside the characters and report their thoughts and feelings?"

What are the two common devices writers use to create suspense? Define each.

Two common devices writers use to create suspense are mystery (an unusual set of circumstances for which the reader craves an explanation) and dilemma (a position in which he or she must choose between two courses of action, both undesirable.)

What expectations should we have of characters in a commercial work?

We should expect characters who are simple and two-dimensional, even stereotypical. The characters are easily identifiable and clearly labeled as good or bad.

Why shouldn't we dismiss a theme, even if we disagree with it?

We shouldn't dismiss a theme because we may find that the theme of a story represents a judgment on life. There is value in knowing what the world looks like to others, and we can thus use a judgment to expand our knowledge of human experience.

According to Perrines, the two answers to the question, "Why bother to read [literature]?" are for __________ and ____________.

enjoyment; understanding