Writing about FictionWrite about Fiction
Belletristic writing - The Writing Centre
The hand out explains some easy ways to plan and write fiction for you. Information on writing other types of bibliography can be found in the handbills of the Writing Centre for Writing Explanations of Writing and Draft. To write an anaylsis of a fiction can be a mystical cognition. Firstly, written research (or paper offering an interpretative view of a story) is based on the premise that history must mean something.
What does a history mean? Isn' a storyline just an array of personalities and happenings? If the writer wanted to communicate a message, wouldn't he or she be much better off writing an article that just tells us what he or she means? Think of a likeness like the lost boy or a children's novel about the "weeping wolf".
" Tales like these are limited to the naked items and give us just enough detail to get us to their key points, and because they are relatively simple to grasp and adhere to our memory, they are often used in some types of form. However, if the meaning were always as clear as in a parable, who would really have to produce a document to analyze it?
It would not be interesting to interpret fiction if the meaning of the tales were clear to everyone who read them. You use signs, preferences, and action to visualize problems that are not easily solved. Saying that there is no reply does not mean that everything we say about a novel or brief history is true, interesting or precious.
Perceptions of fiction are often views, but not all views are the same. One good fiction reading will be: Use thorough argumentation to illustrate how this proofs relate to the key points of the reading. This is a guideline through the complex task of writing an interpretative document that fulfils these requirements.
Typing is usually a very personalized job, so adjust these proposals to your own preferences. There is no replacement for a good general awareness of your history. It is inevitable that a good document begins with the author having a sound grasp of the work he or she understands.
To be able to remember the whole work, the novel or the game - at least in general terms - when you start to think through your thoughts will be a great help and actually allow you to work faster in the long run. It' even a good thing to think about history for a while.
Browse through the script and think about what interests you about this play of writing - what seemed odd, new or important? In any case, you need to create your own idea for use in your papers - even with an associated theme, you need to create your own interpretations. Let's say you choose your own theme.
Once you've read your narrative, a subject can come up to you, or you've spotted a patterns or problems you'd like to think about. Usually the recurrence of certain parts of a history (similar storyline occurrences, similar description, even the recurrence of certain words) tends to make these parts more present.
Let's just say I'm writing an article on Mary Shelly's novel Frankenstein. As I read this volume, I keep realizing that the writer uses Bible images: Frankenstein expects "a new race to be blessing me as maker and source" (52), while the beast is not sure whether to consider itself Adam or Satan.
This detail could help me to understand the way people think about themselves and about each other and allow me to derive from the Bible what the writer would have expected from her readers. There is another topic on which I note that the volume always relates to forms of schooling.
History refers to textbooks that tell their stories and the different context in which they learn. On the other side, one issue in the game is something that annoys you or doesn't seem to accumulate. While not all issues are leading in interesting direction, some definitely do and even seem to be important parts of the history.
Victor works in Frankenstein 24 /7 to reach his aim to breathe fresh air into the deceased, but as soon as he has reached his aim, he is immediately rejected by his creations and walks away. There is a good possibility that some of these fascinating times and peculiarities are related to other points in history that ultimately reveal a kind of patterns and provide you with possible themes for your work.
Also, remember that if you have found something strange in the history you write about, there is a good chance that these times in history have confused other folks and will interest you in how you understand all this. It' even a good way to test your thoughts on a schoolmate, teacher or boyfriend, as it helps you get your thoughts out of the apparent interpretation of history.
Only if you promote these notions can you create a document that poses interesting themes or challenges and provides imaginative interpretation of these themes. When you choose from a range of possible subjects, limit your mailing lists by specifying how much proof or how many detailed information you could use to examine each possible problem.
Remember that convincing documents depend on plenty of proof and that many detail you can select from can also make your writing easy. At this point it might be useful to note down any event or element of the narrative that has an impact on the two or three themes that seem most likely.
It can give you a better feeling of how much proof you need to work on each possible issue. It is during this job that a good understanding of your history will prove useful and help you conserve a great deal of inconvenience. As soon as you have a working theme in your head, browse through the history and make a more complete listing of the detail related to your point.
In my work on upbringing in Frankenstein, I will want to take down what Victor Frankenstein is reading at home, where he goes to college and why, what he is studying in college, what others think about these trials, etc... Although I am primarily interested in Victor's training, in this phase of writing I am also interested in those educational aspects of the novel that do not directly affect this temper.
Those other samples could give a sense of the situation or some useful contrast that might shed light on my proofs about Victor. Here you want to take into account everything, everything that could be useful, and you also want to prevent the implication of reaching concrete inferences on your subject. They want to create complicated concepts, and the best way to do that is to keep your concepts agile until you have thoroughly examined the clues.
It is a good measure of complexness whether you have the feeling to know more about your subject than at the beginning (and even achieving a higher level of disorientation is a good indication that you are dealing with your subject in a complicated way). If you write down your own thoughts, you can concentrate on the narrator's observation or on things that certain people say or do.
You may find more proof if you also consider some of the wider elements that flow into the fiction, things like storyline, point of views, characters, attitudes and symbol. Consider this the "who did what to whom" part of the history. Plotting can be significant in itself, as there is a good chance that some actions in the narrative are related to your primary concept.
In my work on learning in Frankenstein, I am interested in Victor going to Ingolstadt University to fulfill his father's wish for Victor to go to college, where he can study about a different world. Plotting may also allow you to make links between the history you interpret and some other histories, and these links may be useful for your reading.
Frankenstein's storyline, for example, which concerns a man who wants to breathe death into a man while creating a beast, has a certain resemblance to the old Greeks' tale of Icarus, who was flying too near the star on his growth-wing. They both tell the tale of a person who is too ambitious and has bad results.
A few of the most famous types are the goth, the romantic, the mystery, the educational novel (this is only a English word for a novel that revolves around the evolution of its protagonists ) and the novel of one' s own manner (a novel that concentrates on the behaviour and weaknesses of a particular category or group).
Many of these are useful in characterising a font, but there are limits to this notion. I' m more interested in Victor's evolution than in linking Frankenstein to the quintessential art form of the Gotic world. I could choose to make the novel an educational novel.
You can tell a tale in a row of epistles (this is referred to as a mail form), in a succession of journals, or in a set of formulas (Frankenstein is actually narrated as a magazine in a letter). This formality also poses issues of perspective, i.e. who tells the tale and what they know or not.
Will it be narrated by an all knowledgeable or all knowledge storyteller who does not participate in the happenings, or will it be presented by one of the people? Is it possible to rely on this individual to give an impartial picture, or does this storyteller colour the stories with his own prejudices and interests?
Think about why the writer is assigning certain skills to one or more of your subjects and how they can be related to them. A debate about Victor Frankenstein's upbringing, for example, could take into consideration elements of his nature that seem to be evolved (or underdeveloped) by his particular kind of upbringing.
He tends to be ambitions, even obsessive about his study, and I could say that his trend to be flamboyant makes him dedicate his own training to authors who claimed great, if dubious, sentiments. Each of these items can be reflective of the history itself, and although the settings of a history tend to be less striking than its action and nature, it does color everything that is said and done in its contexts.
When Victor Frankenstein carries out all his experimentation in "a lonely room, or rather a room, on the roof of the building separate from all other dwellings by a staircase" (53), we could come to the conclusion that there is something antisocial, insulated and stagnant, perhaps even un-natural about his design and his way of studying.
Obviously, if you consider all these items, you will probably have too much proof to actually blend into a note. It is your aim only to consider each of these fiction and only those that are most interesting for your subject and most interesting for your readers. Good interpretation papers do not have to encompass all parts of the storyline, genres, narrative style, characters and settings.
Indeed, a document that has tried to say something about all these items would be inattentive. As you may find, most of your subject matter could be backed by just taking into account its nature. As for my Frankenstein piece, I find that my proof largely involves attitudes, proof that could result in some interesting reviews that my readers probably have not realized on his or her own.
When you have created your advanced proof lists, you determine which support detail is the most strong. First of all, you should pick the facts that are most closely related to your dissertation. Secondly, pick the proofs you can say the most about. The reader is more blinded by your interpretation of proof than by many quotations from the text.
While it would be useful to point to Victor Frankenstein's young readings in the field of Alchemy, my readership will be more intrigued by the way the alchemist scripts - which followed magic principals of science and science - reflected the ambitions of his own work. Choose the detail that allows you to show your own argumentation and help the readers to see the narrative in a way they may never have seen before.
It is now a good opportunity to return to your final dissertation and fine-tune it to reflect your new appreciation of your subject. It is best to do this at the same moment as the preceding one ( "evidence selection"), as the choice of proofs and the emphasis of your work are interdependent.
Don't overlook the size of your project: how long should the piece ofaper be and what can you reasonably achieve with a piece of this length of paper? When I think about the subject of upbringing in Frankenstein, I notice that I can limit my subject in many ways:
Victors training abroad, science rather than the arts (the Monsters read Milton, Goethe and Plutarch) or educational environment disparities (e.g. self-study, studying at universities, genealogy ) could be my main areas of work. Because I think I found some interesting proof in the attitudes that I can interprete in a way that attracts my reader's interest, I will use this last possibility to improve my work on Victor's erroneous upbringing: "I've found some interesting proof that I can read in a way that attracts my reader's attention:
As soon as you have a clear hypothesis, you can return to your shortlist of chosen proofs and summarize all similarities. Then, the thoughts that link these proof-cluster can become the assertions you make in your work. When considering what allegations you can make (i.e. what conclusions you can come to), remember that they should not only apply to all proof, but should also clearly endorse your theses.
As soon as you are happy with the way you have grouped your proofs and with the way in which your demands refer to your theory, you can begin to organise the most consequential way to each of these demands. In order to substantiate my theory about Frankenstein, I have chosen to group my proofs in chronological order. I will begin Victor's training at home, then talk about his studies at university and eventually talk about his own experiences.
It will show me that Victor has always been isolated in his training and that this trend increases with increasing ambition. In the novel I could organise a debate about upbringing through the different kinds of upbringing in the novel (e.g. upbringing through literacy, through classroom and through observation), through special character (upbringing for Victor, the Monsters, and Victor's Spouse, Elizabeth), or through the impact of different kinds of upbringing (which have detrimental, useful or impartial effects).
Prevent the tendency to download historical proofs into your newspaper. Every timeyou use a particular link to your history, you should clarify the meaning of this proof in your own words. In order to arouse the interest of your reader, you must make them aware of items in the history that they themselves would not necessarily perceive or comprehend.
Most of the time, the interpretation of your proofs is simply about bringing what is already in your mind into your work. It is not our intention to have to find out a writer's argument for ourselves; we want all this thought to be done for us in the newspaper. These nine preceding stages are designed to give you an impression of the normal paperwork required to write a good interpretation.
The following are just a few extra tips that might help you find an interesting subject and maybe even make the whole procedure a little more pleasant. It is easier for you to keep your readers' interest if you choose a subject that refers to your day-to-day work. Do not write a piece of writing that will identify a patterns in a narrative, but will not entirely account for why this patterns lead to an interesting notion.
The identification of the Frankenstein Bible reference could be a good starting point for a document - Mary Shelley uses many Bible innuendos - but a good document must also tell the readers why these reference points make sense. What makes an interesting subject? Her diploma dissertation should address the violent issue "So what?
" Is your newspaper telling your readership anything pertinent about the history you interpret or about the constitution of man? Not my diploma dissertation on learning in Frankenstein. However, many people would probably be less interested in a piece of writing that traced the cases of images of the sea than a piece that compared man or woman stereo-types used in a narrative, or that looked closely at the relationship between different racial people.
There are many possibilities (e.g. topics related to economy, genealogy, educational, religion, right, policy, sexuality, histories and psychological matters, among others). Do not expect your work to be interesting as long as you raise one of these topics.
This means you don't have to get into a subject with a prejudiced idea of what you will find. Willingness to question your own beliefs about what sex, breed or grade in a particular text means. Even though you may believe how you need to screen a subject that will sound like something that would interest your trainer in, don't ignore the fact that you are more involved in your writing and probably get more out of it if you make the subject something due to yourself.
Choose a subject with which you can find out more about yourself and what is important to you. Naturally, your subject cannot be chosen freely. We are always at the mercy of the proofs at our disposal. Some of the things that Frankenstein has said about the subject are true. For example, your interest in politics spending may actually be, but if you read Frankenstein, you might face some complications if you found enough proof to make a good piece of paper on this type of subject.
If you are interested in morals, philosophies, science, psycology, religions or even geographics, you will probably have more than enough to be in a good enough situation to choose only the best proof. Striving to be more unique almost always results in a theory that attracts the reader's interest, and it also distinguishes you from the masses as someone who defies idea and delves deeper into issues.
Lectures on general knowledge in Frankenstein will probably not attract the interest of my readership as much as a more particular subject about the influence of the study setting on the figure.
These works were used in the preparation of the source text of this manual. It is not a complete resource guide on the subject of handouts, and we recommend that you do your own research to find the latest releases on the subject. Shelley is Frankenstein: This is a short guide to writing about literature.