A narrative technique (also, in fiction, a fictional device) is any of several storytelling methods the creator of a story uses, thus effectively relaying information to the audience or making the story more complete, complex, or engaging. Some scholars also call such a technique a narrative mode, though this term can also more narrowly refer to the particular technique of using a commentary to deliver a story. Other possible synonyms within written narratives are literary technique or literary device, though these can also broadly refer to non-narrative writing strategies, as might be used in academic or essay writing, as well as poetic devices such as assonance, metre, or rhyme scheme. Furthermore, narrative techniques are distinguished from narrative elements, which exist inherently in all works of narrative, rather than being merely optional strategies.
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👉 Literary element in the context of Setting (narrative)
A setting (or backdrop) is the time and geographic location within a narrative, either non-fiction or fiction. It is a literary element. The setting initiates the main backdrop and mood for a story. The setting can be referred to as story world or milieu to include a context (especially society) beyond the immediate surroundings of the story. Elements of setting may include culture, historical period, geography, and hour. Along with the plot, character, theme, and style, setting is considered one of the fundamental components of fiction.
Literary element in the context of Theme (literature)
In contemporary literary studies, a theme is a main topic, subject, or message within a narrative. Themes are ideas that are central to a story, which can often be summed in a single abstract noun (for example, love, death, betrayal, nostalgia, or parenthood) or noun phrase (for example, coming of age, humans in conflict with technology, seeking spirituality in the modern era, or the dangers of unchecked ambition). A theme may be exemplified by the actions, utterances, or thoughts of characters, as in the theme of loneliness in John Steinbeck's Of Mice and Men, wherein many of the characters seem isolated and long for community with others. It may or may not differ from the thesis—the text's or author's implied worldview.
A story may have several themes and generally longer works, such as novels, plays, films, or television series, do. Themes often explore historically common or cross-culturally recognizable ideas, such as ethical questions, and are usually implied rather than stated explicitly. An example of this would be whether one should live a seemingly better life, at the price of giving up parts of one's humanity, which is a theme in Aldous Huxley's Brave New World. Along with plot, character, setting, and style, theme is considered one of the components of fiction. Themes can be divided into two categories: a work's thematic concept is what readers "think the work is about" and its thematic statement being "what the work says about the subject".
Literary element in the context of Characterization
Characterization or characterisation is the representation of characters (persons, creatures, or other beings) in narrative and dramatic works. The term character development is sometimes used as a synonym. This representation may include direct methods like the attribution of qualities in description or commentary, and indirect (or "dramatic") methods inviting readers to infer qualities from characters' actions, dialogue, or appearance. Such a personage is called a character. Character is a literary element.
Literary element in the context of Climax (narrative)
The climax (from Ancient Greek κλῖμαξ (klîmax) 'staircase, ladder') or turning point of a narrative work is its point of highest tension and drama, or it is the time when the action starts during which the solution is given. The climax of a story is a literary element.
As a literary element, it is a stage where the protagonist finally faces the greatest challenge or the ultimate obstacle, leading to the resolution or transformation. In terms of structure, climax often constitutes the second of the two parts of a story's Act II, the first being "rising action", which culminates to a moment of crisis. There are also sources that state climax is part of Act III, leading to the falling action and resolution.