In this section you will probably see how considerations about character overlap with last weeks explanation of plot. At the center of a story's plot is the story's conflict. And that conflict is always between people, or at least it's always between characters (sometimes they are actually not people, in the literal sense). As you begin to think about character, be careful to distinguish between two possible definitions of character: · the personality of the individual. · the particular individual in a literary work. When talking about the individuals who populate stories, round (or well rounded) characters are usually considered essential to quality fiction. We might also describe these characters as complex and three dimensional (in this sense, they seem realistic). Flat characters are those who are not shown in true complexity. · In lesser story telling, these might be stock characters who are sometimes too clearly used as plot devices. · Or in finer stories they are used as types for allegorical purposes, as features of the story's landscape, as necessary but brief participants in action, or to enhance readers' understanding of a central character (See Chekhov’s Misery for an example of the latter). Another way of looking at character in a story is to ask how the writer develops his or her characters: · Through dialogue? · Exposition and description? · Actions? · Other characters or the setting? Key Distinctions Protagonist: this is a label for the main character whose actions move the story forward… often associated with the hero or anti-hero. Antagonist: the primary character or force in the story that acts in opposition to the protagonist. Another note: protagonists and antagonists are not always human or even individuals. The setting in Jack London’s story, To Build a Fire, is actually the antagonist. Because of the need for an empathetic main character (see distinctions between empathetic and sympathetic here) , the protagonist is almost always human or, if nothing else, a symbolic representation of human desires. An interesting variance in formula to consider: Satan, as portrayed in Paradise Lost. The fallen angel initially takes on the role of an apparent anti-hero. However, Milton reveals him to be a fool by the end of his epic poem and ultimately a false-protagonist. The real character making all of the key choices that advance the story forward? God. Why did Milton have a story where the main character seems to shift? It does fit his story's purpose: to show the appeal of evil (the initial empathy that the poem creates for Satan). As the poem progresses, however, Satan's argument becomes more pathetic, obviously manipulative, and less empathetic. Another good question to answer: is the character dynamic or static? Usually, main characters change in some way, making them dynamic characters. If the main character doesn't change, he or she usually keeps us interested by his or her desire to change or keep from changing. Th.

1. In this section you will probably see how considerations about
character overlap with last weeks explanation of plot. At the
center of a story's plot is the story's conflict. And that conflict
is always between people, or at least it's always between
characters (sometimes they are actually not people, in the literal
sense).
As you begin to think about character, be careful to distinguish
between two possible definitions of character:
· the personality of the individual.
· the particular individual in a literary work.
When talking about the individuals who populate stories, round
(or well rounded) characters are usually considered essential to
quality fiction. We might also describe these characters as
complex and three dimensional (in this sense, they seem
realistic).
Flat characters are those who are not shown in true complexity.
· In lesser story telling, these might be stock characters who are
sometimes too clearly used as plot devices.
· Or in finer stories they are used as types for allegorical
purposes, as features of the story's landscape, as necessary but
brief participants in action, or to enhance readers' understanding
of a central character (See Chekhov’s Misery for an example of
the latter).
Another way of looking at character in a story is to ask how the
writer develops his or her characters:
· Through dialogue?
· Exposition and description?
· Actions?
· Other characters or the setting?
Key Distinctions
Protagonist: this is a label for the main character whose actions

2. move the story forward… often associated with the hero or anti-
hero.
Antagonist: the primary character or force in the story that acts
in opposition to the protagonist.
Another note: protagonists and antagonists are not always
human or even individuals. The setting in Jack London’s story,
To Build a Fire, is actually the antagonist. Because of the need
for an empathetic main character (see distinctions between
empathetic and sympathetic here) , the protagonist is almost
always human or, if nothing else, a symbolic representation of
human desires.
An interesting variance in formula to consider: Satan, as
portrayed in Paradise Lost. The fallen angel initially takes on
the role of an apparent anti-hero. However, Milton reveals him
to be a fool by the end of his epic poem and ultimately a false-
protagonist. The real character making all of the key choices
that advance the story forward? God. Why did Milton have a
story where the main character seems to shift? It does fit his
story's purpose: to show the appeal of evil (the initial empathy
that the poem creates for Satan). As the poem progresses,
however, Satan's argument becomes more pathetic, obviously
manipulative, and less empathetic.
Another good question to answer: is the character dynamic or
static? Usually, main characters change in some way, making
them dynamic characters. If the main character doesn't change,
he or she usually keeps us interested by his or her desire to
change or keep from changing. The quest, either way, may not
succeed, but there are choices being made: a struggle of some
kind to move or resist movement. Static characters do not
change and are immovable objects in the story (see Melville's
Bartleby for a clear example of this).

3. It's also helpful to think of characters (particularly the
protagonist and the antagonist) and how they are integral to the
story's plot. The conflict between these two forces shape the
plot. The diagram to the bottom-right would represent almost
any story worth reading or hearing: a protagonist who fights
against an antagonist for something she wants. Each point on
top of a step would represent a turning point, where the
protagonist must usually make a choice to move the story
forward and come closer to his desire. In fact, a good way to
identify the protagonist in most stories is to ask: who is
responsible for the most significant action (or inaction) during
most of the turning points in the story?
Any Decent Story has Conflict:
It is always helpful to identify the nature of a story’s central
conflict (or minor conflicts) in order to better understand the
work. Conflict can be generally put into four categories (stories
might contain a blend of these different conflicts):
Man vs. man:
This usually amounts to a showdown between the interests or
wills of two or more people. While it may be tempting to simply
see the conflict between a hero and a villain, literature presents
many possibilities.
An example: In Anton Chekhov’s Enemies, a physician becomes
the enemy of another man simply because they are both bitterly
blinded by their own heartbreak.
Man vs. self

4. Tortured souls, complex minds, ambitious characters, and even
ordinary folk often need nothing more than their own goals or
twisted psyches to provide the conflict for a good story.
Example: Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde is
an obvious illustration of this type of conflict. The
transformation of Jekyll is symbolic of many possible
psychological dilemmas. The Doctor’s fight is primarily with
himself!
Man vs. nature
These conflicts emphasize the futility of man’s plight in the
face of unsympathetic natural forces. Earthquakes, flood, fire,
or even time itself become enemies.
Example: Jack London’s To Build a Fire (illustrated at right) is
a story that shows a man’s struggle to survive in the Yukon
wilderness.
Man vs. society
This is a favorite conflict of science fiction writers and of
socially conscious authors whose works show the plight of the
individual as it confronts societal conventions, stereotypes, and
other limitations. ‘Man versus technology’ might best be
labeled as a conflict in this category, as any technology is a
product of a given society.
Example: In Ray Bradbury’s Fahrenheit 451, individuals
confront a society that no longer values books and has made
reading them illegal. Instead of saving homes and lives from the

5. ravages of fire, fire fighters are now responsible for turning the
offending materials to ash.
In order to answer the following question. be sure to read “The
Use of Force” very carefully (it's found in your assigned
reading this week) . Make certain that you can clearly identify
the story's protagonist, antagonist, and the climax that occurs in
the conflict between the two (identification of the antagonist
and even the protagonist can sometimes be open to
interpretation to some degree, so be sure that you've identified
them based on close scrutiny of the story and careful thinking
about how the story works). Properly use terminology that
relates to conflict, such as rising action, antagonist, protagonist,
climax, and crisis. Show me that you can carefully analyze the
various aspects of the story's conflict in answering this week's
discussion question.
Question: How does the conflict between the protagonist and
antagonist in “The Use of Force” help you understand the
meaning of this William Carlos Williams story?
Rubric for Research Paper
Possible Points
Points Earned
Research

6. 20
-----------
-Were at least three (3) references used
in gathering data and material? (references
may include encyclopedia, internet, books or
magazines.)
-Was at least one source a primary source?
-Was at least one source a print source?
Development of Topic/Thesis
30
_______

7. -Introductory paragraph states thesis.
-Body of paper develops points made in introduction.
-Conclusion ties together topic developed in paper.
Paper Organization
30
_______
-Was the body of the paper five to six pages?
-Was the introductory paragraph 1/2 to 3/4 page?
-Was the conclusion 1/2 to one page long?
-Did the paper have a title page with Student's
name, course number, date and instructor's

8. name?
-Was the Works Cited Page correct at the end?
-Was the paper written according to MLA style?
-Was the paper written in 12 point font?
-Was the paper double spaced?
-Were the pages numbered?
Writing-Proofreading and Editing
20
_______
-Are complete sentences used?
-Is punctuation correct?
-Is capitalization correct?

9. -Are words used correctly (to, too, two, etc?)
-Is spelling correct (use spell check and a proofreader.)?
_Do sentences begin in different ways?