This document provides an overview of key elements and concepts in short stories, including plot (exposition, rising action, climax, falling action, resolution), setting, conflict (external and internal), characters (protagonist, antagonist, round/flat, dynamic/static), style (diction, sentence structure, point of view, irony, symbolism, imagery), and theme. It defines these elements and discusses how authors use them to craft short stories.

1. Miss Findlay
Crocus Plains Regional Secondary School
ELEMENTS OF SHORT STORIES

2. PLOT
• The arrangement (sequence) of events in a story that develop the author’s ideas
• Planned logical series of events having a beginning, middle, and end
• There are five elements of plot:
• Introduction or exposition
• Rising action
• Climax
• Falling Action
• Resolution

3. PLOT STRUCTURE
Exposition
Initial Event
Climax
Resolution

4. 1. INTRODUCTION
• Also called the exposition
• The beginning of the story where the characters and setting are introduced
2. RISING ACTION
• Events in the story become complicated
• Conflict in the story is revealed
• The events that occur between the introduction and climax

5. 3. CLIMAX
• Highest point of interest
• The turning point
• The reader wonders what will happen next; will the conflict be resolved or not?
• Consider the climax as three parts:
• The main character receives new information
• The character accepts this information – realizes this information, but does not
necessarily agree with it.
• The character acts on this information – makes a choice that will determine
whether or not he/she gains his/her objective

6. 4. FALLING ACTION
• The events and complications begin to resolve themselves
• Events between the climax and resolution
5. RESOLUTION
• Also known as the denouement
• The final outcome
• Untangling of events in the story

7. SETTING
• Reveled in the exposition of the story
• The time and location in which a story takes place
• Aspects of setting:
• Place – geographical location. Where is the story taking place?
• Time – when is the story taking place? Historical period, time of day, year, etc.
• Weather Conditions – is it rainy? Sunny? Stormy? Etc.
• Social Conditions – what is the daily life of the characters like? Does the story
contain local colour (writing that focuses on the speech, dress, mannerisms,
customs, etc. of a certain place)
• Mood or atmosphere – the tone of the story. What feeling is created at the beginning
of the story? Is it bright and cheerful, or dark and frightening?

8. CONFLICT
• The conflict is the main problem or struggle in a story
• Essential to plot, without a conflict there is no plot
• Makes the plot move forward and makes it interesting
• In a short story there must be one central struggle, or there may be one central struggle
with many minor ones
• There are two types of conflict:
1. External – a struggle with a force outside one’s self
2. Internal – a struggle with one’s self

9. • External Conflicts:
1. Person vs. Person (interpersonal) – the leading character struggles with his/her
strength against another person. Can also be vocal.
2. Person vs. Nature (physical) – the leading character struggles with aspects of the
natural world.
3. Person vs. Circumstance (classical) – the leading character struggles with fate or
the circumstances of life facing him/her.
4. Person vs. Society (social) – the leading character struggles against ideas, practices
or customs of other people.
• Internal Conflicts:
1. Person vs. Him/Herself (Psychological) – the leading character struggles with
his/her own soul, ideas of right/wrong, physical limitations, choices, etc.

10. CHARACTER
Has two meanings:
• The person in a work of fiction
• The characteristics of a person

11. PERSONS IN A WORK OF FICTION:
PROTAGONIST
• The main character
• Central to the story
• All events are of some importance to this character
• The character that is primarily involved in the main conflict of the story
ANTAGONIST
• The character opposing the main character
• The character that brings about the conflict
• Generally the “bad guy”

12. CHARACTERS ARE:
ROUND – many sided, and complex personalities. They are not stereotypical and often
surprise readers with unexpected behaviour and values.
DYNAMIC – a character that undergoes a change over the course of the story. The
conflict and plot of the story affects a dynamic character and causes a change within him
or her.
FLAT – stereotypical character. Usually one dimensional, static and shallow.
STATIC – a character that does not change throughout the story. This character is the
same at the end of the story as they were in the beginning

13. THE CHARACTERISTICS OF A PERSON:
• In order for a story to seem real the characters must seem real
• Characterization is the information the author gives the reader about the characters
• We learn about a character through:
1. Their physical description
2. The character’s actions
3. The character’s words (dialogue)
4. The character’s inner thoughts
5. What other characters say and think about the character

14. STYLE
• The technique the author uses to express him/herself and convey ideas and central
purpose.
• Style is very personal
• In order to determine an author’s style, one must consider the following:
1. Diction
2. Sentence Structure
3. Point of View
4. Irony
5. Symbolism
6. Imagery

15. 1. DICTION
• Refers to the author’s word choice:
• FORMAL – usually found in academic text, academic papers, and formal
discourse
• INFORMAL – relaxed conversation and is found in writing that has a lighter tone
and is somewhat humorous
• COLLOQUIAL – everyday usage of a particular group. For example, in Cape
Breton people say “A bun of bread”, “A sup of pop”, etc.
• SLANG – a newly coined word not accepted for formal usage yet, and is usually
not found in the dictionary

16. 2. SENTENCE STRUCTURE
• The type of sentences used:
• SIMPLE
• COMPOUND
• COMPLEX
• SHORT
• LONG

17. 3. POINT OF VIEW
• The perspective from which a story is told. The narrator tells the story.
• FIRST PERSON – the narrator relays the story to the reader as a first-hand
account. The narrator was a participant or observer in the story and is now
relaying what he/she actually saw, heard or felt. Personal pronouns are used.
For example, I, me, we, us, etc. The reader is limited to what the person
relaying the story knows.
• SECOND PERSON – the narrator addresses the reader as “you”. Often a
composition that relies on the second person ends up sounding preachy and
offensive.

18. • THIRD PERSON – a detached narrator tells the story in an objective manner. No personal
pronouns are used. There are three variations of the third person point of view:
• Omniscient – the narrator tells the story with complete and unrestricted
knowledge. An omniscient narrator knows the internal thoughts and feelings of
every character involved in the story and can move freely between geographic
locations, and time.
• Limited – the narrator filters his/her story through the perspective of one
character. The narrator can still convey that character’s internal thoughts and
feelings, but all other characters are developed through the viewpoint of the
central character.
• Objective – the narrator has the freedom to move in space and time, but he can
only relay action and dialogue, forgoing the ability to delve into characters’
thoughts and feelings. This is much like a movie where the audience can view
what the actor does, and hear what they say, but does not know what they are
thinking.

19. 4. IRONY
• A contradiction between what the reader expects and what actually happens in the
story
• VERBAL IRONY – when an author or speaker says exactly the opposite of what
he/she means
• SITUATIONAL IRONY – when the reality of a situation differs or seems opposite
from what is expected
• DRAMATIC IRONY – when the reader or audience knows more about the
situation than the actual characters in the work

20. 5. SYMBOLISM
• A symbol is one thing that represents or stands for another.
• Generally an object, person, situation, or idea that deepens the meaning of the work
by evoking content that is not literally expressed in the work itself
• Are the key to understanding a work
• Often an author will use images when they want to convey important ideas
• For example a red rose could symbolize beauty or love, but a red rose with wilted
petals might symbolize faded beauty or lost love.

21. 6. IMAGERY
• The goal is to make the reader actually see, feel, taste, touch, or smell the subject or
idea at work
• There are two types:
• Sensuous Imagery – Images the appeal to the five senses: sight, sound, taste,
touch, or smell
• Figurative Imagery – similes, metaphors, personification, assonance, etc.

22. THEME
• Central idea or meaning of a work – the core message
• Often an idea that the author hopes to express or better understand
• The best short stories have something to teach to us about ourselves, our relationships,
and our world
• The title often points to what the writer is saying and the author may use figures of speech
to emphasize their theme, such as: symbolism, allusion, simile, metaphor, hyperbole, or
irony
• Examples of theme:
• Love is Blind
• Believe in yourself
• Don’t judge a book by it’s cover
• People are afraid of change