The chapter discusses the "one story theory", which suggests that all stories are variations on the same core themes and archetypes. It explores why writers continue to retell the same stories and how readers enjoy familiar narratives. Key concepts covered include the recurring use of archetypes across genres, the literary technique of intertextuality, and how new stories allude to and transform elements of earlier works.
How to write a Literary Essay Introduction and Thesismissmaryah
Adapted Power Point for English 11 relating to essay writing for the short story Mirror Image by Lena Coakley
Credit to http://www.slideshare.net/Jennabates/how-to-write-a-literary-analysis-essay
How to write a Literary Essay Introduction and Thesismissmaryah
Adapted Power Point for English 11 relating to essay writing for the short story Mirror Image by Lena Coakley
Credit to http://www.slideshare.net/Jennabates/how-to-write-a-literary-analysis-essay
A step by step interactive powerpoint that shows the 10th grade English student how to write a basic character analysis essay of Okonkwo in Things Fall Apart. (Note: you have to download in order for the buttons on the slides to work)
Compare and Contrast Paper American Literature Vicki Phillips
Week 04: How to craft a successful compare and contrast paper on 2 different authors in literature. This assignment is for Week 04 American Literature 3041.
This presentation can become the first step in writing your Literary analysis essay. In addition to this, please read the article https://essay-academy.com/account/blog/literary-analysis-essay
What is word?
Word is composed of one or more letters. A word represents an idea. ( ex: go , student, teacher…..etc. )
A word alone, however, is usually not enough to express thoughts.
What is Sentence?
A sentence is a collection of words the express a complete thought. ( ex: I study civil engineering at NPIC. )
A step by step interactive powerpoint that shows the 10th grade English student how to write a basic character analysis essay of Okonkwo in Things Fall Apart. (Note: you have to download in order for the buttons on the slides to work)
Compare and Contrast Paper American Literature Vicki Phillips
Week 04: How to craft a successful compare and contrast paper on 2 different authors in literature. This assignment is for Week 04 American Literature 3041.
This presentation can become the first step in writing your Literary analysis essay. In addition to this, please read the article https://essay-academy.com/account/blog/literary-analysis-essay
What is word?
Word is composed of one or more letters. A word represents an idea. ( ex: go , student, teacher…..etc. )
A word alone, however, is usually not enough to express thoughts.
What is Sentence?
A sentence is a collection of words the express a complete thought. ( ex: I study civil engineering at NPIC. )
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riting About LiteratureGenerally, the essays you write in lite.docxjoellemurphey
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
· What did the author want to communicate in this work?
· What does the work reveal about the author’s feelings, opinions, or psychology?
· What does the work reveal about the society in which it was written?
· What can we learn from this work about the issues or topics it deals with?
· What motivates the characters in the work to behave as they do?
· How are literary devices used in the work?
· How does the work create emotional or intellectual experiences for its readers?
· Is this work good or bad?
· Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself. Analyses which try to make statements about the work itself is often calledformalist criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. A ...
riting About LiteratureGenerally, the essays you write in litera.docxdaniely50
riting About Literature
Generally, the essays you write in literature courses attempt to answer interesting questions about works of literature. These questions are interesting for at least two reasons: a) their answers are not obvious, and b) their answers (or at least the attempt to answer them) can enrich other readers’ understanding and experience of those works of literature. Often works of literature seem to be intentionally posing these questions to us; they require us to do some work to get them to work.
Readers have asked many different types of questions of works of literature, for example:
What did the author want to communicate in this work?
What does the work reveal about the author’s feelings, opinions, or psychology?
What does the work reveal about the society in which it was written?
What can we learn from this work about the issues or topics it deals with?
What motivates the characters in the work to behave as they do?
How are literary devices used in the work?
How does the work create emotional or intellectual experiences for its readers?
Is this work good or bad?
Is this work good or bad for its readers?
Some of these questions require information from outside the text itself; for example, to argue that a work reveals a writer’s psychological condition, it would be helpful to have some other evidence of that condition to corroborate your interpretation of the work of literature. Some of these questions ask about the world outside the work—about the author, his/her society, or our own society, for example—while others try to focus more on the features of the work itself.
Analyses which try to make statements about the work itself
is often called
formalist
criticism: it attends more to the structures and strategies employed in the work. Ultimately, such arguments generally do try to move beyond the work, to claim, for instance, that it is likely to create certain effects in its readers, or that readers will understand the writer’s intent more clearly if they pay attention to its formal characteristic.
In LIT 100, we are going to be paying attention primarily to these formal features of literary works. In fiction, some of these features include tone, point of view, setting, character, etc. We will be paying less attention to extra-textual features, such as the author’s biography or the historical contexts in which the literature was produced and/or read; these elements are not less important than formal features, but they naturally vary greatly from one work to another and often require in-depth study to truly appreciate. To understand how Shakespeare’s social situation in London in the 1590s might have been reflected in his plays would require a whole course in Elizabethan history. On the other hand, the formal features we will be studying in this course can be found in literature of all eras and genres, though they may often be used to different effect by different writers at different times. Almost all fict.
Literary Analysis Essay A good literary analysis essay will rete.docxSHIVA101531
Literary Analysis Essay
A good literary analysis essay will retell the essential parts of a story for those that don't know it, explaining piece by piece the symbolism of the big events and smaller details. As far as symbolism goes, all events and details will be symbols of one message from the author.
In other words, your retelling will all be in support of one idea, your thesis, which states the main message of the author.
Below are
(1) a sample structure/how-to information for doing a literary analysis essay for my class -- including what I expect in the thesis;
(2) the score sheet I will use to score these papers, and you will use for peer editing; and
(3) three sample essays.
Literary Analysis Essay Sample Structure
Paragraph 1.
a. Grabber
b. Orient Reader to author, book and its context
c. Thesis
Body Paragraphs: In EVERY paragraph, include, in any order:
a. Evidence
(1) What happened (context)
(2) quotes
b. Commentary
(1) Connect evidence to thesis
Conclusion: End with a gift. Connect to something new and different.
Here’s what these terms mean, in more depth, along with a few other tips:
Grabber. Grab the reader’s attention with the first line. You can do this with action, a deep thought or question, vivid description, or dialogue.
Orient Reader. In 3-4 sentences, identify the title, author, and subject of the book. Don’t summarize the whole book in detail. But write just enough, as if to assume the reader knows nothing yet about the book.
Thesis. The thesis is your angle. It is what you will organize all your evidence around.
A thesis can’t be purely true; it has to be able to be argued one way or the other.
In a literary analysis essay, it should mention the author.
It should specifically identify what(specifically) the author is saying about a general subject, like life, relationships, gender, or class.
In other words, it should be a rewording of this formula: (Author’s name) is making a point about (general subject); the specific point s/he is making is that ____________.
It should suggest that the author is using the characters, setting, plot or voice to make that specific point about a general subject.
For example: “O’Neil uses the protagonist Sydney to argue that rich white men actually can find real happiness not in loving relationships, but in material possessions.”
(The general subject here is happiness.)
Evidence—on two levels: one, support your thesis with events that happened in the book (This is to show the context of your quotes). But stay focused: don’t summarize the book unless it’s as evidence for an idea of yours.
Two, use quotes (with page numbers) from the book. "Quotes" just means excerpts; they don't have to be dialogue. Try to incorporate them into your context, by having quotes and context share sentences. For example:
Not incorporated:
Janie’s images for romantic happiness come from nature. “Life should be more
like a pear tree in bloom, she thinks” (67). She thinks this when she is unhappy ...
1302 Notes – 06 – February 4, 2021 Writing about Fiction (& CicelyBourqueju
1302 Notes – 06 – February 4, 2021
Writing about Fiction (& Exam)
1. Putting the “Composition” into Composition II
(how to start and end paragraphs with your topic sentence)
2. The Academic Paragraph—with an Example
(it starts and ends with the same topic sentence)
3. Analyze First
4. Let’s Practice Topic Sentences (which will start and end the paragraphs)
5. Let’s Practice Finding Support (for the topic sentences which go where?)
6. Drafting the Paragraph Assignment (establishes today’s attendance)
7. Homework Help (Paragraph & Exam 1: Fiction)
8. Checklist of Graded Assignments, Week 3
HOMEWORK for NEXT TIME: 1- ANALYZE a short story. 2-DRAFT an
academic paragraph of 8-24 sentences, communicating one writing technique in that
story. 3-REVISE the paragraph, then UPLOAD it by Sunday night. 4-TAKE Exam 1:
Fiction any time until next Wednesday (note: no new readings).
1. Putting the “Composition” into Composition 2
• You are LEARNING ABOUT FICTION in order to WRITE ABOUT FICTION
• The skills you use to write about fiction, you can then use in real life
to write about incident reports, peer reviews, etc.
• We will start by writing an ACADEMIC PARAGRAPH
• Next week, we will write an ESSAY, which will include:
• An introductory paragraph
• 2 or more academic paragraphs, and
• A concluding paragraph
2. The Academic Paragraph (with an Example)
ACADEMIC PARAGRAPHS, in literary analysis, exist to communicate ONE (1) specific
insight about a story, poem, or play. This time, we’re doing short stories.
WHY WRITE? Consider Comic-Con, book clubs, and fandoms (like Trekkers or
Browncoats). Also, this develops your ability to look at evidence and build a theory
based on that evidence—a good skill to have in law, in medicine, in business, etc.
HOW & WHEN TO WRITE? Use today’s class time to write an academic paragraph
explaining one (1) insight about one (1) short story. You will then have a chance to
The paragraph starts and ends
with the same point. This "topic
sentence" is the whole reason
the paragraph exists. Be sure to
name the author & title. If you
think a reader may need a
reminder about the term you
are using, define it. If you don't
use your own words, you must
use quotation marks and cite
your source! It's a good idea,
toward the start, to give a one-
line summary of the story in
your own words—name the
main characters. You should
have points to make that
support your topic sentence. Put
them before the quotes that
support them. Support can be
given as quotes and as facts
from the story. If you use a story
with page numbers, remember
to put the page number of the
quote in parentheses after the
quote. Make sure you proved
your point, by the end, even if
you feel you're stating the
obvious, because you probably
are not stating the obvious.
Finish with a restatement of the
topic sentence.
revise and fix any glitches before uploading by Sunday night ...
1302 Notes – 06 – February 4, 2021 Writing about Fiction (& ChantellPantoja184
1302 Notes – 06 – February 4, 2021
Writing about Fiction (& Exam)
1. Putting the “Composition” into Composition II
(how to start and end paragraphs with your topic sentence)
2. The Academic Paragraph—with an Example
(it starts and ends with the same topic sentence)
3. Analyze First
4. Let’s Practice Topic Sentences (which will start and end the paragraphs)
5. Let’s Practice Finding Support (for the topic sentences which go where?)
6. Drafting the Paragraph Assignment (establishes today’s attendance)
7. Homework Help (Paragraph & Exam 1: Fiction)
8. Checklist of Graded Assignments, Week 3
HOMEWORK for NEXT TIME: 1- ANALYZE a short story. 2-DRAFT an
academic paragraph of 8-24 sentences, communicating one writing technique in that
story. 3-REVISE the paragraph, then UPLOAD it by Sunday night. 4-TAKE Exam 1:
Fiction any time until next Wednesday (note: no new readings).
1. Putting the “Composition” into Composition 2
• You are LEARNING ABOUT FICTION in order to WRITE ABOUT FICTION
• The skills you use to write about fiction, you can then use in real life
to write about incident reports, peer reviews, etc.
• We will start by writing an ACADEMIC PARAGRAPH
• Next week, we will write an ESSAY, which will include:
• An introductory paragraph
• 2 or more academic paragraphs, and
• A concluding paragraph
2. The Academic Paragraph (with an Example)
ACADEMIC PARAGRAPHS, in literary analysis, exist to communicate ONE (1) specific
insight about a story, poem, or play. This time, we’re doing short stories.
WHY WRITE? Consider Comic-Con, book clubs, and fandoms (like Trekkers or
Browncoats). Also, this develops your ability to look at evidence and build a theory
based on that evidence—a good skill to have in law, in medicine, in business, etc.
HOW & WHEN TO WRITE? Use today’s class time to write an academic paragraph
explaining one (1) insight about one (1) short story. You will then have a chance to
The paragraph starts and ends
with the same point. This "topic
sentence" is the whole reason
the paragraph exists. Be sure to
name the author & title. If you
think a reader may need a
reminder about the term you
are using, define it. If you don't
use your own words, you must
use quotation marks and cite
your source! It's a good idea,
toward the start, to give a one-
line summary of the story in
your own words—name the
main characters. You should
have points to make that
support your topic sentence. Put
them before the quotes that
support them. Support can be
given as quotes and as facts
from the story. If you use a story
with page numbers, remember
to put the page number of the
quote in parentheses after the
quote. Make sure you proved
your point, by the end, even if
you feel you're stating the
obvious, because you probably
are not stating the obvious.
Finish with a restatement of the
topic sentence.
revise and fix any glitches before uploading by Sunday night ...
Reading Responses Assignment What is a reading response .docxcargillfilberto
Reading Responses Assignment
What is a reading response?
A reading response is a focused response to assigned reading before it is discussed in class. It is an
opportunity for you to explore and formulate your interpretation of one aspect of the reading. It is not an
essay, but should be written in structured, developed paragraphs. It is not a freewrite and should have
focus, organized thoughts, support (e.g. textual evidence), and an adequate degree of correctness. Ideally,
these responses will provide you with foundations upon which to build your longer, formal essays.
What should a reading response do?
Analyze a singular element of the literature by discussing the WHAT, HOW, and possibly
WHY of this element. In other words, if you choose to write about the point of view in a story,
you will need to describe what the point of view is, explain how it functions to contribute to the
overall effect (intellectual or emotional upon reader) or meaning (theme, concept, or question
raised by story) of the text, and perhaps consider why this perspective is successful (or not) in
creating this effect/meaning, usually in relation to a particular theme of the work (Theme = the
larger issues, ideas, questions or arguments with which a text grapples.)
Or you may choose to discuss a particular theme as developed in a reading assignment. For
example, if you choose to write about identity conflict in a section of a novel, you would present
what you think the author is saying in this section about this topic (the what). You might expand
by describing one or two key scenes or perhaps point to a couple of key passages that illustrate
this theme. Then you would do a close reading of the scene(s) or passage(s) to explain what you
think each reveals about how the author is creating this impression, message, or argument in the
text. Finally, you might speculate as to why this is important in the larger scheme of the work.
So to recap, you need to DESCRIBE (often pointing to specific instances or passages or details
from the text will be helpful) and ANALYZE (explain the significance of the piece in relation to
the whole).
A reading response is: - NOT a summary of plot - NOT an opinion -NOT a
review -NOT a freewrite - NOT about personal experience
What should a reading response look like?
For each response you would select only one element. Your first paragraph should be only one or
two sentences in which you state a thesis, the single focus of your response and the overall idea
or argument you will pursue related to it.
This should be followed by 2-3 fully developed paragraphs in which you explore this topic in an
organized way, with specific examples analyzed. Paragraphs should include a topic sentence
(identifies main idea of paragraph), remain focused on the idea of the topic sentence, and provide
sufficient specific evidence and support from the text analyzed in such a way as to e.
209.20191.ENG11238A Assignments * Essay 1 Final!
* Essay 1 Final
* Essay 1 Final !
Upload Submission
You have no active papers in this assignment.
"
This assignment will also be used for a!endance.
This assignment will also be used for a!endance.
ENG 1123 Online Summer Thompson
Essay #1: UNIT 1 –
Stories:The Disappearance, The Story of an Hour, The Yellow
Wallpaper, and Suicide Note
Instruc!onsInstruc!ons:
Compose a cri!cal analysis essay on one of the topics below.
Your essay should be well developed, unified, coherent, and
gramma"cally correct. Refer to the Grading Criteria for MCC
English Classes in the First Day Handout for this course.
Required length: 1 ½ -2 typed pages
You will have a chance to earn 5 bonus points on this essay
by following the direc"ons for checking your graded essay
in Turn It In and looking over the correc"ons and comments
(a#er I have graded it). Turn It In will show me if you viewed
your document or not. The direc"ons (with pictures) are in
this week's module "tled "Instruc"ons for Seeing
Correc"ons in Turn It In."
Create a thesis statement, and back up your claim with
support/evidence from the text. Support should contain clear,
specific examples from the story or stories you are analyzing, as
well as documenta"on for all text references. Include at least
one quota!on from the story in each body paragraph of your
essay, for a total of 4 quota"ons from the story/poem. *See
handouts about how ci"ng poetry is different than stories. It
would be a good idea to do an outline before wri"ng the essay.
Follow MLA format: Use size 12, Times New Roman font and 1-
inch margins; double space.
Include a Work Cited page. It is not included in the two-page
length requirement; it should appear on a separate page at the
end of your paper. You will automa"cally lose 20 points for not
including a Works Cited page.
Topics:
1. Analyze a character in one of the short stoires and show
how he or she is a dynamic, round, flat, or sta!c character
by examining his or her development over the course of the
story.
2. Choose one work from Units 1 and discuss how in
the story/poem society plays a part in imprisoning/s"fling
the main character.
3. Discuss the importance of se%ng in 1 work from Units 1.
Analyze how the se%ng ("me and place) adds meaning,
conflict, and/or relevance to the characters. Do NOT just
describe the se%ng and tell me “in this story the se%ng is
this. In that story the se%ng is that.” That is not analysis,
nor is it interes"ng. I want to know how and why the
se%ng is significant, what thisreveals about the characters,
the "me period, and the conflict within the story
StepsSteps:
Before beginning your paper, read the wri"ng handouts; use
them as a guide while working on your essay as well.
Use the outline form on the next page to plan your paper.
You may write/type directly o.
1 A Guide to the Literary-Analysis Essay INTRODU.docxmercysuttle
1
A Guide to the Literary-Analysis Essay
INTRODUCTION: the section in your essay. It begins creatively in order to catch your
reader’s interest, provides essential background about the literary work, and prepares the reader
for you major thesis. The introduction must include the author and title of the work as well
as an explanation of the theme to be discussed. Other essential background may include
setting, capsule plot summary, an introduction of main characters, and definition of terms.
The major thesis goes at the end. Because the major thesis sometimes sounds tacked on, use
a transition between the background information and the thesis of the essay.
CREATIVE OPENING: the beginning sentences of the introduction that catches the reader’s
interest. The types of introductions listed below are not the complete introductions. The
examples only represent a type of introduction. The introduction is more than you see here.
Ways of beginning creatively include the following:
1) A startling fact or bit of information
Ex. Nearly two citizens were arrested as witches during the Salem witch scare of 1692.
Eventually nineteen were hanged, and another was pressed to death (Marks 65).
2) A snatch of dialogue between two characters
Ex. “It is another thing. You [Frederic Henry] cannot know about it unless you have it.” “Well,”
I said. “If I ever get it I will tell you [priest].” (Hemingway 72). With these words, the priest in
Ernest Hemingway’s A Farewell to Arms sends the hero, Frederic, in search of the ambiguous
“it” in his life.
3) A meaningful quotation (from the work or another source)
Ex. “To be, or not to be, that is the question” {3.1.57}. This familiar statement expresses the
young prince’s moral dilemma in William Shakespeare’s tragedy Hamlet, Prince of Denmark.
4) A universal idea.
Ex. The terrifying scenes a soldier experiences on the front probably follow him throughout his
life—if he manages to survive the war.
5) A rich, vivid description of the setting
Ex. Sleepy Maycomb, like other Southern towns, suffers considerably during the Great
Depression. Poverty reaches from the privileged families, like the Finches, to the Negroes and
“white trash” Ewells, who live on the outskirts of town. Harper Lee paints a vivid picture of life
in this humid Alabama town where tempers and bigotry explode into conflict.
2
6) An analogy or metaphor
Ex. Life is like a box of chocolates: we never know what we’re going to get. This element of
uncertainty plays a major role in many dramas. For example, in Shakespeare’s play, Romeo and
Juliet have no idea what tragedies lie ahead when they fall so passionately and impetuously in
love.
7) MAJOR THESIS: a statement that provides the subject and overall opinion of your
essay. For a literary analysis your major thesis must (1) relate to the theme of the
work and (2) suggest how this theme is revealed by the author. A good thesis may ...
1 A Guide to the Literary-Analysis Essay INTRODU.docx
One story theory question notes
1. Cooley
Eng 12CP
DUE: ________
Cornell Notes Focus Questions
“One Story” Chapter
How to Read Literature Like a Professor by Thomas Foster
Instructions: Your Cornell notes should ultimately address the following questions and concepts articulated below.
That said, you are not just merely sticking to this information alone and your notes should NOT merely be a list of
these questions with answers. You are to use your notes on the entire chapter to address the main idea points
presented here.
1. What is the one story theory? Explain in depth.
2. Why do writers keeptelling the same story over and over? Why do readers keepreading
stories if it is merely the same story over and over?
3. Define, offer examples, and explain intertextuality in terms of the theory of one story.
4. Define archetypes and explain their roles & functions in the theory of one story.
KEY VOCABULARY: One Story Theory, intertextuality, parody archetypes
FOCUS CORRECTIONAL AREAS
________/ 30 Total Points
MRS J YOU TOTAL
PTS
10 All main idea questions prompted (above) are fully addressed/answered.
5 Each key vocabulary word appears highlighted/underlined and accurately defined.
5 Key Concepts include a record ofat least 8-10 key ideas expressed directly in the
text (should appear as a balance between direct quoting and key phrases/points).
5 Recorded Notes include thorough and accurate responses to the Key Concepts
section by specifically referencing details from the text.
5 Summary fully and accurately sums up, in 6-8 sentences minimum, at least 5 main
ideas expressed in the chapter.
Requirements:
❏ MLA format; types (unless otherwise approved)
❏ Cornell notes format (must include Key Concepts, Recorded Notes, & Summary sections)
❏ Chapter title in quotation marks and book title in italics/underline
❏ Notes appear in “short-hand” techniques are used in that bullet points, indentation,
highlighting/bolding/underlining appear to organize the chapter in notation form
2. Cooley
Eng 12CP
Name
Patrick Cooley
English 12CP
30/October/15
“Title of Chapter”
KEY CONCEPTS RECORDED NOTES
What is the one story theory?
What does archetypes mean?
What is the meaning of
intertextuality?
What does parody archetypes mean?
Intertextuality and how to use it?
Why do writers keep making/telling
the same story?
The makers all think the same way
and that is.
Shakespeare?
3 sub-types
The one story theory is about how all stories or movies that come
out we know that there is only one original source.
Archetypes is a symbol or character with in the story that could be
a person or an object that keeps recurring throughout the story.
Intertextuality is a reference from another movie or song that is
put into another movie. they also use allusions and parodies with in
it.
Parody archetypes are symbol that takes a reference from a movie
or story and puts the reference in a different movie.
Intertextuality is used by using something the director or author has
created and taking the original by putting it into another movie that
has nothing that is anywhere near the main movie. Examples would
be Pulp Fiction and Breaking Bad
It’s harder for authors or directors to make something that is pure
original without making something from the original. Example
“when you go camping and pitch your tent someone else has been
in your footsteps and have done it before you”.
Storytellers =
Poets = they all have something in common which is using
Directos= something original and changing it to make it their own
The one story theory all started with him
Ego
Soul these three make up the character within the story
Self
3. Cooley
Eng 12CP
SUMMARY: In the chapter “ What Is The One Story Theory” no matter how many stories, poems, or
movies we read or watch there will always be something about the story that will relate with other genres
such as for example. Norse sagas, Samoan Snorgg, and Gravity’s Rainbow with many other stories that
are out there. Later in the chapter the author asks us if writers know about this theory or do they know and
they continue to write anyways because people like what they present. Instead of change we tend to stick
with what we know rather than having to make that big jump to overcome something that will take time to
grasp but might make life more interesting. Sometimes when authors or directors take something and want
to make there own they tend to abuse the originators work rather than taking the work and giving them the
benefit of the doubt like it says in the reading “But I must not ape the master”. By the end of the chapter I
learned when reading is that one story theories are full of symbols, religion, myths, and race all take an
important role with it the story, and by taking all those and making something original about it is harder to
do when there was something before it all ready created.
