Prior to the literary stage of plot development. The meaning of the phrase "development of action." What is the development of action. Plots of Old Russian Literature
Plot and composition. Stages of plot development
I. PLOT - the whole system of actions and interactions consistently combined in the work.
1. ELEMENTS OF THE Plot (stages of development of the action, plot composition)
EXPOSITION- background, outline of the characters and circumstances that developed before the development of the main storyline.
BINDING- the starting point for the development of the main storyline, the main conflict.
DEVELOPMENT ACTION- part of the plot between the plot and the climax.
CULTIVATION- the highest point of development of action, tension of the conflict before the final denouement.
UNLOADING- completion of the plot, resolution (or destruction) of the conflict.
2. NON-STORY ELEMENTS
At the beginning of the piece
- TITLE
- DEDICATION
- EPIGRAPH- a quotation from another work, placed by the author in front of his work or part of it.
- FOREWORD, INTRODUCTION, PROLOGUE
- LYRICAL DIGRESSION- deviation from the plot in a lyric-epic or epic work.
- HISTORICAL AND PHILOSOPHICAL DISCUSSION
- INSERT STORY, EPISODE, SONG, POEM
- REMARK- author's explanations in a dramatic work.
- AUTHOR'S NOTE
- EPILOGUE, AFTERWORD- the final part of the work after the completion of the main plot, telling about further destiny characters.
4. FABULA - 1. Direct temporal sequence of events, in contrast to the plot, which allows for chronological shifts. 2. Brief outline of the plot.
II. COMPOSITION - the construction of the work, including:
- The arrangement of its parts in a certain system and sequence. In the epic - fragments of text, chapters, parts, volumes (books), in the lyrics - strophes, poems; in drama - phenomena, scenes, actions (acts).
Ring composition
- repetition of the initial fragment at the end of the text.
Concentric composition (plot spiral)
- repetition of similar events in the course of the development of the action.
Mirror symmetry -
repetition, in which first one character performs an action in relation to another, and then he performs the same action in relation to the first character.
"Thread with beads"
- several different plots connected by one hero.
- The ratio of the plot lines.
- The ratio of plot lines and non-plot elements.
- Composition of the plot.
- Artistic means creating images.
- System of images (characters).
Plot a literary work is a logical sequence of actions of the heroes.
Plot elements:
exposition, setting, culmination, denouement.
Exposition- introductory, initial part of the plot, preceding the outset. Unlike the plot, it does not affect the course of subsequent events in the work, but outlines the initial situation (time and place of action, composition, character relationships) and prepares the reader's perception.
Tie- the event from which the development of the action in the work begins. Most often, there is a conflict in the tie.
Climax- the moment of the highest tension of the plot action, in which the conflict reaches a critical point of its development. The culmination can be a decisive clash of heroes, a turning point in their fate, or a situation that fully reveals their characters and especially clearly reveals a conflict situation.
Interchange- the final scene; the position of the actors, which has developed in the work as a result of the development of the events depicted in it.
Plot(from Frenchsujet - subject, content) - the system of events that constitutes the content of a literary work. Sometimes, in addition to the plot, the plot of the work is also singled out. The plot is the chronological sequence of events described in the work. A well-known example of the discrepancy between the plot and the plot is Lermontov's novel A Hero of Our Time. If we adhere to the plot (chronological) sequence, then the stories in the novel should have been arranged in a different order: "Taman", "Princess Mary", "Bela", "Fatalist", "Maxim Maksimovich".
The plot of the work includes not only events from the life of the characters, but also the events of the spiritual (inner) life of the author. So, lyrical digressions in "Eugene Onegin" by Pushkin and in " Dead souls Gogol's are deviations from the plot, not from the plot.
Composition(from latin compositio - compilation, connection) - construction of a work of art. The composition can be organized by plot ( J 1. Tolstoy "After the ball") and non-plot (I. Bunin " Antonov apples"). A lyrical work can also be plot-based (Nekrasov's poem "Reflections at the front entrance", which is characterized by an epic event plot) and non-plot (Lermontov's poem "Gratitude").
The composition of a literary work includes:
- arrangement of character images and grouping of other images;
- plot composition;
- composition of off-plot elements;
- ways of narration (from the author, from the narrator, from the hero; in the form of an oral story, in the form of diaries, letters);
- composition of details (details of the situation, behavior);
- speech composition (stylistic devices).
The composition of a work depends on its content, kind, genre, etc.
The development of an action in a work of art includes several stages: exposition, outset, climax, denouement, epilogue.
Exposition(from latin expositio - presentation, explanation) - prehistory of the events underlying the work of art. Usually it gives the characteristics of the main characters, their arrangement before the start of the action, before the tie. The exposition motivates the behavior of the characters. The exposition can be direct, that is, standing at the beginning of the work, or delayed, that is, in the middle or end of the work. For example, information about the life of Chichikov before his arrival in the provincial town is given in the last chapter of the first volume of Gogol's Dead Souls. Delayed exposure usually gives a work of mystery, ambiguity.
Tie - this is the event that is the beginning of the action. The plot either reveals the already existing contradictions, or creates ("ties") conflicts by itself. For example, the plot in Gogol's comedy "The Inspector General" is the receipt by the mayor of a letter informing about the arrival of the inspector.
Climax(from latin culmen - top) - the highest point of tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly acute form. So, in Ostrovsky's drama "The Thunderstorm", the culmination is the recognition of Katerina. The more conflicts in a work, the more difficult it is to reduce the tension of action to only one climax. The climax is the most acute manifestation of the conflict and at the same time prepares the denouement of the action.
Interchange - outcome of events. This is the final moment in creation artistic conflict... The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. Such, for example, is the so-called silent scene in N. Gogol's "The Inspector General", where all the plot nodes of the comedy are "untied" and the final assessment of the characters' characters is given. The denouement can resolve the conflict (Fonvizin "The Minor"), but it may not eliminate conflict situations (in "Woe from Wit" by Griboyedov, in "Eugene Onegin" by Pushkin, the main characters remain in difficult situations).
Epilogue(from greek epilogos - afterword) - always concludes the work. The epilogue tells about the further fate of the heroes. For example, Dostoevsky in the epilogue "Crime and Punishment" reports on how Raskolnikov changed in hard labor.
Lyrical digression - deviation of the author from the plot, author's lyrical inserts on topics that have little or no connection with main theme works. On the one hand, they inhibit the plot development of the work, and on the other hand, they allow the writer to openly express his subjective opinion on various issues that have a direct or indirect relation to the central theme. Such, for example, are the lyrical digressions in Pushkin's novel Eugene Onegin and in Gogol's Dead Souls.
Conflict(from latin conflictus - collision) - collision between characters or between characters and environment, hero and destiny, as well as internal contradictions of the character. Conflicts can be external (Chatsky's clash with the "Famusian" society "in Griboyedov's Woe from Wit) and internal (internal, psychological conflict of Chatsky himself). Often external and internal conflicts closely interconnected in the work ("Woe from Wit" by Griboyedov, "Eugene Onegin" by Pushkin).
Author-narrator - an author who directly expresses a particular idea of a work speaks with a reader from own name... Thus, the image of the author-narrator is present in Nekrasov's Who Lives Well in Russia. It arises almost from the first lines of the poem, when the author-narrator begins a story about seven "temporarily liable", who converged "on a pole path" and argued, "who lives happily, at ease in Russia." However, the role of the author-narrator is not limited to dispassionate information about what the men are doing, who they are listening to, where they are going. The attitude of men to what is happening is expressed through the narrator, who acts as a kind of commentator of events. For example, in one of the first scenes of the poem, when the men were arguing and could not find a solution to the question "who lives happily, freely in Russia," the author comments on the intransigence of the men:
A peasant like a bull, he'll be pushed into his head What a whim - Colom will not knock her out of there: they resist, Everyone stands on his own!
author - creator of a work of art. Its presence in the literary text is noticeable to varying degrees. He either directly expresses this or that idea of the work, speaks to the reader on his own behalf, or hides his "I", as if he is self-eliminating from the work. Such a double structure of the author's image is always explained by the general intention of the writer and the style of his work. Sometimes in a work of fiction, the author acts as a completely independent image.
The image of the author is a character, the protagonist of a work of art, considered in a number of other characters. He has the features of a lyrical hero or a hero-storyteller; can be extremely close to the biographical author or deliberately distant from him.
For example, you can talk about the image of the author in Pushkin's novel "Eugene Onegin". He is no less important than the images of other heroes. The author is present in all scenes of the novel, comments on them, gives his explanations, judgments, assessments. He gives a unique originality to the composition and appears before the reader as an author-character, author-narrator and author - a lyrical hero who tells about himself, his experiences, views, life.
The character(from Frenchpersonage - personality, face) - the protagonist of a work of art. As a rule, the character takes an active part in the development of the action, but the author or someone from literary heroes... Characters are major and minor. In some works, the main attention is paid to one character (for example, in Lermontov's A Hero of Our Time), in others the writer's attention is drawn to a number of characters (War and Peace by L. Tolstoy).
Character(from greek character - trait, feature) - image of a person in literary work, which combines the general, repetitive and individual, unique. Through character, the author's view of the world and man is revealed. The principles and techniques for creating character differ depending on the tragic, satirical and other ways of depicting life, from the literary kind of work and genre.
It is necessary to distinguish the literary character from the character in life. By creating character, a writer can also reflect the traits of a real, historical person. But he inevitably uses fiction, “concocts” the prototype, even if his hero is a historical person.
"Character" and "character" - concepts are not identical. The literature is focused on creating characters that are often controversial, perceived by critics and readers alike. Therefore, in the same character you can see different tempers(the image of Bazarov from Turgenev's novel "Fathers and Sons"). In addition, in the system of images of a literary work, characters, as a rule, are much more than characters. Not every character is a character, some characters perform only a plot role. As a rule, the secondary characters of the work are not characters.
Type of - generalized artistic image, the most possible, characteristic of a particular social environment. A type is a character that contains a social generalization. For example, the type of "superfluous person" in Russian literature with all its diversity (Chatsky, Onegin, Pechorin, Oblomov) had common features: education, dissatisfaction real life, the desire for justice, the inability to realize oneself in society, the ability to strong feelings etc. Each time gives birth to its own types of heroes. For changing " extra person"The type of" new people "has come. This is, for example, the nihilist Bazarov.
Lyrical hero - the image of the poet, the lyrical "I". The inner world of the lyric hero is revealed not through actions and events, but through a specific state of mind, through the experience of a certain life situation... A lyric poem is a specific and isolated manifestation of the character of a lyric hero. With the greatest completeness, the image of the lyrical hero is revealed in all the poet's work. So, in separate lyrical works of Pushkin ("In the depths of Siberian ores ...", "Anchar", "Prophet", "Desire for glory", "I love you ..." and others), various states of the lyrical hero are expressed, but, taken together, they give us a fairly holistic view of it.
The image of the lyric hero should not be identified with the personality of the poet, just as the experiences of the lyric hero should not be perceived as the thoughts and feelings of the author himself. The image of the lyrical hero is created by the poet in the same way as the artistic image in works of other genres, with the help of the selection of life material, typification, and artistic fiction.
Image system - aggregate artistic images literary work. The system of images includes not only images of characters, but also images-details, images-symbols, etc.
When creating images, the following artistic means are used:
1. Speech character characteristic, which includes monologue and dialogue. Monologue- the character's speech addressed to another character or to the reader without counting on the answer. Monologues are especially characteristic of dramatic works(one of the most famous is Chatsky's monologue from Griboyedov's Woe from Wit). Dialogue- verbal communication between actors, which, in turn, serves as a way of characterizing the character and motivates the development of the plot.
In some works, the character himself tells about himself in the form of an oral story, notes, diaries, letters. This technique, for example, is used in Tolstoy's story "After the Ball".
2. Mutual characteristics,when one character talks about another (the mutual characteristics of officials in Gogol's "Inspector General").
3. Author's characteristic,when the author talks about his hero. Thus, reading War and Peace, we always feel the author's attitude to people and events. It is revealed in the portraits of the characters, in direct assessments and characteristics, and in the author's intonation.
Portrait - the image in a literary work of the hero's appearance: facial features, figure, clothing, posture, facial expressions, gesture, demeanor. In literature, there is often a psychological portrait in which the writer seeks to reveal his inner world through the appearance of the hero (portrait of Pechorin in Lermontov's A Hero of Our Time).
Landscape- the image of pictures of nature in a literary work. The landscape also often served as a means of characterizing the hero and his mood at a certain moment (for example, the landscape as perceived by Grinev in “ Captain's daughter"Pushkin before visiting the robber's" military council "is fundamentally different from the landscape after this visit, when it became clear that Grinev's Pugachevites would not be executed).
"Eternal" themes - these are the topics that always, at all times, are of interest to humanity. They contain a generally significant and moral content, but each era puts its own meaning in their interpretation. The "eternal" themes include such as the theme of death, the theme of love and others.
Motive - the minimum significant component of the storytelling. Also, the motive is called constantly repeating in different works artistic plot... It can be found in many works of one writer or in several writers. "Eternal" motives- such motives that for centuries pass from one work to another, since they contain a common human, universally significant meaning (the motive of the meeting, the motive of the path, the motive of loneliness and others).
The literature also contains "Eternal" images. "Eternal" images- characters of literary works that have gone beyond their scope. They are found in other works of writers. different countries and eras. Their names have become common nouns, are often used as epithets, indicate some qualities of a person or a literary character. These are, for example, Faust, Don Juan, Hamlet, Don Quixote. All these characters have lost their purely literary meaning and acquired universal human meaning. They were created a very long time ago, but they appear again and again in the works of writers, because they express the universally significant, important for all people.
Preparing for the exam - a universal guide
Stages of development of the action: exposure, setting, culmination, denouement, epilogue, lyrical digression
The development of action in a work of fiction includes several stages: exposure, setting, culmination, denouement, epilogue.
The exposition (from the Latin expositio - presentation, explanation) is the prehistory of the events underlying the work of art. Usually it gives the characteristics of the main characters, their arrangement before the start of the action, before the tie. The exposition motivates the behavior of the characters. The exposition can be direct, that is, standing at the beginning of the work, or delayed, that is, in the middle or end of the work. For example, information about the life of Chichikov before his arrival in the provincial town is given in the last chapter of the first volume of Gogol's Dead Souls. Delayed exposure usually gives a work of mystery, ambiguity.
A tie is an event that is the beginning of an action. The plot either reveals the already existing contradictions, or creates ("ties") conflicts by itself. For example, the plot in Gogol's comedy "The Inspector General" is the receipt by the mayor of a letter informing about the arrival of the inspector.
The culmination (from the Latin culmen - top) is the highest point of tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly acute form. So, in Ostrovsky's drama "The Thunderstorm", the culmination is the recognition of Katerina. The more conflicts in a work, the more difficult it is to reduce the tension of action to only one climax. The climax is the most acute manifestation of the conflict and at the same time prepares the denouement of the action.
The denouement is the outcome of events. This is the final moment in creating an artistic conflict. The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. Such, for example, is the so-called silent scene in N. Gogol's "The Inspector General", where all the plot nodes of the comedy are "untied" and the final assessment of the characters' characters is given. The denouement can resolve the conflict (Fonvizin "The Minor"), but it may not eliminate conflict situations (in "Woe from Wit" by Griboyedov, in "Eugene Onegin" by Pushkin, the main characters remain in difficult situations).
The epilogue (from the Greek epilogos - afterword) - always concludes the work. The epilogue tells about the further fate of the heroes. For example, Dostoevsky in the epilogue "Crime and Punishment" reports on how Raskolnikov changed in hard labor.
Lyrical digression - deviation of the author from the plot, author's lyrical insertions on topics that are little or not at all related to the main theme of the work. On the one hand, they inhibit the plot development of the work, and on the other hand, they allow the writer to openly express his subjective opinion on various issues that have a direct or indirect relation to the central theme. Such, for example, are the lyrical digressions in Pushkin's novel Eugene Onegin and in Gogol's Dead Souls.
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What is a plot in literature? Development and elements of plot in literature
Modern literary theory offers several definitions of the concept of "plot". According to Ozhegov, plot in literature is the order and connection of events. Ushakov's dictionary proposes to consider them a set of actions, sequence and motivation for the development of what is happening in the work.
Relationship with the plot
In contemporary Russian criticism, the plot has a completely different definition. The plot in the literature is understood as a course of events, against the background of which the confrontation is revealed. The plot is the main artistic conflict.
However, in the past there have been and continue to exist other points of view on this issue. Russian critics mid XIX the centuries, supported by Veselovsky and Gorky, considered the compositional side to be the plot, that is, how the author communicates the content of his work. And the plot in literature is, in their opinion, the very development of the action and the relationship of the characters.
This interpretation is directly opposite to that in Ushakov's dictionary, in which the plot is the content of events in their sequential connection.
Finally, there is a third point of view. Those who adhere to it believe that the concept of "plot" has no independent meaning, and when analyzing it is quite enough to use the terms "plot", "composition" and "plot scheme".
Types and variants of work schemes
Modern analysts distinguish two main types of plot: chronicle and concentric. They differ from each other in the nature of the connections between events. The main factor, so to speak, - time. The chronic type reproduces its natural course. Concentric - focuses no longer on the physical, but on the mental.
Concentric plot in literature is detective stories, thrillers, social and psychological novels, dramas. Chronicle is more often found in memoirs, sagas, adventure works.
Concentric plot and its features
In the case of this type of course of events, there is a clear causal relationship between episodes. The development of the plot in this type of literature is consistent and logical. Here it is easy to distinguish the outset and the denouement. Previous actions are the reasons for subsequent ones; all events seem to be pulled together into one knot. The writer explores one conflict.
Moreover, the work can be both linear and multi-line - the cause-and-effect relationship is preserved just as clearly, moreover, any new plot lines appear as a result of events that have already happened. All parts of a detective, thriller, or story are built on a clear-cut conflict.
Chronic plot
It can be opposed to a concentric one, although in reality there is not an opposite, but a completely different principle of construction. These types of plots in literature can interpenetrate each other, but most often either one or the other is decisive.
The change of events in the work, built according to the chronicle principle, is tied to time. There may be no pronounced connection, there is no strict logical causal relationship (or, at least, this relationship is not obvious).
Speech in such a work can go about many episodes, which have in common only that they happen in chronological order... A chronicle plot in literature is a multi-conflict and multi-component canvas, where contradictions arise and fade away, one is replaced by another.
The beginning, the climax, the denouement
In works, the plot of which is based on conflict, it is essentially a scheme, a formula. In it, you can select the constituent parts. Plot elements in literature include exposure, setting, conflict, escalating action, crisis, climax, downward action, and denouement.
Of course, all of these elements are not present in every work. More often, you can find several of them, for example, an outset, a conflict, an action development, a crisis, a climax and a denouement. On the other hand, it matters how the work is analyzed.
In this regard, the exposition is the most static part. Its task is to introduce some of the characters and the setting of the action.
A prefix describes one or more events that trigger the main action. The development of the plot in literature goes through a conflict, an escalating action, a crisis to a climax. She is also the peak of the work, which plays a significant role in revealing the characters of the heroes and in the deployment of the conflict. The denouement adds finishing touches to the story told and to the characters of the characters.
In the literature, a certain plot structure has developed, which is psychologically justified from the point of view of influencing the reader. Each described element has its own place and meaning.
If the story does not fit into the scheme, it seems sluggish, incomprehensible, illogical. For a work to be interesting, so that readers empathize with the heroes and delve into what is happening to them, everything in it must have its place and develop according to these psychological laws.
Plots of Old Russian Literature
Ancient Russian literature, according to DS Likhachev, is "literature of one theme and one plot." World history and the meaning of human life - these are the main, deep motives and themes of the writers of those times.
Plots Old Russian literature are revealed to us in the lives, messages, walks (descriptions of travels), chronicles. The names of the authors of most of them are unknown. According to the time interval, works written in the XI-XVII centuries are attributed to the Old Russian group.
Variety of contemporary literature
Attempts to classify and describe the plots used have been made more than once. In his book Four Cycles, Jorge Luis Borges suggested that there are only four types of them in world literature:
- about search;
- about the suicide of God;
- about a long return;
- about the assault and defense of the fortified city.
Christopher Booker singled out seven: "from rags to riches" (or vice versa), adventure, "back and forth" (here Tolkien's "The Hobbit" comes to mind), comedy, tragedy, resurrection and victory over the monster. Georges Polty reduced the entire experience of world literature to 36 plot collisions, and Kipling identified 69 of them.
Even specialists of a different profile did not leave indifferent this question. According to Carl Gustav Jung, the famous Swiss psychiatrist and founder of analytical psychology, the main plots of literature are archetypal, and there are only six of them - the shadow, anima, animus, mother, old man and child.
Folk tale index
The Aarne-Thompson-Uther system, perhaps, "allocated" the most opportunities for writers - it recognizes the existence of about 2500 variants.
It is true, here we are talking about folklore. This system is a catalog, an index of fairy-tale plots known to science at the time of compilation of this monumental work.
There is only one definition for the course of events. The plot in the literature of this kind is as follows: “The persecuted stepdaughter is taken to the forest and thrown there. Baba Yaga, or Morozko, or Goblin, or 12 months, or Winter, test her and reward her. The stepmother's own daughter also wants to receive a gift, but does not pass the test and dies. "
In fact, Aarne himself established no more than a thousand options for the development of events in a fairy tale, however, he admitted the possibility of new ones and left a place for them in his original classification. This was the first index that came into scientific use and was recognized by the majority. Subsequently, scientists from many countries made their own additions to it.
In 2004, a revision of the handbook appeared, in which the descriptions of fairy types were updated and made more accurate. This version of the pointer contained 250 new types.
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Exposition, setting, development of action
Lesson three. The intricacies of the plot.
It is more difficult for a writer to describe an ordinary life than an exclusive situation. '' Ilya Shevelev
3. Rules for plotting.
According to the laws of literature, the plot of any work must be complete
V classic version a plot is considered as such if it contains five components: exposure (and the outset), the development of the action, the culmination, the collapse of the action and the denouement. Plots contemporary works are often built according to a lightweight scheme: the outset - the development of the action - the culmination - the denouement, or according to an even more lightweight connection - the action - the culmination (it is the denouement).
The classical scheme is more suitable for solid, slowly developing plots; it is used when writing thick books, scripts for plays, and thoughtful films. The lightweight scheme is better adapted to our high-speed world, it is used to write scripts for cartoons and action films, as well as for all kinds of comics and other graphic works, where such a quality of the plot as its rapid development is important.
Which scheme you prefer is up to you. Below I will show you different options for the development of the action and give you a couple of tips on how to build a plot depending on the genre of the work. But first, first things first.
1.Exposition.
First of all, we inform the reader about where and at what time the action takes place, introduce the heroes, briefly tell their story, acquaint the reader with them. There is no conflict as such, but you can identify the prerequisites for it. Lauren moves to a new apartment, meets neighbors, calls her friend - this is our exposition: we introduced the reader to the main character, designated the time and place of action, indirectly told about the rest of the characters. The beginnings of conflict can be shown here through the peculiar relationships of the girls, on the basis of which the germs of misunderstanding and jealousy will soon sprout. How long the exposition will be depends entirely on the author and his intention. For works with a swift plot, a couple of lines are enough to introduce the reader to the essence of the matter; for works with a prolonged plot, the introduction is usually made larger. Try not to overdo it, not to stretch the tie and at the same time not to crumple it too much.
2. The tie.
Not to be confused with exposure! The set itself is the event from which everything will begin. We can put it this way: if the conflict is the cause of the war, then the plot is the reason for it, like a violation of the peace treaty. And in our history, what will serve as the trigger for the development of the plot, what event? I think that the action will begin with the acquaintance of our heroines with the handsome Dave, because it is after this that everything will start spinning. Hence, in our case, the plot of the plot can be considered a scene of acquaintance. Usually, the plot is the moment when an important task is posed to the hero, which he must complete, or he, the hero, must make his choice. The author usually uses this situation to indicate the conflict, to show what exactly the contradictions between the hero and the villain are, to describe how each of them perceives the problem that has arisen in front of them, and subtly hint to us what each of them intends to do next.
Here, a young man appeared in the field of view of the girls, who liked both of them, but he liked Lorraine more, and Inga pissed off. Lorraine is embarrassed that it happened, but she likes the guy, and she intends to continue acquaintance. Inga is annoyed, but is not going to do anything yet, she chose to step aside and left her friend to do whatever she saw fit.
At the same time, the writer, having achieved that the reader is unambiguously interested in his story, slowly begins to unwind his intrigue (who will win, and who will stay with the nose? How will it end?) And at the same time gradually present us with the main idea of the work ("friendship and love will conquer all "or, on the contrary," no, even the strongest friendship can withstand betrayal. " authors usually put many storylines at once in serious works - love line, family, detective, political and so on. The authors of the same series are usually limited to one single line, but no one bothers you to make several of them. So, how many storylines there will be, there will be as many ties, they can be scattered throughout the text, but do not forget: each situation must have a logical conclusion, which means that each plot will have a continuation and denouement. There should not be any begun, but incomplete storylines.
3. Development of an ascending action.
This is where the unlimited flight of imagination begins! The author invents incredible plot moves, places the heroes in various difficult situations, describes their feelings about this and tells us how trials temper the characters of the heroes, what lessons they learn for themselves.
Heroes must change, this is very important! If from the first to the last episode the hero has not changed at all, if he is still the same and perceives the world in the same way as before, if he has not learned any valuable lessons for himself, then you have not fulfilled your task as a writer. Why did you have to tell this story? What was its deep meaning? What did the author want to tell us? It turns out that nothing makes sense, did not want to say anything, and, in general, there was nothing to talk about.
The action should not be incoherent: here our heroes were caught by a maniac, but they, it is not clear how they escaped from the tormentor, without any reason end up at an abandoned nuclear station. Plot moves should "cling" to each other, like knitting loops, then you get a solid sock, that is, excuse me, a story. It will be best if, before describing any move, you slightly "open your cards" in advance and give a modest, imperceptible hint that, very likely, soon such and such will happen. Precisely a hint, no more. For example, if you have planned that after a series or two your hero will threaten someone with a pistol, it would be nice to inform right now that this cute young man is a happy owner of a firearm or has a habit of going to a shooting range, where he was seen as a good shooter. At least when the reader sees that your Cool Walker is aiming at his opponent and threatens to shoot the poor fellow an important part of the body, he will not have the feeling that he, the reader, has been hit on the head with a log. On the contrary, he will be pleased with himself: wow, but in the last episode I guessed what to expect from this ranger!
Everything that you hinted at in the set should be developed and concretized. The conflict must grow steadily. Let the characters show themselves from different sides, let new participants be involved in the conflict, let those who were silent at first speak up.
Take, for example, our conflict, which we have already identified. Two friends quarreled over a guy and are trying to divide him, and at the same time save friendly relations... And the guy? How does he feel in such a situation? What does he want? What are his intentions for each of the girls? Or maybe he doesn't care?
Develop the storyline steadily from episode to episode. If there are several plot lines, the more interesting it is, even if they intersect, intertwine, "push" each other. The heroine is more likely to commit suicide if she is betrayed by her friend, she runs out of money and has problems at work than if any of these troubles happened. Thus, gradually building up tension, we step by step bring the heroes to the most important stage in the whole story ... This is the climax.
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The meaning of the phrase DEVELOPMENT OF ACTION. What is DEVELOPMENT ACTION?
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Sentences with the word "development of action":
- A fictional narrative text is built according to the following compositional scheme: exposure, setting, development of action, culmination, denouement.
- Proof of the above is also the fact that beginners to create poetic works can earlier achieve success in dialogues and portrayal of mores than in the development of action, as, for example, almost all ancient poets.
- And he began to follow the development of the action even more critically than before.
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kartaslov.ru
plot progression is ... What is plot progression?
plot developmentGeneral subject: the development of the action, unravelling of the plot
Universal Russian-English Dictionary. Academic.ru. 2011.
- development of strategic nuclear weapons
- development of telebots
See what "plot development" is in other dictionaries:
development of the game in preschool age- (development of play in preschool age) the process in which the child's play takes the form of social learning. Whites at the age of preschool junior in the game are reproduced primarily the actions of objective people, and the focus on a partner or on ... ... Big psychological encyclopedia
Play Development in Preschool Age - the process in which a child's play takes the form of social learning. If in the younger preschool age, primarily the objective actions of people are reproduced in the game, and the focus on a partner or on the development of the plot is minimal, then on average ... Psychological Dictionary
development - n., p., uptr. cf. often Morphology: (no) what? development, what? development, (see) what? development than? development, about what? about development 1. Development is called bringing someone's abilities, skills, knowledge into an active, active state. ... ... Dmitriev's Explanatory Dictionary
the development of action is the most important component of an artistic conflict; the concept characterizes the way of movement of an artistic action passing through the points of connection, culmination and denouement. The development of an action can be carried out in a different compositional rhythm, have different ... Terminological dictionary-thesaurus on literary criticism
development of action - structural element plot: a system of events arising from the plot. As the movement progresses, the conflict escalates, and the contradictions between the characters deepen and intensify ... Glossary literary terms
Arrested Development Sitcom / Comedy Genre Creator Mitchell Herwitz Starring Jason Bateman Portia De Rossi Will Arnett ... Wikipedia
play: development: preschool age - (development of play in preschool age) the process in which a child's play takes the form of social learning. Whites at the age of preschool junior in the game reproduce primarily the actions of objective people, and the focus on a partner or on development ... Big psychological encyclopedia
Crysis - Developer ... Wikipedia
Crisis - Crysis Developer Publishers Electronic Arts Steam) Localizer Soft Club Designers ... Wikipedia
Nanosuit - Crysis Developer Publishers Electronic Arts Steam) Localizer Soft Club Designers ... Wikipedia
universal_ru_en.academic.ru
DEVELOPMENT is ... What is DEVELOPMENT?
development - progress, improvement, evolution, growth; development, forging, formation, education; development, outlook; process, forward movement, step forward, refinement, proliferation, circle of interests, clarification, flow, ontogeny, move, ... ... Dictionary of synonyms
dic.academic.ru
development is ... What is development?
DEVELOPMENT - forward movement, evolution, transition from one state to another. R. is opposed to "creation", "explosion", emergence from nothing, as well as spontaneous formation from chaos and "catastrophism", which presupposes a sudden, one-step replacement ... Philosophical Encyclopedia
DEVELOPMENT - DEVELOP, DEVELOPMENT Verbs to develop to develop and reflexive to develop to develop in Russian literary language until the very late XVIII v. expressed only specific meanings (sometimes with a professional connotation), directly arising from their morphological ... History of words
DEVELOPMENT A multidimensional process, usually involving a change in state from less satisfactory to more satisfactory. Development is a normative concept; it does not have a single generally accepted definition. Some people think that ... ... Political science. Dictionary.
DEVELOPMENT - DEVELOPMENT, development, many others. no, cf. (book). 1. Action according to Ch. develop develop. Muscle development by gymnastics. 2. Condition according to Ch. develop develop. Industry development. 3. The process of transition from one state to another, more ... ... Ushakov's Explanatory Dictionary
development - progress, improvement, evolution, growth; development, forging, formation, education; development, outlook; process, forward movement, step forward, refinement, proliferation, circle of interests, clarification, flow, ontogeny, move, ... ... Dictionary of synonyms
DEVELOPMENT is a biological process of closely interrelated quantitative (growth) and qualitative (differentiation) transformations of individuals from the moment of inception to the end of life (individual development, or ontogenesis) and throughout the entire life span of ... Bolshoi encyclopedic Dictionary
The development of international lending operations contributed to the formation of the global MONEY MARKET, the most important sectors of which are the American money market and the European market, controlled by transnational banks and international ... ... Financial Dictionary
development - DEVELOPMENT is an irreversible, progressive change of objects of the spiritual and material world in time, understood as linear and unidirectional. In European philosophy, the concept of R. became dominant in modern times, when it was established ... ... Encyclopedia of Epistemology and Philosophy of Science
development - DEVELOPMENT, perspective, formation, formation, evolution ... Dictionary-thesaurus of synonyms of Russian speech
DEVELOPMENT - DEVELOPMENT, directed, natural change in nature and society. As a result of development, a new qualitative state of the object of its composition or structure arises. There are two forms of development: evolutionary, associated with gradual ... ... Modern encyclopedia
DEVELOPMENT - directed, natural change; as a result of development, a new qualitative state of the object of its composition or structure arises. There are two forms of development: evolutionary, associated with gradual quantitative changes object (see ... ... Big Encyclopedic Dictionary
The plot of literary works consists mainly of four elements: exposition, set, culmination and denouement. This is largely determined by cause-and-effect relationships, the temporal sequence of the presentation of events by the author. The main thing in the plot is the main action and the heroes of the work who are participants in this action. What plot elements does this main action include?
Plot elements
The exposition presents to the reader the circumstances and environment in which the character finds himself before the beginning of the action itself. It can be short or, conversely, widespread. The exposition puts you into action, explains some points that may be further incomprehensible to you. Moreover, the exposition, contrary to its essence, can be presented after other elements of the plot. As an example of such a change in the sequence of elements, in which the exposure is postponed, we can cite the work of Turgenev "Knock ... knock ... knock ...". However, there is rarely a direct indication of the main action in the exposition.
The plot lies in the very beginning of the development of events that are depicted in a literary work. It can be a prepared exposition, or, due to the lack of special preparation, it can give the action a special unique sharpness and swiftness. The action itself begins with the string.
The climax is the highest degree of tension in the piece. For example, in the comedy A.S. Griboyedov's "Woe from Wit" culminates in the scene when Chatsky is declared insane. A special acuteness of culminating tension is observed in dramatic works. The culmination is the center of the main action, the participants of which are the main characters of the work of art.
The final moment in the development of the action is the denouement. It relieves the climax and adds character to the characters. The denouement of a work of art depends on the idea and intention of the author.
The main thing in the plot is undoubtedly the plot, climax and denouement, since it is in these elements that the main action lies.
The presence of a plot in works of art
Sometimes there is no plot in epic, lyric-epic, dramatic works. In such works, a large role is assigned to descriptive elements, author's deviations.
In addition, many works of art differ multi-plot. These are mostly novels, dramatic works, where several storylines are conducted in parallel. A striking example is “ Human comedy"Honore de Balzac, which includes more than a hundred philosophical and fantastic subjects. And here it is quite difficult to find the central plot line, the main conflict and, accordingly, the main thing in this plot. Therefore, when determining the central storyline in such works, one must take into account historical context... Having identified the main plot, you can find its outset, culmination and denouement.
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