Style (literature)

In fiction, style is the manner in which the author tells the story.

Elements of Fiction

There is little consensus regarding the number and composition of the fundamental elements of fiction, but style is sometimes included. Among other elements cited are character, plot, setting, and theme. Debate continues regarding the elements of fiction. [1]

Components of style

There appears to be little consensus regarding the subject of style in fiction. The topics listed below are among the subjects listed as aspects of style, or of a writer's voice.

Fiction-writing modes

Fiction is a form of narrative, one of the four rhetorical modes of discourse. Fiction-writing also has destinct forms of expression, or modes, each with its own purposes and conventions. Agent and author Evan Marshall identifies five fiction-writing modes: action, summary, dialogue, feelings/thoughts, and background (Marshall 1988, pp. 143–165). Author and writing-instructor Jessica Page Morrell lists six delivery modes for fiction-writing: action, exposition, description, dialogue, summary, and transition (Morrell 2006, p. 127). Author Peter Selgin refers to methods, including action, dialogue, thoughts, summary, scene, and description (Selgin 2007, p. 38). Currently, there is no consensus within the writing community regarding the number and composition of fiction-writing modes and their uses. [2]

Summarization

Summarization (also referred to as summary, narration, or narrative summary) is the fiction-writing mode whereby story events are condensed. The reader is told what happens, rather that having it shown (Marshall 1988, pp. 144–146). In the fiction-writing axiom "Show, don't tell" the "tell" is often in the form of summarization.

Summarization has important uses:

• To connect one part of a story to another
• To report events whose details aren't important
• To telescope time
• To convey an emotional state over an extended period of time (Marshall 1988, p. 145)
• To vary the rhythm and texture of the writing (Browne and King 2004, p. 12)

The main advantage of summary is that it takes up less space (Selgin 2007, p. 31). According to author Orson Scott Card, either action or summarization could be right, either could be wrong. Factors such as rhythm, pace, and tone come into play. The objective is to get the right balance between telling versus showing, action versus summarization (Card 1988, pp. 140–142). The appropriate use of summarization is a matter of ongoing discussion among fiction writers and writing coaches.[3]

Introspection

Introspection (also referred to as internal dialogue, interior monologue, self-talk) is the fiction-writing mode used to convey a character's thoughts. As explained by Renni Browne and Dave King, "One of the great gifts of literature is that it allows for the expression of unexpressed thoughts . . ." (Browne and King 2004, p. 117). According to Nancy Kress, a character's thoughts can greatly enhance a story: deepening characterization, increasing tension, and widening the scope of a story (Kress 2003, p. 38). As outlined by Jack M. Bickham, thought plays a critical role in both scene and sequel (Bickham 1993, pp. 12–22, 50–58). Among authors and writing coaches, there appears to be little concensus regarding the effective use of introspection. [4]

Narrator

The narrator is the teller of the story, the orator, doing the mouthwork, or its in-print equivalent. A writer is faced with many choices regarding the narrator of a story: first-person narrative, third-person narrative, unreliable narrator, stream-of-consciousness writing.

Point of View

Point of view is from whose consciousness the reader hears, sees, and feels the story.

Tone

Tone is the mood that the author establishes within the story.

Imagery

Imagery

Punctuation

Punctuation

Word choice

Diction

Sentence structure

Grammar

Symbolism

Symbolism

Show, Don't Tell

Show, don't tell

References

• Bickham, Jack M. (1993). Scene & Structure. Writer's Digest Books. pp. 12–22, 50–58. ISBN 0-89879-551-6.
• Browne & King (2004). Self-Editing for Fiction Writers: How to Edit Yourself into Print. New York: Harper Resource. pp. 12, 117.
• Card, Orson Scott (1988). Character & Viewpoint. Cincinnati, OH: Writer's Digest Books.
• Edgerton, Les (2003). Finding Your Voice: How to Put Personality in Your Writing. Cincinnati, OH: Writer's Digest Books.
• Kress, Nancy (August 2003), Writer's Digest, p. 38 {{citation}}: Missing or empty |title= (help)
• Marshall, Evan (1998). The Marshall Plan for Novel Writing. Cincinnati, OH: Writer's Digest Books. pp. 143–165.
• Morrell, Jessica Page (2006). Between the Lines: Master the Subtle Elements of Fiction Writing. Cincinnati, OH: Writer's Digest Books. p. 127.
• Selgin, Peter (2007). By Cunning & Craft: Sound Advice and Practical Wisdom for fiction writers. Cincinnati, OH: Writer's Digest Books. p. 38.
• Yagoda, Ben (2004). The Sound on the Page: Great Writers Talk About Style and Voice in Writing. New York: HarperResource.

See also

• Fiction
• Exposition (literary technique)
• Show, don't tell
• Narrative