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This assignment focuses on your ability to: learn how to identify plot devices i
This assignment focuses on your ability to: learn how to identify plot devices in literature by crafting your own creative piece with similar plot devices that are evident in this week′s readings.
The purpose of completing this assignment is: as a student and a career professional, writing a creative narrative can improve your overall communication abilities, problem-solving capabilities, and emotional intelligence, making you a more well-rounded and valuable asset in any professional work environment.
See the attached document for complete instructions and grading rubric.
Submit your assignment by 11:59 p.m. EST, Sunday of Unit 1.
Kirszner, L. G., & Mandell, S. R. (2024). Portable literature: Reading, reacting, writing (10th ed.). Cengage Learning US.
Plot plays a significant role in literary analysis. Understanding plot development allows you to delve deeper into a story′s themes and overall meaning. This analysis promotes a deeper appreciation of literature and encourages you to think critically about the author′s intentions.
The selections below represent a traditional plot structure following the basic five points of narrative:
Chapter 16: ″Two Kinds″ by Amy Tan
pages 471-481
Chapter 10: ″The Girl with Bangs″ By Zadie Smith
pages 204-209
The following selections show non-traditional plot arcs that deviate from reader expectations or typical series of events:
Chapter 7: ″Girl″ by Jamaica Kincaid
page 116
Chapter 7: ″Slide to Unlock″ by Ed Park
pages 117-120
This interactive course was created to assist you in your mastery of plot.
Topic Two: APA 7th Edition
For more in-depth answers to formatting and style questions, look at the resources in the ″APA 7th Edition″ module on your menu.
This APA Style Guide shows how to set up a title page.
American Psychological Association. (2020). Publication manual of the American Psychological Association (7th ed.).
Topic Three: How to Be an Active Reader
It is just as important to fine-tune how to read and seek out what to read. Learning to be an active reader can reduce time spent rereading and refocusing. It also enhances your understanding of the text and your assignments. Please use the source below and incorporate the skills into your reading techniques.
The McGraw Center for Teaching and Learning. (2018). Active reading strategies: Remember and analyze what you read. Princeton University.
Supplemental Resources:
The paper challenges the dominance of traditional climactic narrative structure, highlighting its recent origin and arguing that it limits the appreciation of diverse narrative forms; it emphasizes that young children engage with stories experientially before formal schooling shapes their perception and advocates for embracing alternative narrative expressions for the benefit of game developers and evolving digital media genres.
Madej, K. (2008, August). Traditional narrative structure – Not traditional, so why the norm? Georgia Institute of Technology.
Dr. Linda Seger explores creative uses of the three-act structure in this program. Writers can experiment with variations to make their sсrіpts more focused and dynamic. The three-act structure is applied to scenes and sequences, helping to craft stronger turning points, surprising reveals, and smooth transitions. Seger also discusses incorporating non-traditional structures, citing successful films like ″Pulp Fiction,″ ″Crash,″ ″Ordinary People,″ ″Before the Rain,″ and ″Sleepless in Seattle″ as examples. This approach allows writers to create captivating narratives that push the boundaries of conventional storytelling while maintaining a strong foundation.
Films Media Group. (2007). Advanced story techniques: Advanced screenwriting series with Dr. Linda Seger [Video]. Films On Demand.
What significant changes have changed from the 6th to 7th editions? Scribbr gives this concise overview.
Many of the stories at the core of narrative entertainment involve a number of plot lines that combine to give them interest. The present paper sets out to solve the problem of how several different plot lines, each one of them complete in its own sense, can be combined into a single linear sequence that works reasonably well as a plot. Starting from a brief review of how existing storytelling systems address the task, a representation for plots and plot templates is proposed that allows the combination of several subplots into a single-plot line. Four strategies for weaving plots are proposed, two taken from literary studies and two computational baselines, and a formative evaluation of a set of stories produced by these solutions is presented. Finally, open issues, promising avenues of future work and the relation to previous work, are discussed.
Concepción, E., Gervás, P., & Méndez, G. (2020). Exploring baselines for combining full plots into multiple-plot stories. New Generation Computing, 38(4), 593–633.
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