Certainly the story itself is a fiction. But just like a pyramid theory mentioned in Sherlock (series 2 The Final Problem, 2012), every level of it is based on the reality only except for the spire so that people just easily fall for it. Thus, the reason we feel incredibly intense even after the characters tell a joke, is that Hitchcock sets suspense in our mind rather than just in front of eyes, which is completely different with other thriller films. Additionally, Hitchcock argued ‘that suspense depends on the spectator having knowledge about the events and often knowing more than the characters’ (Cowie, 2005, p.476). In a result, we are anticipating the story on behalf of
Historical fiction novels allow the reader to explore outdated philosophies by presenting the information from a different perspective with pressure on having an authentic mindset from the time. Historical fiction authors such as Whitehead use the idea of “entertainment” value, better described as emotional appeal (pathos) to their advantage, manipulating the reader into learning details from a historical time period that they wouldn’t otherwise obtain from a textbook. The genre breaks down extensive topics such as slavery into individual accounts that are representative of the overall ideas in history, without overwhelming the reader with seemingly endless content. While at first glance historical fiction seems to be a rather trivial concept, with further examination it proves to be much more complex, using literary devices to leave the reader with an unforgettable view of
Many of my books touch on the dark side of human nature, but I think that’s what keeps them realistic. Readers can only take so much saccharine content before they get bored. To paraphrase Elmore Leonard I try to leave out the boring parts. How did you come up with the title? Why "Restless Hearts"?
AAgatha Christie shows why The Murder of Roger Ackroyd is the model of detective fiction novels by using several intimations in her book. There are two types of clues, ones that are helpful to the detective and ones that are useless. Hints and evidence that purposely mislead the reader are known as red herrings. Joan Acocella discusses Christie’s work and brings up her use of red herrings in The Murder of Roger Ackroyd, commenting, “...that is, when the occurrence is trivial but nonetheless mentioned—this is potentially a real clue. Or it may be a red herring, masquerading, by its modesty, as a real clue” (Acocella).
Means the historian’s task is less mimetic and the novelist can create additions to the record. Milan Kundera illustrates the differences between the historian and novelist in the Art of the Novel: A historian tells you about events that have taken place. … A novel examines not reality but existence. And existence is not what has occurred, existence is a realm of human possibilities, … Novelists draw up the map of existence by discovering this or that human possibilities. If a writer considers a historical situation a fresh and revealing possibility of human world, he will want to describe it as it is.
Though “Barn Burning” appears to be a strange story with little value at first glance, it actually withholds a great deal of significance. In fact, the story’s oddities contribute to its literary value. The grotesque elements create mystery, leading an audience to seek for meaning. William Faulkner designed the story in a way that forces readers to search for an answer, rather than blatantly displaying said answer. The main theme, literary device, and style of “Barn Burning” all come together to create not just a simple, easily interpreted short story, but a story with true depth and value.
Throw in a dozen “real world issues” with bland characters and there is a best seller. Books that chose to cover deep or troubling issues are often seen as a sacred text for daring to go further than boring and clichéd themes like follow your heart or never give up. Thirteen Reasons Why by Jay Asher received a ton of praise after the Netflix adaptation of it came out. People loved how it took the time to discuss teen suicide, but many hated how the aftermath of the suicide was recklessly handled. TV shows such as the CW’s Riverdale are notorious for being overly melodramatic and pointlessly complicated simply for the sake of drama.
Charles Dickens, the renowned author of A Tale of Two Cities, has a particular fondness for one dimensional characters. This peculiar fondness for this usage of literature began to allow for discussion on whether it is actually beneficial or harmful to his stories. The usage of these “flat” are quite unseen in other stories and a new specturem. While many would proclaim that this is an effective display of writing, others on the contrary, would argue that it removes the realistic aspects on these characters. Within the context of the story, numerous central characters possessed little than one characteristic and weakened the unpredictability that the author could eventually bring.
Therefore, it is not difficult to understand why opponents of minimalism often address the “omission” as the first issue to criticize, and why minimalism was questioned by many critics for being incomplete and dismissed as TV fiction. However, “Critics Cynthia Hallett, Kim Herzinger and Arthur Saltzman, praise minimalist writers for their ability to do away with all unnecessary information in order to focus exclusively on necessary events and actions”, which we can see that it is actually quite a challenge to write a work of minimalism. An unskilled writer can certainly damage a story by omitting seemingly unimportant information but necessary enough. The “new” type of narration does enrich the literary writing style, and becomes a driving force promoting literature