Wednesday, 9 January 2013

"GENERAL" helpful tips to know about literature


   LITERATURE

Literature is a term use to describe written or spoken material. The term is most commonly used to refer to words of the creative imagination including works of poetry, drama, fiction and non-fiction. Literature is the art of written works. It is the body of written works of a language period or culture                      

NOVEL

A fictional prose narrative of considerable length, typically having a plot that is unfolded by the actions, speech, and thoughts of the characters. A novel can also be defined as a long story which tells of the relations or behavior of a number of people the actions may last for a short time or extend over a period of time

                      POETRY

Poetry is an imaginative awareness of experience expressed through meaning, sound, and rhythmic language choices so as to evoke an emotional response. It is also a literary work in which special intensity is given to the expression of feelings and ideas by the use of distinctive style and rhythm

                     DRAMA
A composition in prose or verse presenting in dialogue or pantomime a story involving conflict or contrast of character, especially one intended to be acted on the stage.
Drama is the specific mode of fiction represented in performance. The term comes from a Greek word "dran" meaning "action"

                    ESSAY     
A short literary composition on a single subject, usually presenting the personal view of the author. An essay is a piece of writing which is often written from an author's personal point of view. Essays can consist of a number of elements, including: literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. The definition of an essay is vague, overlapping with those of an article and a short story. Almost all modern essays are written in prose, but works in verse have been dubbed essays.
                              STORYYou +1'd this publicly. Undo
An account or recital of an event or a series of events, either true or fictitious, as: a. An account or report regarding the facts of an event or group of events.
Story is a tale that is made up for entertainment or a retelling of something that occurred or a piece of gossip that is being spread.


                       PLOT
Plot is a literary term defined as the events that make up a story, particularly as they relate to one another in a pattern, in a sequence, through cause and cause. A plot structure is the way in which the story elements are arranged. Writers vary structure depending on the needs of the story.

                    THEME
A theme is the central idea or ideas explored by a literary work. In contemporary literary studies, a theme is the central topic, subject, or concept the author is trying to point out, not to be confused with whatever message, moral, or commentary it may send or be interpreted as sending regarding said concept.

                      CHARACTER

A character is a person or animal in a narrative work of art (such as a novel, play, or film) Derived from the ancient Greek word kharaktêr, the English word dates from the restoration.

                       CHARACTERIZATION

Characterization or characterization is the art of creating characters for a narrative, including the process of conveying information about them.

                                TONE

Tone is a literary technique that is a part of composition, which encompasses the attitudes toward the subject and toward the audience implied in a literary work. The tone of a literary work is also the perspective or attitude that the author adopts with regards to a specific character, place or development.

                     ACTION

An action is the sequence of events that follow the climax and end in the resolution. It is also the part of a literary plot that occurs after the climax has been reached and the conflict has been resolved.

                 COUNTER-ACTION

to oppose, neutralize, or mitigate the effects of by contrary action. Or action intended to nullify the effects of some previous action.

                   CONFLICT

 Conflict is the struggle between the opposing forces on which the action in a work of literature                           depends. Conflict is an inherent incompatibility between the objectives of two or more characters or forces. Conflict creates tension and interest in a story by adding doubt as to the outcome.

                         RESOLUTION

Resolution is the part of the story's plot line in which the problem of the story is resolved or worked out. The outcome of the conflict in a play or story. The resolution concludes the falling action.

                      DENOUEMENT

The final resolution of the intricacies of a plot, as of a drama or novel denouement refers to the resolution of the complications of a plot in a work of fiction, generally done in a final chapter or section (often in the epilogue). The denouement generally follows the climax, except in mystery novels, in which the denouement and the climax may occur at the same time.
                    MOOD
The literary definition of mood refers to the atmosphere that a character is in. It is the atmosphere that the writer is trying to convey to his or her readers. Mood is the dominant impression or emotional atmosphere evoked by the text.

                  IMAGERY        

Imagery is an author's use of descriptive and figurative language to create a picture in the reader's mind. An author uses a word or phrase to stimulate your memory of those senses. These memories can be positive or negative which will contribute to the mood of your poem (We'll get to that later!). Be careful what you write about.

                       METAPHOR

Metaphor is a figure of speech in which two unlike things or ideas are compared directly, without the use of the word "like" or as.
              ALLEGORY
Prose or verse in which the objects, events or people are presented symbolically, so that the story conveys a meaning other than and deeper than the actual incident or characters described. Often, the form is used to teach a moral lesson.

                SYMBOLISM

Any object, person, place, or action that has a meaning in itself and that also stands for something larger than it does, such as a quality, an attitude, a belief, or a value. For instance, a rose is often a symbol love and beauty while a skull is often a symbol of death.

                SETTING

The time and place of action in a narrative. In short stories, novels, poetry, and nonfiction, setting is generally created by description. In drama, setting is usually established by stage directions and dialogue. Setting can be of great importance in establishing not only physical background but also mood or emotional intensity. In turn, the mood contributes to the plot and theme of the narrative.

            LEGEND

Is a narrative of human actions that are perceived both by teller and listeners to take place within human history and to possess certain qualities that give the tale verisimilitude. It’s a Latin word legenda meaning (things to be read).

        FOLKTALES

An account, legend, or story that is passed along orally from generation to generation. Folk talks are of unknown authorship.

          FOLKLORE

Folklore is a collection of fictional tales about people and/or animals. The traditional beliefs, practices, customs, stories, jokes, songs (etc.) of a people, handed down orally or behaviorally from individual to individual

     FOLKSONG

It is used to refer to a narrative song that uses traditional melodies to speak on a particular topic. Often, topical folk songs address social and political issues such as work, war, and popular opinion.

PROVERB

A proverb (from Latin: proverbium) is a simple and concrete saying popularly known and repeated, which expresses a truth, based on common sense or the practical experience of humanity. They are often metaphorical. A proverb that describes a basic rule of conduct may also be known as a maxim.

STYLE

Style, to a fiction writer, is basically the way you write, as opposed to what you write about (though the two things are definitely linked). It results from things like word choice, tone, and syntax.

CATHARSIS

Catharsis is a term in dramatic art that describes the effect of tragedy (or comedy and quite possibly other artistic forms) principally on the audience (although some have speculated on characters in the drama as well). It is also an emotional relief mostly on a tragedy work and release of tension from the audience.

NARRATIVE TECHNIQUE

Is also referred to as literary technique, is the way a writer uses tools and techniques in their literary works to develop the story.

        ALLITERATION

The repetition of the initial letter or sound in two or more closely associated words or stressed syllables. Alliteration is not restricted to poetry. A pattern of sound that includes the repetition of consonant sounds. The repetition can be located at the beginning of successive words or inside the words. Poets often use alliteration to audibly represent the action that is taking place

            RHYME

The repetition of sounds in two or more words or phrases that usually appear close to each other in a poem. For example: river/shiver, song/long, leap/deep. If the rhyme occurs at the ends of lines, it is called end rhyme.

   RHYTHM

The arrangement of stressed an unstressed syllables into a pattern. Rhythm is most apparent in poetry, though it is part of all good writing.

  GENRES

Category or class of artistic endeavor having a particular form, technique, style, or content. Some current genres are the novel, short story, essay, epic, tragedy, comedy, satire, and lyric.

ANTAGONIST

A character in a story or poem who deceives, frustrates, or works again the main character, or protagonist, in some way. The antagonist doesn’t necessarily have to be a person. It could be death, the devil, an illness, or any challenge that prevents the main character from living “happily ever after." In fact, the antagonist could be a character of virtue in a literary work where the protagonist represents evil

PROTAGONIST

A protagonist is considered to be the main character or lead figure in a novel, play, story, or poem. It may also be referred to as the "hero" of a work. Over a period of time the meaning of the term protagonist has changed. The word protagonist originated in ancient Greek drama and referred to the leader of a chorus. Soon the definition was changed to represent the first actor onstage.

       ARTHETYPE

The original model or pattern from which copies are made or from which something develops. It is also a symbol, theme, setting, or character that is thought to have some universal meaning and recurs in different times and places in myth, literature, folklore, dreams, and rituals. The term is from the Greek archetupon, meaning “pattern” or “model.”

STYROTYPE

An author's method of treating a character so that the character is immediately identified with a group. A character may be associated with a group through accent, food choices, style of dress, or any readily identifiable group characteristic.

POINT OF VIEW

Is a way the events of a story are conveyed to the reader, it is the “vantage point” from which the narrative is passed from author to the reader. The point of view can vary from work to work.  The vantage point from which a narrative is told.

AUTHOR

An author is broadly defined as "the person who originated or gave existence to anything" and whose authorship determines responsibility for what was created, A writer of a book, article, or report.

AUTHORIAL VOICE

The voices or speakers used by authors when they seemingly speak for themselves in a book. The use of this term makes it clear in critical discussion that the narration or presentation of a story is not necessarily to be identified with the biographical and historical author

INCIDENCE

. It can also be define as an occurrence or event that took place in a literary work like play or drama. A distinct piece of action, or an episode, as in a story or play

                         EPIC

A long narrative poem that relates the deeds of a hero. Epics incorporate myth, legend, folk tale, and history, and usually reflect the values of the society from which they originate.

                           DIRGE

A dirge is a somber song or lament expressing mourning or grief, such as would be appropriate for performance at a funeral. The word is also commonly used to describe singing in an un-tuneful manner

CRITICISM

Criticism is the study, evaluation, and interpretation of literature. Modern literary criticism is often informed by literary theory, which is the philosophical discussion of its methods and goals. Though the two activities are closely related, literary critics are not always, and have not always been, theorists.

CRITIC

A person who expresses an unfavorable opinion of something. Is a person that criticizes something

CRITIQUE

Is the study, evaluation, and interpretation of literature

LITERARY CRITIC

A person who expresses an unfavorable opinion of literary works or someone that criticizes literary work 

                        POET

A person that writes a poem it is under the branch of literature called poetry

                       NOVELIST

A person that writes a novel or a prose

                     PLAYWRIGHT

A person that writes a play or drama

                         IDIOM

An idiom is an expression that means something other than the literal meanings of its individual words. A speech form or an expression of a given language that is peculiar to itself grammatically or cannot be understood from the individual meanings of its elements

                            SIMILIE

a simile is a type of figurative language, language that does not mean exactly what it says, that makes a comparison between two otherwise unalike objects or ideas by connecting them with the words "like" or "as."

      IRONY

a literary term referring to how a person, situation, statement, or circumstance is not as it would actually seem. Many times it is the exact opposite of what it appears to be. There are many types of irony, the three most common being verbal irony, dramatic irony, and cosmic irony.

           PERSONIFICATION

A figure of speech where animals, ideas or inorganic objects are given human characteristics. Or when human attribute are given to animal or inanimate. E.g. the sun is laughing

  HYPERBOLE

Hyperbole is a figure of speech that is a grossly exaggerated description or statement. In literature, such exaggeration is used for emphasis or vivid descriptions. In drama, hyperbole is quite common, especially in heroic drama

    LITOTES

is a figure of speech in which understatement is employed for rhetorical effect For example, rather than saying that something is attractive (or even very attractive), one might merely say it is "not unattractive".

       PARADOX

The paradox is an anomalous juxtaposition of incongruous ideas for the sake of striking exposition or unexpected insight. It functions as a method of literary composition - and analysis - which involves examining apparently contradictory statements and drawing conclusions either to reconcile them or to explain their presence

               SARCASM

Sarcasm is "a sharp, bitter, or cutting expression or remark; a bitter gibe or taunt usually conveyed through irony or understatement [The word comes from the Greek σαρκασμός (sarkasmos) which is taken from the word σαρκάζειν meaning "to tear flesh, gnash the teeth, speak bitterly. A mocking, often ironic or satirical remark, usually intended to wound as well as amuse.

              ODE

A lyrical verse in praise of, or dedicated to someone or something which captures the poet's interest or serves as an inspiration. It is a poem of praise

        DRAMATIC MONOLOGUE

literary device that is used when a character reveals his or her innermost thoughts and feelings, those that are hidden throughout the course of the story line, through a poem or a speech. This speech, where only one character speaks, is recited while other characters are present onstage. This monologue often comes during a climactic moment in a work and often reveals hidden truths about a character, their history and their relationship

    DRAMATIC IRONY

This type of irony is the device of giving the spectator an item of information that at least one of the characters in the narrative is unaware of (at least consciously), thus placing the spectator a step ahead of at least one of the characters. Dramatic irony has three stages—installation, exploitation, and resolution (often also called preparation, suspension, and resolution.

    SOLILOQUY

is a device often used in drama when a character speaks to himself or herself, relating thoughts and feelings, thereby also sharing them with the audience. It is a Latin word meaning talking by oneself.

         POETIC DICTION

 It is the term used to refer to the linguistic style, the vocabulary, and the metaphors used in the writing of poetry.

POETIC JUSTICE


Is a literary outcome in which bad characters are punished and good characters are rewarded. Or The fact of experiencing a fitting or deserved retribution for one's actions.

  POETIC LICENCE

The  liberty taken by an artist or a writer in deviating from conventional form or fact to achieve a desired effect,  or liberty taken by a poet, prose writer, or other artist in deviating from rule, conventional form, logic, or fact, in order to produce a desired effect.

   FARCE

a farce is a comedy that aims at entertaining the audience by means of unlikely, extravagant, and improbable situations, disguise and mistaken identity, verbal humor of varying degrees of sophistication, which may include word play, and a fast-paced plot whose speed usually increases, culminating in an ending which often involves an elaborate chase scene

COMIC RELIEF

Comic relief usually means a releasing of emotional or other tension resulting from a comic episode interposed in the midst of serious or tragic elements in a drama. Comic relief often takes the form of a bumbling, wisecracking sidekick of the hero or villain in a work  of fiction.

METRE

is the basic rhythmic structure of a verse or lines in verse. The study of metres and forms of versification is known as prosody

ASIDE

An aside is a dramatic device in which a character speaks to the audience. By convention the audience is to realize that the character's speech is unheard by the other characters on stage. An aside is, by convention, a true statement of a character's thought; a character may be mistaken in an aside, but may not be dishonest.

EPILOGUE

An epilogue or epilog is a piece of writing at the end of a work of literature or drama, usually used to bring closure to the work. It is presented from the perspective of within the story;

PROLOGUE

is an opening to a story that establishes the setting and gives background details of the book.

DIALOGUE

The conversation between characters in a drama or narrative.  Or it is known as the process of communication between characters in a literary works

SATIRE

Satire is a genre of literature, and sometimes graphic and performing arts, in which vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, and society itself, into improvement.[1] Although satire is usually meant to be funny, its greater purpose is often constructive social criticism, using wit as a weapon.

NARRATOR

Is a personal or impersonal entity who tells the story to the audience. When the narrator is also a character within the story, he or she is sometimes known as the first person or first-person narrator. The narrator is constructed by the author and may be presented as distinct from, or the same as, the author, depending upon the author's construction. The narrator is one of three entities responsible for story-telling of any kind. The others are the author and the audience (the latter called the "reader" when referring specifically to literature)

RHETORIC

Rhetoric is the art of discourse, an art that aims to improve the facility of speakers or writers who attempt to inform, persuade, or motivate particular audiences in specific situations

CAST

To be assign a part in a play, movie, or other production to act

COSTUME

A distinctive forms of clothing, including official or ceremonial attire such as ecclesiastical vestments, coronation robes, academic gowns, armor, and theatrical dress.

MASK

A covering for all or part of the face, worn to conceal one's identity.

PERFORMANCE ART

Performance art is a performance presented to an audience, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation

RITUAL

A religious or solemn ceremony consisting of a series of actions performed according to a prescribed order.

SCENE

It is the place where some action or event occurs in literary works mostly drama or play.

HERO

In literature, a hero is courageous. A hero, or protagonist, is the principal character of a story, who may be known for special achievements. The hero may risk or sacrifice his or her life for the greater good. A hero is usually recognized in a work of literature as someone with great courage and strength

HEROINE

The principal female character in a novel, poem, or dramatic presentation or a woman noted for courage and daring action

ANTICISM

is a counter-proposition and denotes a direct contrast to the original proposition. In setting the opposite, an individual brings out a contrast in the meaning

EUPHEMISM

A mild or indirect word or expression for one too harsh or blunt when referring to something unpleasant or embarrassing. Or an act of putting a serious situation in a mild way.

EXCLAMATION

A sudden cry or remark, esp. expressing surprise, anger, or pain.
Often spoken with extra force or emphasis E.g. Hoe wonderful
often spoken with extra force or emphasis: How wonderful!

CLIMAX

meaning turning point of a narrative work is its point of highest tension or drama or when the action starts in which the solution is given

Saturday, 29 December 2012

Basic rules of writing web {online} content by CyberJournalist.net

                  



By Jonathan Dube
Publisher, CyberJournalist.net

(Also published on Poynter.org and
in the book "Shop Talk and War Stories"
)
 1. KNOW YOUR AUDIENCE
Write and edit with online readers� needs and habits in mind. Web usability studies show that readers tend to skim over sites rather than read them intently. They also tend to be more proactive than print readers or TV viewers, hunting for information rather than passively taking in what you present to them.
Think about your target audience. Because your readers are getting their news online, chances are they are more interested in Internet-related stories than TV viewers or newspaper readers, so it may make sense to put greater emphasis on such stories. Also, your site potentially has a global reach, so consider whether you want to make it understandable to a local, national or international audience, and write and edit with that in mind.
2. THINK FIRST � AND THINK DIFFERENT
Before you start reporting and writing, ask yourself: What is the essence of the story I am trying to tell? Then think about what the best way is to convey that story, whether through audio, video, clickable graphics, text, links, etc. � or some combination. Collaborate with audio, video and interactive producers. Develop a plan and let that guide you throughout the news gathering and production process, rather than just reporting a story and then adding various elements later as an afterthought. 
Look for stories that lend themselves to the Web � stories that you can tell or differently from or better than in any other medium.
3. TAILOR YOUR NEWS GATHERING
Just as print and TV reporters interview differently because they are looking for different things, so must online journalists tailor their interviewing and information gathering specifically to their needs.
Print reporters tend to look for information. TV reporters look for emotion on camera, sound bites and pictures to go with words. Online journalists must constantly think in terms of different elements and how they complement and supplement each other: Look for words to go with images, audio and video to go with words, data that will lend itself to interactives, etc. . . 
Remember that photos look better online when shot or cropped narrowly, and streaming video is easier to watch when backgrounds are plain and zooming minimal. Tape interviews whenever possible in case someone says something that would make a powerful clip. Look for personalities who could be interesting chat guests. And always keep an eye out for information that can be conveyed more effectively using interactive tools.
4. WRITE LIVELY AND TIGHT
Writing for the Web should be a cross between broadcast and print � tighter and punchier than print, but more literate and detailed than broadcast writing. Write actively, not passively.
Good broadcast writing uses primarily tight, simple declarative sentences and sticks to one idea per sentence. It avoids the long clauses and passive writing of print. Every expressed idea flows logically into the next. Using these concepts in online writing makes the writing easier to understand and better holds readers� attention.
Strive for lively prose, leaning on strong verbs and sharp nouns. Inject your writing with a distinctive voice to help differentiate it from the multitude of content on the Web. Use humor. Try writing in a breezy style or with attitude. Conversational styles work particularly well on the Web. Online audiences are more accepting of unconventional writing styles.
At the same time, don�t forget that the traditional rules of writing apply online. Unfortunately, writing quality is inconsistent throughout most online news sites. Stories suffer from passive verbs, run-on sentences, mixed metaphors and cliches. This is a result of fast-paced news gathering, short staffing and inexperienced journalists. This is also a big mistake. Readers notice sloppy writing and they don�t forgive. They�ll stop reading a story and they won�t come back for more. Unlike local newspaper readers, online readers have options.
5. EXPLAIN
Don�t let yourself get caught up in the 24/7 wire-service mentality and think all that matters is that you have the latest news as fast as possible. Speed is important online. But people want to know not just what happened, but why it matters. And with all the information sources out there now, in the end it will be the sites that explain the news the best that succeed. Write and edit all your stories with this in mind.

6. NEVER BURY THE LEAD
You can�t afford to bury the lead online because if you do, few readers will get to it. When writing online, it�s essential to tell the reader quickly what the story is about and why they should keep reading � or else they won�t.
One solution is to use a "Model T" story structure. In this model, a story�s lead � the horizontal line of the T � summarizes the story and, ideally, tells why it matters. The lead doesn't need to give away the ending, just give someone a reason to read on. Then, the rest of the story � the vertical line of the T � can take the form of just about any structure: the writer can tell the story narratively; provide an anecdote and then follow with the rest of the story; jump from one idea to another, in a �stack of blocks� form; or simply continue into an inverted pyramid.
This enables the writer to quickly telegraph the most important information � and a reason to keep reading � and yet still retain the freedom to write the story in the way he or she wants to. 
7. DON�T PILE ON
Another story structure that has evolved online, mostly by accident, is what I call The Pile-On.
A common problem with online writing occurs in breaking news stories. In an effort to seem as current as possible, sites will often put the latest development in a story at the top � no matter how incremental the development. Then, they�ll pile the next development on the top, and then the next � creating an ugly mish-mash of a story that makes sense only to someone who has been following the story closely all day. Unfortunately, the only people who are usually doing so are the journalists. Few readers visit a site more than once a day. Remember this when updating stories, and always keep the most important news in the lead.
8. SHORT BUT SWEET
Most stories online are too long for a Web audience, and few readers finish them. Roy Peter Clark has written a wonderful essay arguing that any story can be told in 800 words � a good guideline for online writing.
But let that be a guideline, not a rule.  Readers will stick with longer stories online if there is a compelling reason for a story to be that long � and if it continues to captivate their attention.
Making readers scroll to get to the rest of a story is generally preferable to making them click. Online news users do scroll. If someone has clicked to get to a page, it's generally because they want to read the story, and thus chances are high that they will. The Poynter eyetrack study showed that about 75 percent of article text was read online � far more than in print, where 20 to 25 percent of an article's text gets read, on average. Print readers have less vested in any given story, because they haven't done anything proactive to get the article.

9. BREAK IT UP
Larger blocks of text make reading on screens difficult, and you're more likely to lose readers. Using more subheads and bullets to separate text and ideas helps. Writing should be snappy and fast to read. Keep paragraphs and sentences short. Like this.
Try reading sentences aloud to see if they�re too long. You should be able to read an entire sentence without pausing for a breath.
It also helps to extract information into charts, tables, bulleted lists and interactive graphics. Even a simple box with a definition or summary can help break up text and convey information in an easy-to-read format.
10. ELIMINATE THE GUESSWORK
People often don�t know what they�re going to get when they click on stuff. And people are not going to click on something unless they know what they�re getting.  When they click on something that�s not worth it, they lose trust in you as a source and are less likely to come back and click on things in the future. So make sure you tell people what they�re going to get.
Studies show online news users preferred straightforward headlines to funny or cute ones. Cute headlines didn't do as good a job of quickly explaining what a story is about and thus discouraged online users from clicking through.
11. DO NOT FEAR THE LINK
Don�t be afraid to link. Many sites have a paranoid fear that if they include links to other sites, readers will surf away and never return. Not true! People prefer to go to sites that do a good job of compiling click-worthy links � witness Yahoo!�s success. If people know they can trust your site, they will come back for more. 
At the same time, journalists have a responsibility to apply news judgment and editorial standards to the links they choose. Avoid linking to sites with blatantly false information or offensive content. Select links that enhance the value of the story by helping readers get additional information from the people behind the news.
And of course, link to related stories on your site, past and present. This is truly one of the advantages of the Web. By linking to other stories to provide context and background, writers have more freedom to focus on the news of the day without bogging stories down with old information.
12. TAKE RISKS . . . BUT REMEMBER THE BASICS
Online journalism is a new and evolving industry and we are writing the rules as we go along. Challenge yourself and your colleagues to question the way things are being done and to stretch the boundaries of what can be done. There are no rules, only ideas. Take risks. Try something different.
But don�t forget the fundamentals of journalism. Facts still have to be double- and triple-checked; writing still needs to be sharp, lively and to the point; stories should include context; and ethical practices must be followed. Don�t let the 24/7 speed trap and the new tools distract you from these basics.
With so many alternative news sources now at everyone�s fingertips thanks to the Web,  it is now more important than ever that we stick to the fundamentals of journalism to produce news people can trust, because in the end that�s what will keep people coming back for more