1. +
EWRT 30
Class 10

2. +
AGENDA
Terms 18-25
Discussion: Fiction
Lecture: Fiction: Dialogue,
Guided Writing: Fiction Adventure
Story

3. TERMS 18-25
18. Denouement
19. Epiphany
20. Point of View
21. Narrator
22. Third-person
(limited) narrator
+
23. Omniscient narrator
24. Objective
(omniscient) narrator
25. First-person narrator

4. 18.Denouement (French for "untying of the knot"):
resolution; conclusion or outcome of story.
19.Epiphany: a moment of insight, discovery, or
revelation by which a character's life or view of life is
greatly altered.
20.Point of View: Point of view refers to who tells the
story and how it is told. What we know and how we
feel about the events in a story are shaped by the
author's choice of a point of view.
21.Narrator: the teller of a story (not the author, but the
invented speaker of the story).

5. 22.Third-person (limited) narrator uses "he," "she," or
"they," to tell the story and does not participate in the action.
This narrator usually tells the story from a single person’s
perspective.
23.Omniscient narrator uses "he," "she," or "they," to tell the
story and does not participate in the action. This narrator can
take one of two stances: the narrator knows everything about
everyone and can jump from character to character, telling
inner thoughts and feelings.
24.Objective (omniscient) narrator: recounts only actions
and dialogue, allowing the characters to speak for
themselves
25.First-person narrator uses "I" and is a major or minor
participant in the action. This narrator knows only his or her
perspective.

6. + The Review
Consider
“Chrysanthemums”
1. PLOT
 In medias res
2. POINT OF VIEW (POV)  Flashback
 Exposition
3. CHARACTER /CHARA  Conflict
 Suspense
CTERIZATION  Foreshadowing
 Rising action
4. SETTING  Climax
 Falling action
5. TONE
6. MOOD

7. +
“Chrysanthemums” Climax: The turning point. The most
intense moment (either mentally or in
action). The conflict is generally
addressed here.
Rising Action: the
series of conflicts
and crisis in the
story that lead to Falling Action: all of the
the climax. action that follows the Climax.
Conflict: Struggle between
opposing forces Resolution: The conclusion; the
tying together of all of the
Exposition: The start of the story. threads.
The way things are before the
action starts.

8. Climax 2?: Elisa sees the
+
“Chrysanthemums” Chrysanthemums in the road
Rising Action?: Elisa prepares for the
evening, primping and preening.
Climax: Elisa reaches out to touch the man’s
leg!
Rising Action: Elisa talks about
her garden. The conversation Falling Action: Elisa cries and
creates a strange connection asks her husband a few
between her and the gardener. questions.
Conflict: a stranger arrives and
asks for work. He is from a Resolution: Elisa returns to
different world, and they have odd
status as wife.
conversation.
Exposition: In Salinas Valley, we meet
the lonely protagonist, Elisa, working in
her garden. They make plans to go to
town later.

9. Review:
+
Four Common Points of View
 Omniscient : The narrator knows everything, including what each
character is thinking, feeling, and doing throughout the story.
 Omniscient Objective: The omniscient narrator reports only on
behavior and conversation, forcing readers to draw their own
conclusions.
 3rd Person Limited: The narrator knows only the thoughts and
feelings of a single character, while other characters are presented
only externally.
 1st Person: The narrator participates in action but sometimes has
limited knowledge about both events outside of those in which he
or she is directly involved and motivations that are not his or her
own.

10. +
POV
 “The Chrysanthemums” begins with a traditional, omniscient
objective narrator, but the story is told almost entirely from
Elisa’s point of view. After the first few paragraphs that set the
scene, Steinbeck refuses to stray from Elisa’s head. This allows
him to show us the world through her eyes. We experience her
frustrations and feelings.
 Because she doesn’t know what Henry is discussing with the men in
suits who come to the ranch, we don’t know either, until she asks
Henry.
 Because she sees the tinker as a handsome man, we do too.
 Because she watches his lips while he fixes her pots, we watch them
with her.
 As a result, we understand more about her longings and character by
the end of the story than her husband does.

11. Character and Characterization:
+
Elisa, the husband, the stranger
of Round Character: convincing, true to life; fully

Characters:
developed and described. Not all good or all bad.
 Dynamic Character: undergoes some type of
change in story, generally after a conflict.
 Flat Character: stereotyped, shallow, often
symbolic.
 Static Character: does not change in the course
of the story.

12. +
Methods of Characterization?

13. +
How to characterize story
characters
 Bydetailing physical appearance, particularly
features that symbolize stereotypes.
 By directly describing
 Through the characters words and actions
 By sharing the characters own thoughts.
 Through the reactions of other characters

14. + detailing physical appearance, particularly
By
features that symbolize character.
 She was thirty-five. Her face was lean and strong
and her eyes were as clear as water. Her figure
looked blocked and heavy in her gardening costume,
a man's black hat pulled low down over her eyes,
clod-hopper shoes, a figured print dress almost
completely covered by a big corduroy apron with four
big pockets to hold the snips, the trowel and
scratcher, the seeds and the knife she worked with.
She wore heavy leather gloves to protect her hands
while she worked.

15. + By directly describing:
 Her face was eager and mature and
handsome; even her work with the scissors
was over-eager, over-powerful. The
chrysanthemum stems seemed too small
and easy for her energy.

16. +
Through the character’s own
words and actions:
 "That sounds like a nice kind of a way to live," she
said.
 Kneeling there, her hand went out toward his legs in
the greasy black trousers. Her hesitant fingers almost
touched the cloth. Then her hand dropped to the
ground. She crouched low like a fawning dog.
 When she had dried herself she stood in front of a mirror
in her bedroom and looked at her body. She tightened
her stomach and threw out her chest. She turned and
looked over her shoulder at her back.

17. +
By sharing the characters own
thoughts.
She whispered to herself sadly, "He might
have thrown them off the road. That
wouldn't have been much trouble, not very
much. But he kept the pot," she explained.
"He had to keep the pot. That's why he
couldn't get them off the road."

18. +
Through the reaction of other
characters.
 He looked bewildered. "You're playing some
kind of a game," he said helplessly. "It's a kind
of a play. You look strong enough to break a
calf over your knee, happy enough to eat it
like a watermelon."

19. +
Setting
 The high gray-flannel fog of winter closed off the Salinas
Valley from the sky and from all the rest of the world. On every
side it sat like a lid on the mountains and made of the great
valley a closed pot. On the broad, level land floor the gang
plows bit deep and left the black earth shining like metal where
the shares had cut. On the foothill ranches across the Salinas
1~iver, the yellow stubble fields seemed to be bathed in pale
cold sunshine, but there was no sunshine in the valley now in
December. The thick willow scrub along the river flamed with
sharp and positive yellow leaves.
 How does the setting contribute to the story?

20. +
Setting
 ―The high grey-flannel fog of winter closed off the Salinas Valley
from the sky and from the rest of the world‖
 Isolation, separation from others
 Flannel--practical fabric, masculine = male dominance?
 Closed off from the sky = dreams/aspirations limited?
 Grey = dull, colorless

21. +
Setting
 The winter fog sits ―like a lid on the
mountains and made of the great valley a
closed pot‖
 pots would be familiar to Elisa – is this
her thinking?
 Closed pot = unavailable? Simmering?
Forgotten?
A lid = covers and protects, no exposure,
no additions

22. +
Setting
 "It was a time of quiet and of waiting."
 TheValley is shut off from the rest of the
world by fog, and the weather anticipates
change (foreshadowing)
 Elisa’s
life is a ―time of quiet and waiting‖—
but for what is she waiting? How long will
she wait? Will the awaited item ever arrive?

23. +
Setting
 Thegarden is fenced off to protect it
from the domesticated animals: the ―cattle
and dogs and chickens.‖
 Fence: separates, isolates, sets aside,
protects, limits, restrains...Elisa’s heart?
Elisa’s life? Elisa’s true desires?
 Fenceprotects against domesticated
animals—domestication? Elisa needs
protection from domestication? From
being kept like a domesticated animal?

24. + Setting
 Elisa’s world is closed off on many levels
Male dominated society
Valley
Ranch
House
Fenced garden
Her heart

25. +
TONE
The attitude of the author toward his
subject or toward the reader

26. Tone: the attitude of the author toward his subject or
+
toward the reader
 The narrator keeps his/her distance, allowing the reader to come to
individual conclusions about the characters and their motivations. Yet, the
narrator demonstrates a clear sympathy for Elisa’s position by illustrating
moments of sexism, her dissatisfaction, and her isolation. The tone of
"The Chrysanthemums" is one of oppression and confinement.
 The homestead is surrounded by a “high gray-flannel fog”
 Her beloved garden is enclosed by “a wire fence.”
 “ It must be nice," she said. "It must be very nice. I wish women could do
such things."
"It ain't the right kind of a life for a woman. “
 "Do any women ever go to the fights?" she asked.
"Oh, sure, some. What's the matter, Elisa? Do you want to go? I don't
think you'd like it, but I'll take you if you really want to go."

27. +
Mood
The feeling or state of mind that
predominates in a story creating a
certain atmosphere.

28. Mood: the feeling or state of mind that predominates in a story
+
creating a certain atmosphere: Sad, Hopeless
 The mood changes during the story: Elisa goes through a number of small changes
throughout the course of this rather short story: shifts in tone, changes in mood,
transformations in appearance. We see a few moments of hopefulness before she is
returned to her role as farm wife.
 "I've never lived as you do, but I know what you mean. When the night is dark--why, the
stars are sharp-pointed, and there's quiet. Why, you rise up and up! Every pointed star gets
driven into your body. It's like that. Hot and sharp and--lovely."
 The irritation and resistance melted from Elisa's face. "Oh, those are chrysanthemums,
giant whites and yellows. I raise them every year, bigger than anybody around here.”
 Henry blundered on. "I don't know. I mean you look different, strong and happy."
"I am strong? Yes, strong. What do you mean 'strong'?"
 "Now you're changed again," Henry complained. He took one hand from the wheel and
patted her knee. "I ought to take you in to dinner oftener.”
 She turned up her coat collar so he could not see that she was crying weakly--like an old
woman.

29. +
Lecture Subject
Dialogue

30. Dialogue gives necessary Dialogue moves the plot along.
+
information.
"I ain't in any hurry, ma’am. I go from
"What's them plants, ma'am?”
The irritation and resistance melted from
Seattle to San Diego and back every Elisa's face. "Oh, those are chrysanthemums,
year. Takes all my time. About six giant whites and yellows. I raise them every
months each way. I aim to follow nice year, bigger than anybody around here.”
weather.” "Kind of a long-stemmed flower? Looks like
She touched the under edge of her a quick puff of colored smoke?" he asked.
man's hat, searching for fugitive hairs. "That's it. What a nice way to describe
"That sounds like a nice kind of a way them."
to live," she said. Dialogue can show how
someone feels.
Dialogue can show
what one character
Dialogue can reveal conflict "Why yes you can," Elisa
thinks of another
cried. "I can put some in
and build tension. character.
damp sand, and you can
carry them right along with
"Nice? You think I look you. "They smell kind
nice? What do you mean by of nasty till you get
Dialogue reveals character
'nice'?” used to them," he
"Henry," she asked, "could we
Henry blundered on. "I don't said.
have wine at dinner?”
know. I mean you look . "It's a good bitter
"Sure we could. Say! That will
different, strong and happy." smell," she retorted,
be fine.”
"not nasty at all."
Functions of Dialogue

31. +
How to write good dialogue
Adapted from http://www.ellenjackson.net/dialogue_61473.htm

32.  Good dialogue reflects a character’s age, background, and
+ personality. A ten-year-old boy doesn’t have the same speech patterns
as a forty-year-old woman. A person who speaks English as a second
language has different patterns from a native. Be aware of these
differences.
"Well," said Elisa, "I think you'll save time if you go back to the Salinas
road and pick up the highway there."
He drew a big finger down the chicken wire and made it sing. "I ain't in
any hurry, ma am. I go from Seattle to San Diego and back every year.
Takes all my time. About six months each way. I aim to follow nice weather."
 Be aware of how your character would react in a given situation.
Does your character have a sense of humor? Does he fly off the handle
easily? Is she shy and withdrawn? Sarcastic? Show these qualities
through dialogue.
"Why--why, Elisa. You look so nice!"
"Nice? You think I look nice? What do you mean by 'nice'?"

33.  Most people use contractions when they speak. When people
+ speak they’ll almost always say "you aren’t" instead of "you are
not" and "it’s" instead of "it is." Using contractions makes your
characters’ speech sound more natural. Of course, there are the
moments of formal oral interaction that you can emphasize by not
using contractions.
"Elisa, where are you?”
"In my room, dressing. I'm not ready. There's hot water for your
bath. Hurry up. It's getting late."
 Intersperse your dialogue with body language and action. Dialogue
interspersed with action and gestures helps the reader visualize your
characters. But don’t overdo it. Too much action is as distracting and as
too little.
She relaxed limply in the seat. "Oh, no. No. I don't want to go. I'm sure I don't." Her
face was turned away from him. "It will be enough if we can have wine. It will be
plenty."
Henry looked down toward the tractor shed, and when he brought his eyes back
to her, they were his own again. "I'll get out the car. You can put on your coat while
I'm starting."

34.  Don’t allow dialogue to repeat narration. Avoid this:
+
Madison came in the door. He threw his books on the table and went
into the kitchen to get a cookie.
"I see you’re home from school," said Mom. "How about a cookie?"
 Stick with simple tags. Use ordinary tags such as "he said" or "she asked"
almost all of the time. Elaborate tags (queried, questioned, bellowed, stated,
replied, responded, pointed out) are distracting and unnecessary.
"You sleep right in the wagon?" Elisa asked.
"Right in the wagon, ma'am. Rain or shine I'm dry as a cow in there."
It must be nice," she said. "It must be very nice. I wish women could
do such things."
"It ain't the right kind of a life for a woman.
Her upper lip raised a little, showing her teeth. "How do you know?
How can you tell?" she said.

35.  Don’t allow your characters to get too verbose. Characters who talk too much are
boring. Every line of dialogue needs a specific reason for its existence. Keep your
+
story moving and your dialogue spare.
"Kind of a long-stemmed flower? Looks like a quick puff of colored smoke?" he asked.
"That's it. What a nice way to describe them."
"They smell kind of nasty till you get used to them," he said.
"It's a good bitter smell," she retorted, "not nasty at all."
He changed his tone quickly. "I like the smell myself."
"I had ten-inch blooms this year," she said.
 Pay attention to the developing relationships among your characters.
People’s feelings toward one another change over time. As your story evolves,
the relationships between your characters evolve too and the changes need to
be reflected in the dialogue.
You can feel it. When you're like that you can't do anything wrong. Do you see that? Can you
understand that?"
She was kneeling on the ground looking up at him. Her breast swelled passionately.
The man's eyes narrowed. He looked away self-consciously. "Maybe I know," he said.
"Sometimes in the night in the wagon there--"
Elisa's voice grew husky. She broke in on him. "I've never lived as you do, but I know
what you mean.

36.  Listen to real life conversations. Listen to your friends, neighbors, and
family. Take notes and keep a list of the interesting expressions you
+
hear. Real speech can seldom be used verbatim, but it can often be
reconstituted as dialogue. Remember, though, only use dialogue that
moves the plot. A real-life conversation about what to order in a
restaurant rarely makes good reading material!
 Good dialogue has rhythm. People who are stressed out speak in short, clipped
sentences. People who are relaxed speak more expansively and in longer sentences.
When you listen to people’s conversations, study the music beneath the words.
 It must be nice," she said. "It must be very nice. I wish women could do such things."
"It ain't the right kind of a life for a woman.
Her upper lip raised a little, showing her teeth. "How do you know? How can you
tell?" she said.
"I don't know, ma'am," he protested. "Of course I don't know. Now here's your kettles,
done. You don't have to buy no new ones.
"How much?"
"Oh, fifty cents'll do. I keep my prices down and my work good. That's why I have all
them satisfied customers up and down the highway."

37. Guided Writing
Dialogue

38. You travel down _________street, past
__________ (landmark), to (A’s) house. You
___________ to get his or her attention. He/she
looks out a window and you say,
“___________.” (Blank) comes downstairs and
you hear him/her in garage. Then you hear a
__________. When the door opens, you find
out what caused the noise. Write a short
dialogue here. Reflect your characters’
ages, background, and personalities.
The two of you take off, to go to B’s house.

39. You and A travel down __________ street, past (landmark) on the
way to meet B. On the way, (A) calls (B), and says “meet us at the
corner of (blank and blank) and bring (C) with you.”
You all four meet at the corner. You travel together down _______
Avenue/Drive/Boulevard and past (a landmark). You see
somebody you want to avoid, so you ___________. Write a
short dialogue here. Be aware of how your characters would
react in a given situation. Make the rhythm of the language
match the situation: Short lines for tension—longer for
relaxed discussion.
You arrive at _______ (store) on the corner of (blank and blank),
and you go in and you buy _________ for your day. Write a short
dialogue here. Use contractions. Stick with simple tags.
Finally, you get back on the road, traveling about five miles out of
town, to the edge of the forest.

40. You pull over and sit there for a minute, discussing the benefits
of entering the forest. Some people say the forest is
____________, but you don’t worry because you’re
invincible.
One friend is resistant.
One is enthusiastic.
And one is apathetic.
Pick who is who and begin your characterization of each of
your companions. (Give them qualities that make them
individual. Consider looks, behavior, attitude, and speech
patterns, for example)
Write a longer dialogue here. Include all of the
characters. Intersperse it with body language and
action.
Finally, you decide you’re all going in.

41. -convince your companions to enter the
____________. Write a thorough conversation
here. Don’t allow your characters to get too
verbose. Explain, cajole, convince, get
feedback, make conversation, but keep lines
relatively brief.
-develop your characters
-figure out what made the noise
-determine your plot, conflict and climax
-establish setting, mood, and tone
-tell your story

42. +
Reread your story. Add dialogue to show
rather than tell the story. Good dialogue
should move your plot along.
• Don’t allow dialogue to repeat narration.
• Pay attention to the developing
relationships among your characters.
• Use common phrases, but don’t weight
down your conversations with mundane
dialogue.

43. +
Homework
 Post# 10: post one or two dialogues from your
story that demonstrate the skills we learned
today.
 Bring:
One copy of your completed fiction for
each member of your group.
 Study Terms