ProQuest Standards-Based Learning Activity

The Elements of a Short-Story:

Setting, Character, and Plot -- Teacher Procedures
APPROPRIATE FOR: Language Arts, Grades 9-12
TIMELINE: Three class periods (with homework)
ENGLISH LANGUAGE ARTS STANDARDS ADDRESSED THROUGH THIS LESSON

NCTE: http://www.ncte.org/standards
Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to
communicate effectively with a variety of audiences and for different purposes.
Students employ a wide range of strategies as they write and use different writing process elements
appropriately to communicate with different audiences for a variety of purposes.
Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation),
media techniques, figurative language, and genre to create, critique, and discuss print and non-print texts.
Students use a variety of technological and information resources (e.g., libraries, databases, computer
networks, video) to gather and synthesize information and to create and communicate knowledge.
Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy
communities.
Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning,
enjoyment, persuasion, and the exchange of information).

Learning Expectations:

Students will learn about the elements of character, setting and plot in writing fiction.
Students will use SIRS, eLibrary, or ProQuest databases to access images of potential settings and
characters.
Students will understand how setting can be used to create mood.
Students will understand how plot can be derived from character.
Students will understand and use ideas of conflict and resolution.
Students will write their own short story.

Materials Required:

Pens
Paper/notebooks
Computer with printer and Internet access to ProQuest

Activity Description:
In this lesson, students will learn about the art of fiction by creating their own short stories. A series of
exercises will focus students on setting, character and plot. First students will use ProQuest to gather graphical
imagery from a variety of settings, and then they will explore these images through writing. On the second day,
students will explore character, again searching for pictures -- this time of people. Students will craft characters
based on these images and learn different ways to convey an idea of character to a reader. On the third day,
students will combine their setting and character work with a plot of their own devising to create their very own
short story.

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Outline of Procedures -- Day One

Begin class by discussing with your students the elements of a successful short story. What are they? Why do
they like to read the things they like to read?
1. Start with an overview: This week students will be writing their own short stories. Each day they will focus on
one element in the story writing process. Todays element is setting. Ask students to help you think of different
ways in which writers might brainstorm various settings. Discuss with your class the functions of setting. How
can setting help to determine the mood and plot of a story?
2. When your discussion is complete, students can begin their image research. Ask students to access
ProQuest eLibrary or SIRS (Platinum users can access photos more easily by searching the Internet).
Students will search for photographs or pictures of places they might want to use as settings for their story.
Have students enter the names of different places they might be interested in writing about -- these may be
specific (e.g., Cambodia, Manhattan, Disney World) or general categories of places (desert, playground, slum).
Remind students to limit their search to pictures by checking only the pictures category under choose
sources. Each student should find and print a picture for three different settings. Encourage students to resist
the temptation to print the first possible picture; instead they should browse a bit to develop a sense of
perspective of whats available and more importantly, to select images that really interest them.
3. After students have selected and printed their images, they should begin work on transforming these
pictures into words. First students should make a list of ten adjectives that could be used to describe each
picture. Students should use both literal and figurative language (e.g., a desert might be described as dry or
hot, but also as hopeless or clean).
4. When they have finished making their lists, students should select and then explore one of the images more
fully. Each student should write one to two paragraphs describing the setting. Their description should not
necessarily be an exact description of the picture; rather students should feel free to write about a setting
evoked by their picture. Because this exercise is only about setting, students should not include any characters
in their writing (though people may be a part of the setting, e.g., in a crowded cityscape). Encourage students
to focus on the small details of setting which inspire an impression of the larger whole, as well as how various
approaches to describing the same setting will yield various moods for a narrative.
5. If time allows, ask for a few volunteers to share their descriptions with the class.

Outline of Procedures -- Day Two

Today students will explore character.
1. Begin by discussing what is meant by the term character. What makes for a good character? How do
writers give readers an idea of character?
2. Today students will use ProQuest to find images that will inspire character creation. Just as in the previous
day, students should search among the databases images by selecting pictures in the choose sources
menu. Instead of searching by place name, however, students will now search by adjectives that could
describe a person, e.g., loud, scary, beautiful, tall, stupid, etc. Students should print three images of potential
characters (remember, a character could be an animal or even an anthropomorphized rock!) Searches like this
may not return the kind of image students are expecting, but the unexpected has enormous value in the
creative process. Encourage students to have an open mind about the kind of characters they ultimately
select.
3. One way of fleshing out a character is to think about the kinds of things that character might own. For each
image, have students write a list of ten objects the character might own. Students should be as specific as
possible (e.g., a yippy, miniature poodle with bows in its hair is better than a dog). When students have
finished making their lists, ask a few students to share their lists with the class, without revealing the image it
came from. Are other students able to agree on what the person might look like? Does their idea match the
original picture?
4. Finally, have students select one of their characters and write a one to two paragraph description of the
character. Who is she? What does she do for a living? What are her hopes and fears? Where does she live?
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What is most important to her? As part of their descriptions, ask students to include at least one metaphor for
their characters (e.g., he was a late winter icicle, long grown hard and insensitive to the world around him).
5. If time allows, ask for volunteers to share their descriptions with the rest of the class.

Outline of Procedures -- Day Three

Today students will address their third element of fiction: plot.
1. Ask students to help you define plot. What is plot? What makes for a good plot?
2. One way of thinking about plot is in terms of conflict and resolution, specifically the desires of a character
and the obstacles that keep the character from realizing her goal. For example, a character might want to
rescue her child from a frozen stream, but be faced with the obstacles of thin ice, her own fear and the childs
susceptibility to hypothermia. Or, a character might want to become a CEO of a major company, but be limited
by his lack of experience and inability to read. Obstacles may be external or internal to the character.
Resolution need not mean that the character gets what she wants, indeed in the course of the story a
character may very well begin to want something else entirely.
3. Ask students to consider what would happen if they combined their characters and their settings from the
previous two lessons. What kinds of stories might emerge? What could their characters want in those settings?
What obstacles would stand in their characters ways? Ask each student to identify at least one desire and
three obstacles for his/her character. Finally ask each student to identify his/her characters conflict and the
way in which it might be resolved.
4. Now students are ready to write their stories. With the time remaining, students should begin writing.
Remind them to include their descriptions of character and setting in their story. You may choose to have
students finish their work either in subsequent periods or as homework. Stories should be at least three to five
pages in length, though students with a desire to write more should be encouraged to do so.

Assessment
Students will be assessed using the following criteria:
Did students use ProQuest to print images of settings and characters?
Did students creatively complete assignments based on these images?
Did students use setting to enhance the mood of their descriptions in their exercises and final stories?
Did students create well-defined characters?
Did students identify conflicts and resolutions for their stories?
Did students synthesize the elements of fiction they learned into compelling stories?

Optional Enrichment Activities

1. Students may share their stories in groups and offer constructive criticism of others work. Based on these
workshops, students may then rewrite their stories.
2. The stories can be photocopied and collected in book form and shared with the friends and families of
students. If you like, have students illustrate their stories with pictures.
3. Help students start a school literary magazine for their stories, poems, essays and works of visual art.
4. Have your class examine published short stories to analyze the ways in which authors utilize character,
setting and plot. Require students to write short essays focusing on one of these elements in a particular story.
5. Have students turn their stories into plays and act them out for the class. Discuss with students the
difference between the short story form and theater. What kinds of stories work better in each format? Are
there some special narratives that would work well as both a short story and a theatrical work? Why or why
not?

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The Elements of Fiction: Plot, Character & Setting

Student Version
In this lesson you will further explore three central elements of fiction: setting, character and
plot. After sharpening the skills necessary to write fiction, you will craft your own short story
using the very elements you explored at the beginning.
In this lesson you will:
Use ProQuest SIRS or eLibrary to access images of potential settings and
characters. Platinum users may find it easier to search Google images.
Understand how setting can be used to create mood.
Understand how plot can be derived from character.
Understand and use ideas of conflict and resolution.
Write your own short story
Day One
Today you will explore setting.
1. First you will use ProQuest to search for photographs or pictures of places you might
want to use as settings for your story. Enter the names of different places you might be
interested in writing aboutthese may be specific (e.g., Cambodia, Manhattan, Disney
World) or general categories of places (desert, playground, slum). Remember to limit your
search to pictures by checking only the pictures category under choose sources. You
should find and print a picture for three different settings. Feel free to browse among
pictures until you find images that really interest you!
2. Now its time to begin work on transforming these pictures into words. For each picture,
make a list of ten adjectives that could be used to describe, using the chart below. Use both
literal and figurative language in your descriptions (e.g., a desert might be described as dry
or hot, but also as hopeless or clean).
Adjectives

Picture # 1_________

Picture # 2__________

Picture # 3__________

1
2
3
4
5
6
7
8
9
10
3. Once you have finished your three lists, choose one image to explore more fully. Write
one to two paragraphs in your notebook describing this setting. Your description need not be
an exact description of the picture; rather you should feel free to write about a setting

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evoked by your picture. Focus on small details of setting that represent the larger whole, as
well as creating a particular mood through your description of the place.
There might be several in the movie in my opinion like
-Good things happen to those with a good heart (Sam and Fiona at the end of the movie).
-Love can found anywhere even from someone you would never expect.
-You never really know a person until you actually try and listen to who they really are (Austin and
Sam).
-Always have faith and believe in yourself.
******-Don't let the fear of striking out keep you from playing the game. (Don't let fear from things
in your life keep you from standing up for yourself for what is right).

Footnote to Youth
by: Jose Garcia Villa
The sun was salmon and hazy in the west. Dodong thought to himself he would tell his father
about Teang when he got home, after he had unhitched the carabao from the plow, and led it to its
shed and fed it. He was hesitant about saying it, he wanted his father to know what he had to say was
of serious importance as it would mark a climacteric in his life.Dodong finally decided to tell it, but a
thought came to him that his father might refuse to consider it. His father was a silent hardworking
farmer, who chewed areca nut, which he had learned to do from his mother, Dodongs grandmother.
He wished as he looked at her that he had a sister who could help his mother in the housework.
I will tell him. I will tell it to him.
The ground was broken up into many fresh wounds and fragrant with a sweetish earthy
smell. Many slender soft worm emerged from the further rows and then burrowed again deeper into
the soil. A short colorless worm marched blindly to Dodongs foot and crawled clammilu over
it. Dodong got tickled and jerked his foot, flinging the worm into the air. Dodong did not bother to
look where into the air, but thought of his age, seventeen, and he said to himself he was not young
anymore.
Dodong unhitched the carabao leisurely and fave it a healthy tap on the hip. The beast turned
its head to look at him with dumb faithful eyes. Dodong gave it a slight push and the animal walked
alongside him to its shed. He placed bundles of grass before it and the carabao began to eat. Dodong
looked at it without interest.
Dodong started homeward thinking how he would break his news to his father. He wanted to
marry, Dodong did. He was seventeen, he had pimples on his face, then down on his upper lip was
dark-these meant he was no longer a boy. He was growing into a man he was a man. Dodong felt
insolent and big at the thought of it, although he was by nature low in stature.
Thinking himself man grown, Dodong felt he could do anything.
He walked faster, prodded by the thought of his virility. A small angled stone bled his foot, but
he dismissed it cursorily. He lifted his leg and looked at the hurt toe and then went on walking. In the
cool sundown, he thought wild young dreams of himself and Teang, his girl. She had a small brown
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face and small black eyes and straight glossy hair. How desirable she was to him. She made him want
to touch her, to hold her. She made him dream even during the day.
Dodong tensed with desire and looked at the muscle of his arms. Dirty. This fieldwork was
healthy invigorating, but it begrimed you, smudged you terribly. He turned back the way he had
come, then marched obliquely to a creek.
Must you marry, Dodong?
Dodong resented his fathers question; his father himself had married early.
Dodong stripped himself and laid his clothes, a gray under shirt and red kundiman shorts, on the grass. Then he went
into the water, wet his body over and rubbed at it vigorously. He was not long in bathing, then he marched
homeward again. The bath made him feel cool.

It was dusk when he reached home. The petroleum lamp on the ceiling was already lighted
and the low unvarnished square table was set for supper. He and his parents sat down on the floor
around the table to eat. They had fried freshwater fish, and rice, but did not partake of the fruit. The
bananas were overripe and when one held the,, they felt more fluid than solid. Dodong broke off a
piece of caked sugar, dipped it in his glass of water and ate it.He got another piece and wanted some
more, but he thought of leaving the remainder for his parent.
Dodongs mother removed the dishes when they were through, and went with slow careful
steps and Dodong wanted to help her carry the dishes out. But he was tired and now, feld lazy. He
wished as he looked at her that he had a sister who could help his mother in the housework. He pitied
her, doing all the housework alone.
His father remained in the room, sucking a diseased tooth. It was paining him, again. Dodong
knew, Dodong had told him often and again to let the town dentist pull it out, but he was afraid, his
father was. He did not tell that to Dodong, but Dodong guessed it. Afterward, Dodong himself
thought that if he had a decayed tooth, he would be afraid to go to the dentist; he would not be any
bolder than his father.
Dodong said while his mother was out that he was going to marry Teang. There it was out,
what we had to say, and over which he head said it without any effort at all and without selfconsciousness. Dodong felt relived and looked at his father expectantly. A decresent moon outside
shed its feebled light into the window, graying the still black temples of his father. His father look old
now.
I am going to marry Teang, Dodong said.
His father looked at him silently and stopped sucking the broken tooth, The silenece became
intense and cruel, and Dodong was uncomfortable and then became very angry because his father
kept looking at him without uttering anything.
I will marry Teang, Dodong repeated. I will marry Teang.
His father kept gazing at him in flexible silence and Dodong fidgeted on his seat.
I asked her last night to marry me and she said Yes. I want your permission I want
it There was an impatient clamor in his voice, an exacting protest at his coldness, this
indifference. Dodong looked at his father sourly. He cracked his knuckles one by one, and the little
sound it made broke dully the night stillness.
Must you marry, Dodong?
Dodong resented his fathers question; his father himself had married early. Dodong made a
quick impassioned essay in his mind about selfishness, but later, he got confused.
You are very young, Dodong.
Im seventeen.
Thats very young to get married at.
I I want to marry Teangs a good girl
Tell your mother, his father said.
You tell her, Tatay.
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Dodong, you tell your Inay.

You tell her.
All right, Dodong.
All right, Dodong.
You will let me marry Teang?
Son, if that is your wish of course There was a strange helpless light in his fathers
eyes. Dodong did not read it. Too absorbed was he in himself.
Dodong was immensely glad he has asserted himself. He lost his resentment for his father, for
a while, he even felt sorry for him about the pain I his tooth. Then he confined his mind dreaming of
Teang and himself. Sweet young dreams
***
Dodong stood in the sweltering noon heat, sweating profusely so that his camisetawas
damp. He was still like a tree and his thoughts were confused. His mother had told him not to leave
the house, but he had left. He wanted to get out of it without clear reason at all. He was afraid, he felt
afraid of the house. It had seemingly caged him, to compress his thoughts with severe tyranny. He
was also afraid of Teang who was giving birth in the house; she face screams that chilled his
blood. He did not want her to scream like that. He began to wonder madly if the process of childbirth
was really painful. Some women, when they gave birth, did not cry.
In a few moments he would be a father. Father, father, he whispered the word with awe,
with strangeness. He was young, he realized now contradicting himself of nine months ago. He was
very young He felt queer, troubled, uncomfortable.
Dodong felt tired of standing. He sat down on a saw-horse with his feet close together. He
looked at his calloused toes. Then he thought, supposed he had ten children
The journey of thought came to a halt when he heard his mothers voice from the house.
Some how, he was ashamed to his mother of his youthful paternity. It made him feel guilty, as
if he had taken something not properly his.
Come up, Dodong. It is over.
Suddenly, he felt terribly embarrassed as he looked at her. Somehow, he was ashamed to his
mother of his youthful paternity. It made him feel guilty, as if he has taken something not properly
his. He dropped his eyes and pretended to dust off his kundimanshorts.
Dodong, his mother called again. Dodong.
He turned to look again and this time, he saw his father beside his mother.
It is a boy. His father said. He beckoned Dodong to come up.
Dodong felt more embarrassed and did not move. His parents eyes seemed to pierce through
him so he felt limp. He wanted to hide or even run away from them.
Dodong, you come up. You come up, his mother said.
Dodong did not want to come up. Hed rather stayed in the sun.
Dodong Dodong.
Ill come up.
Dodong traced the tremulous steps on the dry parched yard. He ascended the bamboo steps
slowly. His heart pounded mercilessly in him. Within, he avoided his parents eyes. He walked ahead
of them so that they should not see his face. He felt guilty and untru. He felt like crying. His eyes
smarted and his chest wanted to burst. He wanted to turn back, to go back to the yard. He wanted
somebody to punish him.
Son, his father said.
And his mother: Dodong..
How kind their voices were. They flowed into him, making him strong.
Teanf? Dodong said.
Shes sleeping. But you go in
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His father led him into the small sawali room. Dodong saw Teang, his wife, asleep on the
paper with her soft black hair around her face. He did not want her to look that pale.
Dodong wanted to touch her, to push away that stray wisp of hair that touched her lips. But
again that feeling of embarrassment came over him, and before his parent, he did not want to be
demonstrative.
The hilot was wrapping the child Dodong heard him cry. The thin voice touched his heart. He
could not control the swelling of happiness in him.
You give him to me. You give him to me, Dodong said.
***
Blas was not Dodongs only child. Many more children came. For six successive years, a new
child came along. Dodong did not want any more children. But they came. It seemed that the coming
of children could not helped. Dodong got angry with himself sometimes.
Teang did not complain, but the bearing of children tolled on her. She was shapeless and thin
even if she was young. There was interminable work that kept her tied up. Cooking, laundering. The
house. The children. She cried sometimes, wishing she had no married. She did not tell Dodong this,
not wishing him to dislike her. Yet, she wished she had not married.Not even Dodong whom she
loved. There had neen another suitor, Lucio older than Dodong by nine years and that wasw why she
had chosen Dodong. Young Dodong who was only seventeen. Lucio had married another. Lucio, she
wondered, would she have born him children? Maybe not, either. That was a better lot. But she loved
Dodong in the moonlight, tired and querulous. He wanted to ask questions and somebody to
answer him. He wanted to be wise about many thins.
Life did not fulfill all of Youths dreams.
Why must be so? Why one was forsaken after love?
One of them was why life did not fulfill all of the youth dreams. Why it must be so.Why one
was forsaken after love.
Dodong could not find the answer. Maybe the question was not to be answered. It must be so
to make youth. Youth must be dreamfully sweet. Dreamfully sweet.
Dodong returned to the house, humiliated by himself. He had wanted to know little wisdom
but was denied it.
When Blas was eighteen, he came home one night, very flustered and happy. Dodong heard
Blas steps for he could not sleep well at night. He watched Blass undress in the dark and lie down
softly. Blas was restless on his mat and could not sleep. Dodong called his name and asked why he
did not sleep.
You better go to sleep. It is late, Dodong said.
Life did not fulfill all of youths dreams. Why it must be so? Why one was forsaken after
love?
Itay.. Blas called softly.
Dodong stirred and asked him what it was.
Im going to marry Tona. She accepted me tonight.
Itay, you think its over.
Dodong lay silent.
I loved Tona and I want her.
Dodong rose from his mat and told Blas to follow him. They descended to the yard where
everything was still and quiet.
The moonlight was cold and white.
You want to marry Tona, Dodong said, although he did not want Blas to marry yet.Blas was
very young. The life that would follow marriage would be hard
Yes.
Must you marry?
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Blas voice was steeled with resentment. I will mary Tona.

You have objection, Itay? Blas asked acridly.
Son non But for Dodong, he do anything. Youth must triumph now. Afterward It
will be life.
As long ago, Youth and Love did triumph for Dodong and then life.
Dodong looked wistfully at his young son in the moonlight. He felt extremely sad and sorry
for him.

The Elements of Fiction: Plot, Character & Setting

Day 2
Today you explore character.
4. Use ProQuest to find images that will inspire captivating characters. Search among the
databases images by selecting pictures in the choose sources menu. Search using
adjectives that could describe a person, e.g., loud, scary, beautiful, tall, stupid, etc.
Print three images of potential characters (remember, a character could be an animal or
even an anthropomorphized rock!) Searches like this may not return the kind of image you
are expecting, so remember to have an open mind about the kind of characters you
ultimately select.
5. One way of fleshing out a character is to think about the kinds of things that character
might own. For each image write a list of ten objects the character might own. Be as specific
as possible (e.g., a yippy, miniature poodle with bows in its hair is better than a dog). Use
the chart below.
Object
1
2
3
4
5
6
7
8
9
10

Picture # 1:

Picture # 2:

Picture # 3:

6. Select one of your characters and write a one- to two-paragraph description of the
character. Who is s/he? What does s/he do for a living? What are her/his hopes and fears?
Where does s/he live? What is most important to her/him? As part of your description,
include at least one metaphor for the character (e.g., he was a late winter icicle, long grown
hard and insensitive to the world around him).

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The Elements of Fiction: Plot, Character & Setting

Day 3
Today you will address the third element of fiction: plot.
7. What would happen if you combined your character and your setting from the previous
two lessons? What kinds of conflicts might emerge? What would your character desire or
fear in that setting? What obstacles would stand in your characters way? Identify at least
one desire and three obstacles for your character in this setting.

8. Next, identify your characters conflict and the way in which it might be resolved.

9. Now you are ready to write your story -- with the time remaining, begin writing! Use your
notebook. Remember to incorporate your descriptions of character and setting. Aim for a
story thats three to five pages in length; though if you feel like writing more, go for it!
Assessment
You will be assessed using the following criteria:
Did you use ProQuest to print images of settings and characters?
Did you creatively complete assignments based on these images?
Did you use setting to enhance the mood of your descriptions in your exercises and
final story?
Did you create a well-defined character?
Did you identify a conflict and eventual resolution for your story?
Did you synthesize the elements of fiction you explored on the first two days into a
compelling story?

The elements of a short story lesson

plan
BY MOHAMMED RHALMI MARCH 1, 2012

This lesson plan helps students explore the different elements of a short
story. By the end of the lesson students will be able to come up with a
definition of the short story and know the elements that constitute it.
On line materials may be used to carry out the lesson plan. More than
one session can be needed to deliver it.

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The activity

Ask students what a short story is.Write any suggestions on the

board.
Present in the form of a work sheet the characteristics that define
a short story:
1. Length: a classic definition of a short story is that one should be
able to read it in one sitting.
2. Prose as opposed to poetry
3. Fiction, narrative.
4. Concise: information offered in the story is relevant to the tale
being told. This is unlike a novel, where the story can diverge from
the main plot
Ask students to come up with a definition that might look as
follows:
A short story is a work of fiction that is usually written in prose,
often in narrative format. This format tends to be more pointed than
longer works of fiction, such as novellas and novels. (Wikipedia)
Next ask the students to further examine the uniqueness of the
short story by reading a short story like The Necklace by Guy de
Maupassant.
Students make a first report on:
1. the title,
2. characters,
3. setting,
4. plot,
5. climax,
6. and conclusion.
Let the students answer questions about the short story. Here is
an online copy of questions about The Necklace:
The Necklace Questions
Assign more short stories to be read and studied as extensive
reading.

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5 Important Elements of a Short Story

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A short story is a short work of fiction. Fiction, as

you know, is prose writing about imagined events
and characters. Prose writing differs from poetry
in that it does not depend on verses, meters or
rhymes for its organization and presentation.
Novels are another example of fictional prose
and are much longer than short stories. Some
short stories, however, can be quite long. If a a
short story is a long one, say fifty to one hundred
pages, we call it a novella.
American literature contains some of the world's
best examples of the short story. Readers around
the world enjoy the finely crafted stories of
American writers such as O. Henry, Stephen
Crane, Jack London, Mark Twain and Edgar
Allen Poe.
What makes these authors such remarkable
short story writers? They are true masters at
combining the five key elements that go into
every great short story: character, setting,
conflict, plot andtheme.

A character is a person, or sometimes

even an animal, who takes part in the
action of a short story or other literary
work.
see The Green Door by O. Henry

The setting of a short story is the time

and place in which it happens.
Authors often use descriptions of
landscape, scenery, buildings,
seasons or weather to provide a
strong sense of setting.
see The Last Leaf by O. Henry

The ELLSA web-site uses one of these five key

elements as the focus of each of the five on-line
lessons in the Classics of American Literature
section. In each lesson, you will explore a single
American short story from the USIA Ladder
Series and discover how the author uses a
certain element.
The definitions on the right are repeated on the
first page of each short story lesson.

map of ELLSA: American Literary Classics

top of page

A plot is a series of events and

character actions that relate to the
central conflict.
see The Open Boat by Stephen Crane

The conflict is a struggle between two

people or things in a short story. The
main character is usually on one side
of the central conflict.
On the other side, the main character
may struggle against another
important character, against the
forces of nature, against society, or
even against something inside
himself or herself (feelings, emotions,
illness).

contents: American Literary Classics

see To Build a Fire by Jack London

March 22, 2004

The theme is the central idea or belief

in a short story.
see The Gift of the Magi by O. Henry

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SHORT STORY ELEMENTS

SETTING
CONFLICT
POINT OF VIEW

PLOT
CHARACTER
THEME

SETTING -- The time and location in which a story takes place is called the
setting. For some stories the setting is very important, while for others it is not.
There are several aspects of a story's setting to consider when examining how
setting contributes to a story (some, or all, may be present in a story):
a) place - geographical location. Where is the action of the story taking place?
b) time - When is the story taking place? (historical period, time of day, year, etc)
c) weather conditions - Is it rainy, sunny, stormy, etc?
d) social conditions - What is the daily life of the characters like? Does the story
contain local colour (writing that focuses on the speech, dress, mannerisms,
customs, etc. of a particular place)?
e) mood or atmosphere - What feeling is created at the beginning of the story?
Is it bright and cheerful or dark and frightening?
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PLOT -- The plot is how the author arranges events to develop his basic idea; It
is the sequence of events in a story or play. The plot is a planned, logical series
of events having a beginning, middle, and end. The short story usually has one
plot so it can be read in one sitting. There are five essential parts of plot:

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a) Introduction - The beginning of the story where the characters and the setting
is revealed.
b) Rising Action - This is where the events in the story become complicated and
the conflict in the story is revealed (events between the introduction and climax).
c) Climax - This is the highest point of interest and the turning point of the story.
The reader wonders what will happen next; will the conflict be resolved or not?
d) Falling action - The events and complications begin to resolve themselves.
The reader knows what has happened next and if the conflict was resolved or not
(events between climax and denouement).
e) Denouement - This is the final outcome or untangling of events in the story.
It is helpful to consider climax as a three-fold phenomenon: 1) the main
character receives new information 2) accepts this information (realizes it but
does not necessarily agree with it) 3) acts on this information (makes a choice
that will determine whether or not he/she gains his objective).
BACK TO TOP

CONFLICT-- Conflict is essential to plot. Without conflict there is no plot. It is

the opposition of forces which ties one incident to another and makes the plot
move. Conflict is not merely limited to open arguments, rather it is any form of
opposition that faces the main character. Within a short story there may be only
one central struggle, or there may be one dominant struggle with many minor
ones.
There are two types of conflict:
1) External - A struggle with a force outside one's self.
2) Internal - A struggle within one's self; a person must make some decision,
overcome pain, quiet their temper, resist an urge, etc.
There are four kinds of conflict:
1) Man vs. Man (physical) - The leading character struggles with his physical
strength against other men, forces of nature, or animals.
2) Man vs. Circumstances (classical) - The leading character struggles against
fate, or the circumstances of life facing him/her.
3) Man vs. Society (social) - The leading character struggles against ideas,
practices, or customs of other people.

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4) Man vs. Himself/Herself (psychological) - The leading character struggles

with himself/herself; with his/her own soul, ideas of right or wrong, physical
limitations, choices, etc.
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CHARACTER -- There are two meanings for the word character:

1) The person in a work of fiction.
2) The characteristics of a person.
Persons in a work of fiction - Antagonist and Protagonist
Short stories use few characters. One character is clearly central to the story with
all major events having some importance to this character - he/she is the
PROTAGONIST. The opposer of the main character is called the ANTAGONIST.
The Characteristics of a Person In order for a story to seem real to the reader its characters must seem real.
Characterization is the information the author gives the reader about the
characters themselves. The author may reveal a character in several ways:
a) his/her physical appearance
b) what he/she says, thinks, feels and dreams
c) what he/she does or does not do
d) what others say about him/her and how others react to him/her
Characters are convincing if they are: consistent, motivated, and life-like
(resemble real people)
Characters are...
1. Individual - round, many sided and complex personalities.
2. Developing - dynamic, many sided personalities that change, for better or
worse, by the end of the story.
3. Static - Stereotype, have one or two characteristics that never change and are
emphasized e.g. brilliant detective, drunk, scrooge, cruel stepmother, etc.
BACK TO TOP

POINT OF VIEW
Point of view, or p.o.v., is defined as the angle from which the story is told.
1. Innocent Eye - The story is told through the eyes of a child (his/her judgment
being different from that of an adult) .

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2. Stream of Consciousness - The story is told so that the reader feels as if

they are inside the head of one character and knows all their thoughts and
reactions.
3. First Person - The story is told by the protagonist or one of the characters
who interacts closely with the protagonist or other characters (using pronouns I,
me, we, etc). The reader sees the story through this person's eyes as he/she
experiences it and only knows what he/she knows or feels.
4. Omniscient- The author can narrate the story using the omniscient point of
view. He can move from character to character, event to event, having free
access to the thoughts, feelings and motivations of his characters and he
introduces information where and when he chooses. There are two main types of
omniscient point of view:
a) Omniscient Limited - The author tells the story in third person (using
pronouns they, she, he, it, etc). We know only what the character knows and
what the author allows him/her to tell us. We can see the thoughts and feelings of
characters if the author chooses to reveal them to us.
b) Omniscient Objective The author tells the story in the third person. It
appears as though a camera is following the characters, going anywhere, and
recording only what is seen and heard. There is no comment on the characters or
their thoughts. No interpretations are offered. The reader is placed in the position
of spectator without the author there to explain. The reader has to interpret
events on his own.
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THEME -- The theme in a piece of fiction is its controlling idea or its central
insight. It is the author's underlying meaning or main idea that he is trying to
convey. The theme may be the author's thoughts about a topic or view of human
nature. The title of the short story usually points to what the writer is saying and
he may use various figures of speech to emphasize his theme, such as: symbol,
allusion, simile, metaphor, hyperbole, or irony.
Some simple examples of common themes from literature, TV, and film are:
- things are not always as they appear to be
- Love is blind
- Believe in yourself
- People are afraid of change
- Don't judge a book by its cover
Setting, that's like where it's going down,
Could be the train compartment, a castle or a town,
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Could be the Arctic winter - like To Build a Fire,

The temperature's dropping, excitement is getting higher,
Setting sets the scene so the scene seems set,
Could be the Italian restaurant where we met,
Setting gives us the where and the when,
Could be modern day, the future, or way back when.
Plot, Character, Conflict, Theme,
Setting, yes these are the 5 things
That you're going to be needing
When you're reading or writing
A short story that's mad exciting. (x2)
Plot is the action, the quest for satisfaction,
What's going down, what's going to happen.
Four men at sea in an open boat,
Rowing and hoping that they can stay afloat. The plot:
They have to make it to the beach,
But the waves are big, and the shore seems out of reach,
Plot is a series of events... like Lemoney Snicket,
It could be crazy, wild or straight wicked.
Plot, Character, Conflict, Theme,
Setting, yes these are the 5 things
That you're going to be needing
When you're reading or writing
A short story that's mad exciting. (x2)
Knock knock, who's there? Oh, it's the characters,
The people in the story who carry out the action.
Characters can be pretty, tiny or clean,
Characters can be silly, whiney or mean,
Juliet is a character, and so is Romeo,
Pokemon has characters and so does Yu-gi-oh,
Characters could be dogs, lions, or hippos,
JK Rowling chose Harry Potter. "Why?" Who knows!
Plot, Character, Conflict, Theme,
Setting, yes these are the 5 things
That you're going to be needing
When you're reading or writing
A short story that's mad exciting. (x2)
Uh-uh! Put your snack back in your backpack we're not finished!
Something gone wrong! That's the conflict kids,
A struggle in the plot, now who's on top,
Could be a fight for money, like some robbers and cops,
Could be an internal conflict a struggle inside,
Like I don't want to tell the truth but I don't ever want to lie,
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Flick something in your eye, now you're conflicted,

What created drama? The conflict did.
Plot, Character, Conflict, Theme,
Setting, yes these are the 5 things
That you're going to be needing
When you're reading or writing
A short story that's mad exciting. (x2)
The theme of the story is the main idea,
The central belief or the topic that's in there,
It's usually something abstract like sacrifice,
Isolation or resurrection: we're back to life,
Like don't lie, don't practice libel,
The theme of To Build a Fire is survival,
Survival on your own like Fievel Moskowitz,
Flocabulary's something that you HAVE TO GET...
Plot, Character, Conflict, Theme,
Setting, yes these are the 5 things
That you're going to be needing
When you're reading or writing
A short story that's mad exciting. (x2)
Title Elements of the Short Story
By Melanie Marchand
Primary Subject Language Arts
Secondary Subjects Language Arts
Grade Level 11-12
The Elements of the Short Story Lesson 1
Short Story Unit Contents:

Short Story Unit Overview

Lesson 1 Elements of the Short Story

Lesson 2 A Ghost Story

Lesson 3 Modern Fear and Suspense

Lesson 4 Shirley Jacksons The Lottery

Lesson 5 The Most Dangerous Game

Lesson 6 Conclusion

Culminating Activity
Purpose ~ This lesson is the first of several which will introduce and explore the short story. The purpose of
this lesson will be to introduce the short story to students, by exploring what a short story is, and what the
elements are that makes it a distinct genre.
Objectives ~ Upon completion of this lesson students will have:
1. Discussed and demonstrated what the definition of the short story is, and its elements;
2. Established working definitions of the elements in a short story;
3. Discussed a well known fairy tale, and applied each of the elements to it;
4. Written a quiz about the elements of the short story.
Activities and Procedures ~
1. Ask the class to begin by giving some examples of what they believe to be short stories, ask them to back
up their choice with what makes it a short story.
2. As a class brainstorm characteristics that define a short story, i.e. length (words), number of characters, time
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span, well-defined plot, etc. From this ask the class to then come up with a working definition of the short story,
the short story is a piece of prose fiction, usually under 10,000, which can be read in one sitting (handout given
by Michelle Forrest).
3. Next ask the students to further examine the uniqueness of the short story by listening to the childrens story
The Three Little Pigs. Read aloud to class, and then ask them to point out any techniques or approaches that
they see in this story, i.e. the title, introduction, characters, setting, plot, rising action, crisis, climax, conclusion.
Introduce any of the above that are mentioned and include the rest as the elements of the short story.
4. As a class read and discuss the elements of the short story, pay close attention to an applying the elements
to The Three Little Pigs story.
5. Announce that there will be a quiz on the elements in five minutes, ask them to quickly look over their
handout. The quiz will be very straight forward, it will be a matching quiz, students will be given to columns,
one containing definitions, the other answers, they will simple have to match them, and then give an example
of where this are found in The Three Little Pigs.
Homework: For next class, which is to read A Ghost Story by Mark Twain.
http://www.cardiffgiant.com/ghost.html
E-Mail Melanie Marchand!
Related Lesson Plans

Student-Designed Curriculum: Helping Students Create Their Own Lesson Plans

Scientific Poetry: The Benefits of Cross-curricular Lesson Plans

Dilemma Discussions in Lesson Plans: Why to Have Them and How to Lead Them

Phenomenal Woman: Lesson Plans to Explore the Work of Maya Angelou

Increase Reading Engagement: How to Use Self-Directed Reading in Your Lesson Plans

Review the questions and your answers below. The answer you selected is highlighted in red, the correct answer
in green and the link to review in blue. If you would like, you can print this page by clicking the Print button.

1.

Name the time when Cinderella takes place.

a. The past
b. The present
c. The future
d. The 50s
You answered correctly!

2.

Why is the conflict important to a story?

a. It shows that people are very different.
b. It is what makes the story very exciting.
c. It provides background on the characters.
d. It is the sequence of events of the story.
You answered correctly!

3.

Which of the following happens FIRST in Cinderella?

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a. The Prince finds Cinderella's glass slipper.

b. The Prince comes to Cinderella's house.
c. Cinderella and the Prince marry.
d. Cinderella leaves the ball.
The correct answer is d) Cinderella leaves the ball.
Review: Elements of A Story : Sequence

4.

Select the correct climax for Cinderella.

a. The Fairy Godmother turns the pumpkin into a coach.
b. The Prince finds the glass slipper on the steps of the castle.
c. The Prince puts the glass slipper on Cinderella's foot and it fits.
d. The page arrives at the house with an invitation to the ball.
The correct answer is c) The Prince puts the glass slipper on
Cinderella's foot and it fits.
Review: Elements of A Story : Climax

5.

Which of these is the conflict in Cinderella?

a. Cinderella faces a wolf on her way to deliver a basket to her
grandmother.
b. A tornado carries Cinderella away to a land far away.
c. Cinderella wants to attend a ball but her Stepmother tries to prevent
her from going.
d. Cinderella trades her cow for three magic beans.
The correct answer is c) Cinderella wants to attend a ball but her
Stepmother tries to prevent her from going.
Review: Elements of A Story : Conflict

6.

What is another word for the resolution?

a. The ending
b. The explanation
c. The mystery
d. The history
You answered correctly!

7.

Which of the following describes the setting of Cinderella?

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a. The space shuttle

b. The North Pole
c. The shopping mall
d. A faraway kingdom
You answered correctly!

8.

Who is the hero of Cinderella?

a. Lottie
b. The Stepmother
c. Cinderella's father
d. Cinderella
The correct answer is d) Cinderella
Review: Elements of A Story : Characters

9.

What is the best definition of exposition?

a. The exposition is background information on the characters and
story.
b. The exposition is the series of events in the story.
c. The exposition is when the hero saves the day.
d. The exposition is the description of the characters' personalities.
The correct answer is a) The exposition is background
information on the characters and story.
Review: Elements of A Story : Exposition

10. Why is the climax referred to as the "turning point" of the story?
a. The hero turns his back on the villain and ignores him.
b. The villain realizes he needs to change his actions.
c. It is when the plot changes for better or for worse for the hero.
d. The villain turns into the hero.
The correct answer is c) It is when the plot changes for better or
for worse for the hero.
Review: Elements of A Story : Climax

11. Which is an example of an event in the plot of Cinderella?

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a. The page arrives at the house with the invitation to the ball.
b. Cinderella pricks her finger on a spinning wheel.
c. Cinderella meets three bears.
d. The stepmother makes a poisoned apple.
The correct answer is a) The page arrives at the house with the
invitation to the ball.
Review: Elements of A Story : Sequence

12. Which is the resolution to Cinderella?

a. Cinderella was the most beautiful young woman at the ball.
b. Cinderella worked hard all day, but didn't finish her chores.
c. Cinderella and the Prince married.
d. At midnight the coach turned back into a pumpkin.
The correct answer is c) Cinderella and the Prince married.
Review: Elements of A Story : Resolution

13. Which is NOT a characteristic of Cinderella's villains?

a. Mean
b. Lazy
c. Kind
d. Nasty
The correct answer is c) Kind
Review: Elements of A Story : Characters

14. What is an important piece of background information or exposition in the Cinderella story?
a. The Stepmother made Cinderella a long list of chores to do.
b. The Fairy Godmother turned a pumpkin into a coach.
c. Cinderella's father married a woman who had two daughters of her
own.
d. The Prince hoped to find a bride at the ball.
The correct answer is c) Cinderella's father married a woman who
had two daughters of her own.
Review: Elements of A Story : Exposition

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