Unit 2: Story Elements

Labelling

Drag each label to its corresponding location in the plot structure diagram.

Drag labels to their correct position on the image

Falling Action

Climax

Exposition

Rising Action

Resolution

Match

Match each plot element with its corresponding definition.

• Exposition

• Rising Action

• Climax

• Falling Action

• Resolution

Introduction to characters and setting.

A series of increasing conflicts.

Highest conflict when choices are made.

Events that follow the main conflict.

When the conflicts are settled.

• Introduction to characters and setting.

• A series of increasing conflicts.

• Highest conflict when choices are made.

• Events that follow the main conflict.

• When the conflicts are settled.

Categorize

Options (4)

Character vs. Self

Character vs. Character

Character vs. Society

Character vs. Nature

Drag each type of conflict to its corresponding category.

External Conflict

Internal Conflict

Open Ended

Think about a character for your own original short story. Create a name and two important characteristics of your character's personality.

Multiple Choice

The narrator is a character in the story, involved in the story's action. He or she uses the pronoun 'I' to tell the story and can tell us his or her inner thoughts and feelings.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Multiple Choice

The narrator focuses on one character, using 'he' or 'she' to tell a story. We see the action from his or her point of view. We are shown only his or her thoughts and feelings.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Multiple Choice

The narrator has a birds-eye view of the action. This narrator can reveal the thoughts, feelings, and motives of any other characters and describe their character traits objectively.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Multiple Choice

The narrator directly addresses the reader using the pronoun 'you,' immersing them in the story as if they are a character within it.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Multiple Choice

From The Giver by Lois Lowry

Usually, at the morning ritual when the family members told their dreams, Jonas didn’t contribute much. He rarely dreamed. Sometimes he awoke with a feeling of fragments afl oat in his sleep, but he couldn’t seem to grasp them and put them together into something worthy of telling at the ritual. But this morning was different. He had dreamed very vividly the night before. His mind wandered while Lily, as usual, recounted a lengthy dream, this one a frightening one in which she had, against the rules, been riding her mother’s bicycle and been caught by the Security Guards.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Multiple Choice

From The Great Gatsby by F. Scott Fitzgerald

I decided to call to him. Miss Baker had mentioned him at dinner, and that would do for an introduction. But I didn’t call to him, for he gave a sudden intimation that he was content to be alone — he stretched out his arms toward the dark water in a curious way, and, far as I was from him, I could have sworn he was trembling. Involuntarily I glanced seaward — and distinguished nothing except a single green light, minute and far away, that might have been the end of a dock. When I looked once more for Gatsby he had vanished, and I was alone again in the unquiet darkness.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Multiple Choice

From The Haunted Mind by Nathaniel Hawthorne

You are lying in bed, either to take bodily rest, or to indulge in reverie. You are conscious of the pure air of the apartment. You feel the bedclothes lightly pressing on your limbs. An agreeable chillness is about your feet and hands. All is quiet. The regular respiration of the slumbering family, the soft tread of a watchful person, the distant bark of a dog, the slow and deep-toned cathedral clock, these are the sounds which compose the perfect silence that you might fancy to be felt, as well as heard.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Multiple Choice

From Lord of the Flies by William Golding

Signs of life were visible now on the beach. Th e sand, trembling beneath the heat haze, concealed many figures in its miles of length; boys were making their way toward the platform through the hot, dumb sand. Three small children, no older than Johnny, appeared from startlingly close at hand, where they had been gorging fruit in the forest. A dark little boy, not much younger than Piggy, parted a tangle of undergrowth, walked on to the platform, and smiled cheerfully at everybody. More and more of them came. Taking their cue from the innocent Johnny, they sat down on the fallen palm trunks and waited.

• First Person

• Second Person

• Third-Person Limited

• Third-Person Omniscient

Open Ended

Why would an author choose to tell a story in the third-person limited point of view?

Open Ended

Why would an author choose to tell a story in the third-person omniscient point of view?