Character Types and Characterization

Here is a transcript of a video about Narrative Writing. Generate 25 questions. Intro to Narrative Writing What is Narrative Writing? You today, I want to introduce you to the basics of narrative writing. Narrative writing is writing that tells a story. It can be real or imagined, that is, nonfiction or fiction. It has a beginning, middle, and end. That is, it includes the basic elements of a plot exposition, rising action, conflict, climax, falling action, and resolution. And it's full of interesting details. The author's purpose in writing a narrative is to entertain the reader. There are three main types of narrative writing. The first is a personal narrative when a writer shares a true story from his or her own life. We could also say this type of narrative is autobiographical. The second type of narrative is biographical when a writer shares a true story from another person's life. The third type of narrative is fictional. When a writer tells an invented story, short stories, and novels are fictional narratives. The Process of Writing a Narrative While we could add to this list, there are five important parts of a narrative that I especially want you to remember as you write your own narrative. These parts of a narrative include setting, characters, plot, point of view, and dialogue. The first part of a narrative is the setting , where, and when the narrative takes place. The setting affects both the plot and characters in your narrative, so it's important to spend some time brainstorming where, when, and in what conditions your story takes place. The second part of a narrative is the characters , the people, animals or creatures involved in a story. Remember that your story must have a protagonist, the character facing the problem, and an antagonist the character or force causing the problem. Take some time while planning your narrative to focus on your characters beyond the characters names and roles they play in the story. Think about whether you'd like them to be flat with very few character traits or round with many character traits. Also think about which characters in your story will remain static or unchanged, and which characters will be dynamic, undergoing an important change in your narrative. The third part of a narrative is the plot , the sequence of events in a narrative. Take some time to think carefully through your story's plot. How will it begin and how will it end? What conflicts will your characters encounter? What is the climax or turning point of your story? How will the problems be solved? Creating a storyboard or labeling a plot diagram are both good tools for planning your story's plot. The fourth part of a narrative is the point of view , which is the perspective from which a narrative is told. You can choose to write your narrative in first person, writing a personal narrative from your own point of view, or you can choose a character in a fictional narrative to tell your story. Another option is to write your narrative in the third person point of view, telling the story from the perspective of an unseen narrator that is not a character in the story. Finally, the fifth part of a narrative is dialogue. The words the characters speak in your story dialogue can establish the setting, show characterization, foreshadow events, or advance the action in a narrative. Dialogue brings your narrative to life. It's important to review how to punctuate dialogue, following grammatical rules for using quotation marks, commas, and other N marks such as periods and question marks. As you begin writing your narrative, I'll help you break down each step of the process. But hopefully this introduction gives you a basic understanding of what narrative writing is, and hopefully it sparks some ideas for you to begin planning your own narrative.

7th grade quiz over charcterization,character types, and point of view

SPANISH STUDENTS 10/22/25 In the sentence 'The author chose to juxtapose the wealthy neighborhood with the impoverished area to highlight social inequality,' what does 'juxtapose' most likely mean based on context clues? * 1 point to separate completely to describe in detail to criticize harshly to place side by side for comparison When reading 'This paradox confused everyone: the more he tried to save time, the less time he seemed to have,' what can you infer about a paradox? * 1 point a mathematical equation a simple solution a type of poem a contradictory statement that reveals truth The passage states: 'The author's use of symbolism was evident when the broken mirror represented the character's shattered dreams.' Based on this context, symbolism involves: * 1 point using objects to represent deeper meanings creating rhyming patterns writing in chronological order using literal descriptions only In the text 'Please elaborate on your answer by providing specific examples and detailed explanations,' the word 'elaborate' suggests the need to: * 1 point use simpler words change the topic add more detail make it shorter The critic wrote: 'The actor's performance captured every nuance of emotion, from subtle sadness to barely contained rage.' What does 'nuance' refer to in this context? * 1 point subtle variations in meaning simple emotions loud expressions obvious differences When the text says 'The implication of her silence was clear to everyone in the room, though she never spoke a word,' what does 'implication' mean? * 1 point a command given a direct statement a question asked a conclusion drawn indirectly The scientist stated: 'Based on our limited observations, our hypothesis suggests that plants grow faster with classical music.' What is a hypothesis? * 1 point a type of experiment a proven fact a final conclusion a possible explanation needing more evidence In 'Three witnesses were able to corroborate the defendant's alibi, strengthening his case significantly,' the word 'corroborate' most likely means: * 1 point to question or doubt to confirm or support to change the story to ignore completely The passage reads: 'The student needed to justify her controversial thesis with solid evidence and logical reasoning.' What does 'justify' mean here? * 1 point to make it longer to make excuses for to avoid explaining to prove something is reasonable When the text states 'The researcher was able to synthesize information from five different studies to create a comprehensive theory,' what does 'synthesize' involve? * 1 point copying one source exactly combining multiple sources to create something new rejecting all previous research focusing on only one idea When a reader encounters 'The symbolism in the novel was complex, with the recurring image of doors representing new opportunities throughout the story,' they should: * 1 point memorize all symbols skip symbolic passages look for deeper representational meanings focus only on the literal meaning If a teacher says 'Your essay needs more elaboration - expand on your main points with examples and analysis,' what critical thinking skill is being requested? * 1 point developing ideas with supporting details summarizing briefly using fewer examples changing the topic entirely In the passage 'The dark clouds gathering on the horizon seemed to foreshadow the troubles that would soon befall the village,' what literary technique is being demonstrated? * 1 point The author is using environmental details to hint at future plot developments The author is focusing on realistic weather descriptions The author is using weather to predict actual meteorological events The author is describing a coincidental weather pattern When analyzing 'Sarah knew the antagonist in her favorite novel wasn't just evil—he represented the fear of change that many people experience,' what deeper understanding about antagonists is revealed? * 1 point Antagonists are always completely evil characters Antagonists can represent abstract concepts or human struggles Antagonists must be human characters Antagonists only exist to create action scenes In the sentence 'The protagonist's journey wasn't just about reaching the destination—it was about discovering who she truly was,' what does this suggest about effective protagonists? * 1 point Protagonists must always succeed in their missions Protagonists should remain unchanged throughout the story Protagonists undergo both external and internal development Protagonists should focus only on external goals When the text states 'The word 'home' carried different connotations for each character—warmth and safety for some, confinement and obligation for others,' what critical reading skill is being highlighted? * 1 point Memorizing dictionary definitions Understanding that words have only one correct meaning Identifying grammatical structures Recognizing that word meanings can vary based on personal experience In 'While the denotation of 'snake' is simply a reptile, the author's use of it to describe the character suggests something far more sinister,' what analytical skill is required? * 1 point Understanding reptile biology Memorizing animal classifications Distinguishing between literal and figurative meanings Identifying sentence structure When examining 'The author's tone shifted from hopeful in the opening chapters to increasingly cynical as the story progressed,' what does this reveal about sophisticated writing? * 1 point Tone is unimportant in storytelling Tone changes reflect the author's developing attitude toward the subject Only the ending tone matters Authors should maintain the same tone throughout In analyzing 'The theme of the novel wasn't stated directly but emerged through the characters' repeated struggles with moral choices,' what does this demonstrate about themes? * 1 point Themes develop through patterns in the narrative Themes are only found in the conclusion Themes should always be explicitly stated Themes must be simple moral lessons When the passage reads 'From the character's nervous glances and hesitant speech, readers can infer that she's hiding something important,' what critical thinking process is being described? * 1 point Following explicit plot statements Memorizing character descriptions Making random guesses about character motivations Using textual evidence to draw logical conclusions In 'The ending was deliberately ambiguous, allowing readers to decide whether the character's actions were heroic or selfish,' what does this suggest about sophisticated literature? * 1 point Good stories always have clear, definitive endings Unclear endings indicate poor writing Ambiguity can enhance reader engagement and interpretation Authors should avoid confusing readers When analyzing 'The controversial decision to ban the book sparked debates about censorship versus protecting young readers,' what critical thinking skill is most important? * 1 point Choosing one side immediately Examining multiple perspectives before forming an opinion Avoiding difficult topics entirely Following popular opinion In 'Each character's perspective on the same event revealed how personal experiences shape our understanding of truth,' what deeper concept is being explored? * 1 point All perspectives are equally valid Perspective is unimportant in understanding events There is only one correct way to view any situation Personal background influences how we interpret events When the text states 'The community proved resilient, rebuilding not just their homes but their hope after the disaster,' what does this reveal about the concept of resilience? * 1 point Resilience encompasses both practical and emotional recovery Resilience is an innate trait that cannot be developed Resilience means avoiding all difficulties Resilience only involves physical recovery In analyzing 'The author's portrayal of the character's empathy—her ability to understand her enemy's pain even while fighting him—added complexity to the conflict,' what does this suggest about empathy? * 1 point Empathy means agreeing with everyone Empathy makes people weak in conflicts Empathy should be avoided in difficult situations Empathy can coexist with opposition and create moral complexity When examining 'The character's integrity was tested when telling the truth would hurt people she loved,' what does this reveal about integrity? * 1 point Integrity means always following rules regardless of consequences Integrity means never causing any harm to others Integrity is only important in public situations Integrity involves making difficult moral choices even when costly In 'The student learned to advocate for her ideas by presenting evidence rather than just stating opinions,' what critical skill is being developed? * 1 point Supporting positions with logical reasoning and evidence Avoiding controversial topics entirely Learning to argue loudly and persistently Always agreeing with authority figures If you rewrote a scene from 'The Birchbark House' from Omakayas's grandmother's first-person perspective instead of Omakayas's, how would this most likely change the reader's understanding? * 1 point Nothing would change since they're both female characters The language would become more formal and difficult The story would become less interesting because adults are boring Readers would gain wisdom from experience but lose the innocence of childhood discovery In a plot diagram, the rising action serves which critical purpose beyond simply building toward the climax? * 1 point To provide background information about the setting To confuse readers so the ending is surprising To develop character relationships and establish stakes that make the climax meaningful To make the story longer and more detailed When analyzing the falling action in 'The Birchbark House,' which element would be most important to consider when writing an alternate version? * 1 point Whether the consequences of the climax align with the new direction you want the story to take Making sure it's shorter than the rising action Including a moral lesson for readers How quickly the conflicts get resolved In the exposition of a story, conflict serves which essential function that many readers don't realize? * 1 point To immediately grab attention with action scenes To provide comic relief before serious events To show off the author's writing skills To establish what the characters characterization/personality, which determines what they' must learn to overcome as they face more problems

Types of questions: Here are common categories of comprehension questions: Literal/Factual Questions: These ask for information explicitly stated in the text. Example: Who was the first person to discover the new island? Vocabulary Questions: These test understanding of a word or phrase's meaning as used in the passage. Example: In the sentence, "The ancient scroll was fragile," what does "fragile" mean? Inferential Questions: These require you to "read between the lines" and draw conclusions not directly stated in the text. Example: Why do you think the character felt so nervous before the interview? Main Idea Questions: These ask you to identify the central message or key point of the passage. Example: What is the primary purpose of this article? Author's Purpose/Tone Questions: These questions assess your understanding of why the author wrote the text and the attitude they convey. Example: What emotion is the author trying to evoke in the reader? Figurative Language Questions: These test your knowledge of literary devices like metaphors, similes, and personification. Example: What does the author mean by "the world is a stage"? Synthesis Questions: These ask you to combine information from different parts of the text to form a new idea or understanding. Example: How do the first and last paragraphs relate to each other to create a unified message? Evaluative Questions: These go beyond the text to ask for your opinion or judgment about the content. Example: Do you agree with the author's conclusion? Why or why not?

Extradition (International law), Political Offence Exception, The Political Offense Exception (POE) serves as a critical safeguard in international extradition law, allowing a requested state to refuse the surrender of a fugitive if their alleged crime is of a "political character." These offenses are categorized into two types: **pure political offenses**, such as treason or espionage, which target the state's political organization without harming individuals; and **relative political offenses**, which are common crimes like robbery committed with a political motive. To distinguish between these, courts apply various judicial tests. For instance, the **Political Incidence Test** (established in *In re Castioni*) focuses on whether the act was incidental to a political disturbance, while the **Swiss Proportionality Test** weighs the political end against the criminal means used, denying the exception if the harm caused is disproportionate. In the context of **state succession**, the application of extradition treaties depends largely on the underlying legal theory adopted by the new sovereign. Under **Universal Succession**, the new state inherits all prior treaties and obligations, ensuring legal continuity. Conversely, the **Clean Slate (Tabula Rasa) Theory**, often seen in decolonization, suggests that new states are not bound by the predecessor’s treaties, potentially creating "safe havens" for fugitives until new agreements are reached. Practical examples include the **Dissolution of the USSR**, where Russia acted as the "continuator" state inheriting treaties, and the **Partition of India and Pakistan**, where a devolution agreement ensured that colonial-era treaties remained in effect. Despite its protective intent, the POE faces **modern erosion** to ensure that heinous acts do not go unpunished. Specific limitations, such as the **Attentat Clause**, explicitly exclude the assassination of a head of state from being considered a political offense. Similarly, modern treaties and conventions (like the *Meunier* ruling) exclude **terrorism**, hijacking, and crimes against humanity from the exception, viewing these acts as attacks on the general social order rather than legitimate political dissent. This evolution reflects a growing international consensus that the gravity of certain crimes—such as those seen in the **Rainbow Warrior case study**—far outweighs any claimed political motivation, shifting the legal focus toward human rights and the prevention of torture.

To understand melody in music, think about some music you’re familiar with. If you were asked to hum it, what would that sound like? The part of the music that you’d hum is the melody. It’s the main thread of sound that your brain tracks and holds onto when you’re listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like “The Flight of the Bumblebee.” They can be slow and majestic, like “Finlandia.” They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. It’s easy to recognize and identify melodies from different folk traditions such as the Japanese folk song “Sakura” or the Irish tune “Star of the County Down.” Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song “Lean on Me” written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when there’s an accompaniment. Here are a few bars of “Lean on Me” with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then there’s that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most “hummable” tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethoven’s “Ode to Joy,” one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John William’s “Princess Leia Theme.” Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and that’s the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when it’s performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling you’d like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form what’s called a pentatonic scale. It’s used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If you’re writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this “foreshortening” creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song “We Don’t Talk about Bruno.” Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in “One Day More” from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound “melodic” when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. It’s usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesn’t have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments won’t have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but you’d have a hard time humming it. It’s music, but it doesn’t have a melody. Rap music is another style of music where there doesn’t have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but it’s the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of “Duel of the Fates.” This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. It’s fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! You’ll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether you’re humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.

Inferencing, Point of View, and Character Type Test REVIEW

Auteur Theory is a way of looking at films that state that the director is the “author” of a film. A film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography. The 3 Components of Auteur Theory Andrew Sarris, film critic for The New York Times, expanded on Truffaut’s writing and set out a more comprehensive definition for auteurs according to three main criteria: technical competence, distinguishable personality, and interior meaning. 1. Technical competence: Auteurs must be at the top of their craft in terms of technical filmmaking abilities. Auteurs always have a hand in multiple components of filmmaking and should be operating at a high level across the board. 2. Distinguishable personality: What separates auteurs from other technically gifted directors is their unmistakable personality and style. When looking at an auteur’s collected works, you can generally see shared filming techniques and consistent themes being explored. One of the primary tenets of auteur theory is that auteurs make movies that are unmistakably theirs. This is in sharp contrast with the standard studio directors of the era who were simply translating script to screen with little interrogation of the source material or editorial input. 3. Interior meaning: Auteurs make films that have layers of meaning and have more to say about the human condition. Films made by auteurs go beyond the pure entertainment-oriented spectacles produced by large studios, to instead reveal the filmmakers unique perspectives and ruminations on life. https://www.masterclass.com/articles/film-101-what-is-an-auteur#3ClNjwO6Gkgjd8ix2Cm5qI Who is the author of a TV program? It seems like it ought to be an easy question to answer, but it is not. There are, of course, scriptwriters, who are the literal authors of episodes in the sense of generating words that an actor eventually speaks, but in a soap opera or a sitcom there may be a dozen or more scriptwriters working on dialogue as the months go by. Is any one of them truly responsible for the overall tenor of the show, or are they just following rigid guidelines set down by other scriptwriters ahead of them? And the script is just the blueprint of an episode anyway. Actors, production designers, directors, videographers, editors, and on and on, are all necessary to construct an episode from that blueprint. Should we call one of them the author? And, at a more basic level, should we even bother looking for authors in television? Do viewers need to know who created a program in order to enjoy it? What does it add to our appreciation or understanding of television if we assign authorship of a program to an individual? In the closely related medium of the cinema, questions such as these have been answered by the auteur theory, which stems from the French word for “author,” auteur. Its basic precept is that a single individual is, and should be, the “author” of a work in order for it to be a good, artistically valuable work. A book, poem, film, or television show should express this individual’s personality, his “vision” (the masculine pronoun is significant; auteurist studies almost all focus on men). This notion stems from the nineteenth-century Romantic image of the author as a figure who sits alone in a dingy room, scratching out angst-ridden poems with a quill pen. The tormented, misunderstood author or artist is a cherished character type that can be traced back to the poet Lord Byron (1788–1824) and observed in numerous portrayals of demented painters, musicians, and writers in television programs and other media. Consider this: Have you ever seen or read a story about a creative person who wasn’t somehow strange or crazy? The auteur theory originated in French film criticism of the 1950s, where it was initially theorized that auteurs could be drawn from the ranks of producers, directors, scriptwriters, actors, and other filmmaking personnel.1 However, the vast bulk of auteurist film criticism has been about directors: Alfred Hitchcock, John Ford, and Quentin Tarantino, among many others.

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