The Structure and Morphology of the Short Story in Latin American Literature

Posted on Sep 18, 2024 in Language

Structure and Morphology of the Folktale (Mempo Giardinelli)

On the Definitions

Carlos Mastrángelo defines the story as a short series of incidents. Whether short or long, it is always a whole and concluded action, being very essential to the argument, the issue, or the incident itself. Without long intervals of time or space, it is topped by an unexpected end, appropriate and natural.

Alfredo Veiravé says that “the story, in its essential features, can be defined as a short narrative that is a single case and that a limited number of characters are capable of creating a condensed and closed position.”

The story is the promise of escape and an imaginative self.

On the Soon-to

Edmundo Valadés, foreshadowing the story, escapes theory: its characteristic is the brevity, and the short story about the Chilean Juan Armando Epple theory distinguishes four basic conditions: brevity, unique themes, and voltage.

These apply to every story, whatever its extent; he argues that the only real effective way to distinguish novel tale is none other than the number of pages in each text.

Another idea of Epple’s is that the fundamental criterion for recognizing them is their fictional status, or is the literary invention based on aesthetic sense or allowing one to recognize a story? He said the story is a concentrated micro-exercise to put our beliefs in tension and reading habits. He argues that this comes from the Middle Ages when you begin to discern the differential forms of narrative expression in short fiction. In addition to expressions of popular oral tradition and legends, myths, riddles, the case, or the fable, in which case, more interested in his literary formalization, emerging modes of discourse that are articulated in statutes and descant on the generic cultural tradition.

Sources of the short story: the oral tradition and bookish.

According to Epple, the characterization of the short story is still being sought from an explicit or implicit comparison with the novel and distinctive features that are postulated to be inadequate as distinct categories.

The criterion of Epple (provisional) to qualify for a short story is not based on the extension, but in the stratum of the narrative world. In the narrative of a situation, only made in an imaginary space and time decurso, although some elements of this triad (action, space, time) are merely suggested.

On Approaches and Influences

The Mexican Julio Torri said there are two types of writers: those of imagination and feeling. The former are usually good craftsmen; the latter, when they have no genius, are intolerable. Of course, happiness is produced as literary stories converge in the imagination and feeling.

Nothing is wrong with influences, and on the contrary, all come from them. Every writer is essentially bookish in the sense that we’re always looking for ideas and partnerships with the authors we love. That is natural and logical. Art is always so: collection and copy, contributing and making it there to read, attend, experience: literature because, as knowledge, it is give and take, as ontology.

On the Imagination

Juan Rulfo says that every writer creates is a liar: literature is a lie, but that lie out a recreation of reality to recreate reality is one of the fundamental principles of creation. This author believes that there are three steps in the imagination to tell a story: the first is creating the character, the second is to create the environment where that character will move, and the third is like that character will speak, as will to express, i.e., shape.

Rulfo was wrong in this, of course, because the issue is not so simple. Imagination is infinite, no limits, and where we must break the circle closes. So there is another thing called intuition; intuition leads one to guess something that has not happened, but it is happening in writing.

On the Subtlety and Allusion

It is important that the subtlety you work with be educated, especially in the literature of a country like ours that is so infected with platitudes, clichés, cheap sanctified and irrationality. The real power of literary allusion is to split from the author’s purpose. More realistic literature (in the sense of referring to what happens) is not seriously proposed.

Good literature is not dependent on the will of the writers, but that comes simply from their passions. And the reality is that only the dream, imagine, or referred to, as advised Roa Bustos.

On the Issues

Another important aspect is the thematic and stylistic variety. I argue that the story is the more modern genre that has more vitality.

The reading public is only interested in works of long-term and/or gender that make the fashions.

Carlos Mastrángelo teaches that the story needs either a unique subject matter or one not always suitable for the novel or story. Broadly corresponds to a particular form, a particular topic as well. Single issue, limited, concrete. Due to its small space and time, the story not only allows but requires precision, harmony, and accuracy. The main thing in it is the event and where it leads. Proceed, in literature, using the past to present is the structuring of merit or finding.

In the tradition of the best stories, Argentines are an exemplary combination of how literature is an allusion because it is a lie embodied in reality and is both a poetic view of the world we live in.

Everything is literature for him, and his authorial point of view is always sharp, original, surprising.

If literature (gendered) is, as I believe, one way to knowledge, an inquiry into the human soul and, above all, a formal proposal ever renewed and renewing.

One has to strive to be the kind of writer who, beyond their issues, not repeated, not always tans the same page and not repeated in the use of few resources more or less bright. The kind of writer who is always looking for ways difficult to walk, just because it is passionate about finding and paraphrasing, in Miguel Hernandez, a ray that does not stop.

On Sensitivity

Every good story should play some intimate fiber in the reader. A good story is simply born of the inevitability of that story there (he writes because he cannot stop writing). The fate of a story, like an arrow, is an impact on the reader. The closer to the reader’s heart is key, the better the story. To that effect, the text must be sensitive: you must have the ability to show a world, be a mirror in which the reader sees and is seen. This is what is called identification (the reader thinks it happened or could happen the same) and that will create empathy, solidarity with the cash, which will make the story make it unforgettable.

Sensitivities are known to be very sophisticated and vulgar. The author must create an account given to the reader. You should know that someone, somewhere, will read his story. And keep in mind that the other is what will prevent the story from being a key self-referential, Onan, an intimate abstruse. This is what I have called this: the reader, and not to make a concession, or winks, or give explanations unnecessary. Here is the intelligence of the good story.

If art has to be understood only by the experts, not art, but the key to a lodge, consider Denevi, defends the idea that common sense has to be defended.

This must be deeply pondered by every storyteller worthy of the name: What role is it? How will you find the reader and author, etc.?

On the Cunning Narrative

Noah Jitrik says that the reader is primarily an issue that Plantra its task from the beginning to count on their ability to deception, imagination.

In all cases, it must be useful, gentle, sober, always appealing to the intelligence and sensitivity of the reader, not the artifice, the “because I felt like it,” to “I wanted it to be so.” When so reasonable is because it is given to the reader.

About the Reader

Do not read a story with the same eyes that follow through a novel or a scientific treatise. In the first reading, it is never too careful and naturally so; it takes us from very different angles and distances. A story is a strict eye operation: attention to the pure state. The least deviation threatens the incident; it is the event and the effect, in fact, the whole story. Rather than move us, the story tends to be astonished and, stylistically, the storyteller is a virtuoso. His “tour de force” is to agree the event in a language, then it is using the imagination, the ability to move and loose association of the reader. Producing laughter or crying sorrow or anger or any emotion of the liver, it is important that the story turns on lights in the intelligence and the heart of the reader.

It is often said that what matters is that the story requires an active reader, committed to making it, which is no less true because if the reader is passive and does not engage in the text, it leaves it. The good reader is not a subdotado stories, and reading does not seek moral lessons. It is, however, a sensitive person looking for fun without being brutalized. In the prologue to Don Quixote, Cervantes refers to the dual function of literature: to entertain and make people think.

On the Structure

The structure of a narrative is nothing but their skeleton form, the style on which to hold narrated fiction (history, content) and the narrative itself.

For its part, Edelweis Setta, argues that the structure of the story is the integration of three fundamental layers correlated with each other. Those three are: the objectivities represented, that of the meanings, and the word. The first is the narrative world, the fact that narrates the event, the event with its episodes and incidents. Since this layer follows the theme or subject content of the story and therefore its meaning, the second layer, where an image is set and an interpretation of reality, the narrated world. But being the story and its phenomenological manifestation would not be set without the concurrence of the essential stratum of the word.

On the Current and Voltage

“What I call intensity in a story involves the removal of all ideas or intermediate situations, all the transition phases, fillers, or the novel allows or requires,” wrote Julio Cortázar.

The writer tells the story Ballano is closer to painting. In the novel, you have to build time. In a story, you can remove and cause this strange feeling, that kind of atmosphere.

What is significant is not what happens, but how to feel, think, live those facts, that is their interpretation. Compared to the novel, the modern story selection acts on: Choose a moment in time and paralyzes him to internalize it, to penetrate, requires an angle of view and, above all, the narrative carefully selected to cause one effect.

In representing the comparisons to the novel, almost all authors who have pondered the genre story, match (words, fewer words) that the function of the story is exhausted, for intensity, a situation, while the novel is developing several situations, sometimes simultaneously, and which, when juxtaposed, gives the illusion of time thereafter.

One of the theorists who reflected on the current and voltage was Mastrángelo. It is all vitality, emotion, and movement. The story, which was born orally, retains today, after several millennia, its two essential characteristics: its unilinearism and its unit of matter. Are the laws that set it apart and away from the novel.

The unilinearism the story and its unit case are the path necessary to arrive at another law of this kind of narrative genre, yet most neglected trials: the functional unit.

Such a functional unit has two main purposes: first, to channel the interest or emotion and the second focus that interest or emotion at the end of the event narrated, making it explode or fade as radical and timely.

The current and voltage are related to one of the peculiarities of the genre. Conversely, the relative (adjusted to reality) the storyteller actually adjusts to it, when it may be helpful. For this reason, a story has nothing to do with reality itself, and instead, most of the stories and many chapters of novels are nothing more than memories or experiences, and its author, a mere chronicler of more or less ingenuity.

So the intensity and tension are based on unidirectional unwavering every body. And that unidirectionality is nothing that the famous “knock-out.” Only then is the perfect story ended simultaneously by the reader and the author, emphasizes Mastrángelo. If the opposite is happening because something fails. This latter usually occurs when the author hastens the end, ahead of the pace of the reader and the story itself. And much more often when dilated with a warning, explanation, or rummaging final cut.

The reader can afford to suffer an accident or be distracted and lose track for a moment that may mean a whole chapter. This march parallel between creator and recipient can be irregular, arrhythmic, intermittent, adjusting only in the final match. And this synchronization must be accurate in the last instant, yet there throughout the course of the event. But another condition is necessary for that to be possible, and the like.

On the Conception of the World

Every story has a worldview, an IDEA of the universe, and this is so simply because they have all the storyteller, like it or not, accept it or not. The writer always has an attitude towards life, and his work expresses his thinking. The better and more cultured is this conception, the richer, sensitive, cultured, generous, broad, and open, the richer becomes the contents of their stories. Hence the importance of reading.

No Argument About the Story

Arturo Molina Garcia says that “in our day, we can see how many short stories as stories deemed not fit exactly in the coordinates plotted. These are stories with an abrupt end to produce a sense of fragility, as something unfinished, but at the same time full of possibilities suggesting that, by the way, is left open. Moreover, in our time, we see quite often the lack of plot, an essential ingredient of the classic tale. The author of such work should be left unresolved action, only a sense of unresolved justice would then mindless nihilism as a whole.

On the Irony

The idea of Cristina Peri-Rossi is an adequate summary: “There are resources that I use often: breaking the plane of the narrative dicruso with the addition of another level, usually ironic. The irony is a great tool: it creates distance, and only in the distance are lucid evil, ambivalent and intelligent. And I use the word ‘perverse’ in the sense that the paradox calls into question the normality of nature, the spontaneity.”

On the Point of View

The differentiation between the voices of the author, narrated and characters, as well as the choice of perspective in each story is one of the most decisive and most fascinating to those who reflect on this gender.

Julio Cortázar, “The sign of a great story gives me what could be called autarky, the fact that the story has been detached from the author as a soap bubble pipe with plaster. Paradoxically, the first-person narration is the easiest and perhaps the best solution of the problem because there story and action are one and the same thing.

On the Difference Between Story and Story

What defines a text as a story is the vocation of the text short stories; this fictional nature is not always and not necessarily the story, which can be descriptive, travel, memories, etc. In this sense, not very safe considering esoty stories to forms so common in Spanish literature, actually had a didactic purpose or Ronica but lacked cuentística vocation.

Paredes argues that the story is every work of fiction that is as narrative. That is, a literary organization that governs its own universe where events (things happen to people) should be interpreted as actual reading for the work function. The plausibility inherent in the narrative is precisely in the covenant established between the author and his readers; the events reported are real (exists fullness) in the world governed by the text.

Content and Form (Or the Difference Between What and How)

In content and form, it is clear that one must be careful not to overload either one or the other. It is known that excess is often neglected CONTENTS to forms, and has led to a huge literature ideologist, full of good intentions but utterly devoid of literary quality.

This would make the difference between history and fabric walls. Quello The first is that account, and linked set of events reported throughout the story, which has ocurridoefectivamente within the fictional world, the series of events organized chronologically and by chance or who have their own textual order, because, as noted Todorov “in a succession of narrative action is not arbitrary but obeys a certain logic.” Instead, the plot is transferred to the way it describes what happens, which suggests the story. Paredes says, so “there is a complex interaction of four orders in the story: the history and organization of plot and own.”

About the Titles of the Texts

There are titles to great effect at the same time are effective, of course. Is perhaps the best title that eludes us, which would have been, we failed to achieve, which filled us with frustration as he wanted. A good title produces more and better effect when it is serious and represents the dimension or the possible meaning of a whole system of thought or the whole book.

On a Possible Classification of the Spanish-American Story

The stories have a documentary character and manners, a common trend running through the nineteenth-century literature from realism to naturalism. From there, the story appears Hispanic classification:

• Romantic story (plot sentimental, using first person)
• Story realistic (objective tone, the characters are less complex feelings, the narrator is a witness or listener)
• Story naturalist (cases arising from the laws of heredity and the squalid society), regional accounts (a broad thematic area located in the confrontation between man and nature), avant-garde tale (based on scenarios, realisyas national elements, appearance of Creole, the narrator submits to the reader to test direct and effective participation in fictional worlds or imiaginarios.)

Summary

In order to make the text, we read three times with different positions

1. Reading naive (common reader): first impressions of the subject.
2. Reading inspection (pre-)
3. Reading analytic

The point (b) and (c) require a series of searches by the reader. This kind of reading makes the reader ask questions about the text and have to go back to link topics to other topics, namely concepts. They are also giving more work to read them.

A review is associated with the idea of communicating; however, write a review has nothing to do with offering a personal opinion.

The review seeks to be open to broad interpretation, intended to be as objective as possible, purports to speak from a position that considers the elements with greater presence. Outline involves first having understood the text to extract the essential content. It is best to write drafts before the final where they have a critical opinion on the text to get a good review.

Preparing to Make a Good Review

• Avoid reading summaries, comments, or advertising prior to reading the text.
• Read when you are ready.
• Reason carefully the title of the text, its meaning and implication.
• Make notes while you read.
• Read the entire text to get an overall impression. On this first impression to make a mental sketch of how to work the review.
• Read a second time with attention to detail that can strengthen or change the initial impression.
• When I read the third time, I would be ready to make an analysis in terms of developing our interpretation.

Points to Consider for a Review

• Subject.
• Viewpoint: who narrates, is one or several.
• Argument.
• What stylistic devices used? (Metaphor, personification, etc.).

Questions

• Identify: what kind of text is it, which gender, what time is written, and so on.
• Examine the title of the text: see if the title is short for something or call attention to something that develops in the text.
• Prepare a brief summary of the text, summarize the main ideas.
• Choose four or five key words: it may be the issue.
• If the text is fiction, review the title, characters, and details that lead me to say that he belongs to that genre or another.
• According to a combined reading of all of the above abstract theme: theme, author’s purpose, style of language, how to work the word, and so on.

Keys to the Fictional Narrative

To tell the writer uses a narrator, that is, creates a character who tells the story. That character may be participating or may tell the story without sharing it. Thanks to the author, the narrator turns on what you need to tell in a vivid history. To decide who will tell the story, there are three options:

• A narrator character.
• An omniscient narrator.
• A narrator ambiguous.

The first two are traditional; however, the latter is a product of the recent novel.

Creative work in art is intentional: the author, through the work, speaks of dimensions of reality running through that experience told. The writer tells a story, and this really moves the zero, that is, reality to a broader conventionalized in this shift is the art.

Modes of travel are many, impossible to categorize because art is that although each artist acquires, through his readings of other works, known techniques, also increasingly building their own procedures.

In a narrative sense is deployed throughout the text and displayed in tone, the use of figures. The use of literary language, the creation of the plot, the work over time. The choice of viewpoint. The creation of the atmosphere, the motive, theme, plot.

Guide to the Analysis of Stories

• What to watch: the argument, that is what counts, key words that open into the story other ways, the metaphor is the symbolic dimension of the story and the technical procedures.

How Does It Manifest a Narrator?

The narrator can manifest itself in the manner of seeing things or tell a story; events are presented from a certain conception of that world is organized in the story. The point of view determines the voice that will tell the story.

Functions of the Narrator

To organize the story, i.e., a different function of the character. Divide the information received by the reader as these possibilities:

• Announce something will happen next.
• Provides data from a hidden history and others.

The narrator may present the facts, discover other characters, say in what happens, see, announcing a dialogue, talking about himself, or remain completely outside the story. You can also give more information to the reader that a character or character to give more information to the reader. This perhaps is the characters who are providing data to the reader.

The narrator is always the first character of an author, is a first-person narrator, or more visible alternating narrators.

Show and State

These variants work alternately.

Show

The narrator tells an observer and through the external presentation of characters and sets. This variant is called panning.

Express

The narrator informs about actions, explains the events.

Toggle Show and Express the Action Is to Have

To know a character through the objects that surround it.

Telling a Short Position

• Told through the eyes of a child, through a senior, or through the eyes of the cat in the house.
• Told from multiple perspectives: the multiple perspective is the technique of showing the view of the same event from different perspectives, not always consistent and often divergent or even contradictory. Each perspective may differ from the others not only what the narrator knows, but for what he said or the tone of his voice. It is clear that every look, or even if they are opposite, approach is supported by the conviction and the inner truth of the speaker. With the different perspectives, the reader gets to cast doubt and take it to the same end by adopting its own view of the narrative. The reader focuses on the fact not only seen in the different ways of seeing.

In the Beginning Was the Fable

Story Form in Argentina

The distorted conception of culture and the creative act, this country produces so much story but without the necessary theoretical basis for the work supported by this knowledge, a system of ideas necessary for the work it supports in a knowledge in a system of ideas. It is amazing to observe what those who come to workshops produce. It believes in the spontaneity that arises from the fleeting and ezquiva.

The Story

Is substantial in both pure form and as resolution and before that, without neglecting that. For then the writers write about was not a simple act of catharsis, but a reflection of life over time in which they lived.

According to escritores, the novel is a free territory, where everything is possible. You can take the idea and Penzer that literature is a liberated territory, which governs the dictatorship of the imagination, only tyranny and authoritarianism admisisbles only for a artista.Cuya definition of the story is uncertain, impossible and improbable anyone making it.

The need for definitions, it seems to be unbearable to live without dogmas that results are clearly not constant search for truth evidentes.En definitions.

The story, as it is indefinable, but can be identified.

Topics of the Story

In the literature, there is no good or bad stories, there is only one good or bad treatment of the story. The treatment given is what defines a story in itself.

Cortazar: cannot pretend that stories should be written only with its laws, not only that they are not laws, if not views, constants that give structure to that genre as little box. Of the neck leads to two theories, that such laws exist or not, and second, the consequence that the story really sends out for recognition as a liberated territory and has no fixed boundaries, no schematic because it supports a pure form, content, and resonance.

Identification and Origin of the Story

Denied their existence or laws, are ultimately the story itself, the long haul, comenzanco with fables. It is elementary knowledge of this genre.

Previously, stories were mixed with narrative forms of religion, history, philosophy, oratory. The Greco Latins began to call the literary genre.

According to Imbert, the origin of the story, in brief, is restrea early in Greek literature as imaginary disgreciones sense as a unit of relatively autonomous.

Many agree that the story is the oldest genre in the world literaio but recognized late.

In many cultures, this thriving genre in the form of fables, lessons, lessons and life, etc. For example, in India, it is a book with 70 RLAT moral principles recognized by the king’s sons.

Therefore, in the Middle Ages

In ancient China, the story as a fable and was popular, and it was during siglos.Estas lasabiduria betrayed fables of the Chinese people from three and four centuries before the Christian era, then comes a relapse in them.

Over the centuries, VII and IX, fables, had been unfortunate in China, showing the character of art itself subersibo.

The Middle Ages and the Renaissance

Were seen by the importance of the story, and often as a Western Penza and less cristiano. For example, the writer, Don Juan Manul, adopts popular formulas, accessible language, moral and satirical intent. And convinación of typically oriental.

East, why? : Many of the writers were Syrians or from the east. For example, Aesop.

Renaissance

Considering the forms came, took hold. And formed what is now called long stories or novels.

Century 19

Mayor storyteller, Edgar Allan Poe. Formidable a storyteller was opened and which had no doubt, an enormous influence on storytellers of the second part of the last century, realistic, romantic, black naturists.

Before the 19th century, the story was handled without full awareness of its importance as a literary genre with its own personality; it was a minor genre that was not expected beauty, emotion, or humanity.

The Tradition of the Modern Short Story

(s19) contributed to publications are endless, the limitations of publishing, especially in Latin America. The faith which the predecessor to the current soap operas. On the problem of publishers and the lack of organization, the magazines were the pioneers, the Latin American dream flourish.

Many writers of the 19th century, believed in grabbing the reader and give him a break, not allowing escape once it has engaged with the first sentence.

Cesar believed that the life of mankind was a history to be written.

Brief History of Argentine Story

To consolidate the political independence of South America in the decade of Ayacucho, Argentina expressed the literature with the same voice neoclassical colonial era and remnants of the colonial culture mixed with ideas of revolution.

This awareness, and fictional narrative in prose, is present in many writers of the time. For example, Echeverria, Sarmiento, and so on.

Then Eduardo Gutierrez, apply the controversy and scandal. His stories never touched addressed issues such as sex, material interests, and so on. Considered less naturalistic.

Towards the end of the century, it became fashionable other narratives, travel accounts, autobiographies, and others.

Already the story modernist tube a huge spread. In addition, most of the firms practicing poets storytellers, short stories. In an attempt to highlight a new artistic sensibility to create an imaginary and unreal world, the modern story, replacing the daily reality and environments abound in Paris. It called exotic, or geographical space, creates the current that continues until the twentieth century and is defined as fantasy literature.

Features Escensiales the Modern Short Story

1. Accommodation in the heart language of the story.
2. The narrator leads the reader into an artificial world.
3. The personajesse move in a gimmicky.
4. The action is broken, and the author interrupts the narrative with poetic digressions.
5. The description is rich in sensory impressions.
6. The stories lack psychological conflicts or social tensions.

Artistic story: many short stories are steeped in classical learning, reading, and scientific inqietudes.

The tale of manners: the story of Fray Mocho is a draft description of a society transformed by economic development, immigration issues, and new political practices; they are the rhythms of colloquial speech, the distinction of the social levels of language.

The regional accounts, epitomized by the uruhuayo Quiroga, novelty quiroguiana consisted of the exploitation of the motives of an American region with special attention to the interaction of man and natural environment, it is a reformulation of the principles of Creole in the s xix. Pay attention to the characteristics of human drama. The tales in this manners quirogiano hegeterogeneidad exhibits characteristics of men with a country notorious Confucianism and men without a country, natives and gringos, native and nonnative, in the end .. .. (This consepcion stretches of the century).

Stories that are centered in the interest of the singing and the structure of the song, stories that make up the man with the landscape and history.

The story has had influence quiroguiano argentina. Quiroga is one of the fathers of Latin American Argentinian story. As a demonstration more or less coherent and unitary originated in Argentina in 1880 called generation of public figures and groups of journalists were the first organizers and administrators of the country. Writing was for them a necessary complement to many moments of struggle and his works cambios. Con naturalism and realism in the literature ARGENTINA.

XX-S image of the professional writer begins to emerge.

• In 1926, defining published works of fiction such as Argentina, Don Segundo Sombra, Ricardo Güiraldes.

During the government of Alvear: many authors was the most active controversy in Argentina, the vehemence of some journalistic exchanges status allowed him to literature.

Uriliano story: At that incidence in the ’30s, there is a significant artistic synthesis between the story and manners.

The Borges story: it appears in the ’40s, there is a new management of the story, treatm different from the notion of being an Argentine who support his essays and his poems. Borges the new role in the language.

NARRATIVE created during the Peron emphasizes the production of Marchel eg Leopold, and in those years also published some analogies. The more personal and powerful work of this period was that of Cortazar. Cortaza combines the humor of the street with smoke surreal. He observes his fellow with surprising results.

60 and 70 Years

The story takes on Argentina in the new relief, in the ’60s is a true flowering of the story Argentine THROUGH METER various authors who agreed to suss personal persepciones borges lesson or of each storyteller cortaza. Ahora aspires to create your own universe

Our Short Story has not stopped even for a moment of impetuous and very rich. The contrast between the constant Ausensi WOMEN’S CUENTISTA almost the entire history of the anthology storyteller. The difference is that today there are many more stories written by women before and their quality and depth are delicious.

WRITING AND MORPHOLOGY OF THE STORY

1. A story is a short series of incidents
2. Cycle and perfect finish as a circle
3. Still very essential argument, the issue or if the incidents in the story we want only what is happening and how it ends

THE STORY IS LESS REALISTIC, HONEST, AND ACCURATE TO THE NARRATIVE GENRES