1. CHARACTERIZATION AND POINT OF VIEW

2. CHARACTERIZATION CHARACTER: Characters are the individuals who participate in the action of a literary work (they drive the plot). They develop and change over time; and they usually have motivations, or reasons, for their behaviors.

3. CHARACTERIZATION CHARACTER TRAITS: Qualities shown by characters (shy, athletic, arrogant, etc). Traits are usually revealed through indirect methods of characterization. In other words, the author shows you the character traits and does not tell you the character traits (indirect vs. direct characterization).

4. CHARACTERIZATION DYNAMIC CHARACTER: A dynamic character is one who undergoes important changes as a plot unfolds. The changes occur because of his or her actions and experiences in the story. The change is usually internal and may be good or bad. Main characters are usually dynamic.

5. CHARACTERIZATION FLAT CHARACTER: A flat character is a one- sided character: he or she usually has one outstanding trait, characteristic, or role. Minor characters are usually flat characters.

6. CHARACTERIZATION  STOCK CHARACTER: A character that appears again and again in literary works; a stereotypical character (witch, fairy godmother, etc.).

7. CHARACTERIZATION  STATIC CHARACTER: does not change throughout the work, and the reader’s knowledge of that character does not grow.

8. CHARACTERIZATION  ROUND CHARACTER: more complex than flat or stock characters, and often display the inconsistencies and internal conflicts found in real people

9. CHARACTERIZATION  FOIL: A character in a work whose behavior and values contrast with those of another character in order to highlight the distinctive temperament of that character

10. CHARACTERIZATION  PROTAGONIST: The main character of a narrative; its central character who engages the reader’s interest and empathy

11. CHARACTERIZATION  ANTAGONIST: the character, force, or collection of forces that opposes the protagonist and gives rise to the conflict of the story

12. POINT OF VIEW POINT OF VIEW: The perspective from which a story is told. It also affects the choice of the narrator—the voice that tells the story.

13. POINT OF VIEW FIRST PERSON POINT OF VIEW: The narrator is a character in the story.

14. POINT OF VIEW THIRD PERSON LIMITED POINT OF VIEW: The narrative voice is outside the action and describes one character in the story. What the character thinks, feels, and observes.

15. POINT OF VIEW OMNISCIENT POINT OF VIEW: The narrative voice is all knowing.

16. BELLRINGER 9/2  Review your notes on characterization  Make a list of the different types of characters  Write your own definition of the character in your own words  Give your own example for each type of character (the examples just can’t be from Lion King!)

17. DIRECT CHARACTERIZATION  Definition: The writer makes direct statements about a character's personality and tells what the character is like.

18. INDIRECT CHARACTERIZATION  Definition: The writer reveals information about a character and his personality through that character's thoughts, words, and actions, along with how other characters respond to that character, including what they think and say about him.

19. MEET THE PLASTICS  In this clip, you’ll see examples of direct and indirect characterization.  In your notes, write down TWO examples of each

20. CHARACTER ARC  Definition: A character starts out as some guy, then stuff happens and he does some pretty crazy stuff, which in turn changes who he is so he becomes a different guy. The end.  There are three types of character arcs

21. CHANGE ARC  this is our good old “hero’s journey”, which basically has the protagonist change from an unlikely fellow into a savior and hero.  This transformation is quite radical, and despite some inner strength that was “always within him,” pretty much all else about the protagonist changes drastically by the end of the story.

22. GROWTH ARC  In this character arc, the protagonist overcomes an internal opposition (weakness, fear, the past etc.) while he faces an external opposition, and as a result he becomes a fuller, better person. He’s still pretty much who he was, just upgraded to Protagonist 2.0.

23. THE FALL ARC  Comonly known as a “tragedy,” the Fall Arc follows the protagonist as he dooms himself and/or others, and declines into insanity, immorality or death.

27. EXIT TICKET  Draw a character arc for Simba in The Lion King (or another dynamic character in another movie if you haven’t had the fortune of seeing TLK!)  Include major events related to his change in the movie  Be sure to note which type of character arc it is

28. REVISITING CHARACTER ARCS  Character arcs map the personality changes of a character  This is why you can only create a character arc for a dynamic character! (because they experience internal changes)

29. ANAKIN SKYWALKER CA Innocent, curious, unaware Thirsty to learn and gain power; frustrated that the council doesn’t trust him Afraid, desperate to save his family Hungry for power; doesn’t care about consequences of his actions Succumbs to evil and dark side Luke convinces him that there’s still good in him Dies

30. TAKE TWO!  Now, make another character arc.  This time, however, you can’t include ANY events – just personality traits and feelings that the character has  GOOD LUCK!

31. “SAVING SOURDI” PT 1  Make a list of the characters in your notebook: Nea Sourdi Ma Duke Mr. Chhay  As we read, we will determine their character types: static, round, dynamic or flat  We will also use this list to note descriptions of each character as we read.

32. USING EVIDENCE  Why? To prove that we’re right!  What does it look like?  Question: Describe Nea and Sourdi’s relationship.  Answer: Nea and Sourdi have a bond that cannot be broken by anyone. They are the best of friends and love each other more than anything. They often “lie awake all night whispering and laughing” (Chai 123). Just like best friends, sleep is often hard when spending time together because they are having so much fun.

33. EXIT TICKET  Describe Ma and her relationship with Nea and Sourdi.  Include evidence (direct quotes) and 3 sentences.

34. BELLRINGER 9/8  Discuss whether or not you believe Nea’s act of stabbing the lascivious restaurant patron was an act of immaturity. If not, what motivated her? Support your answer with evidence in 3-4 sentences. Who hasn’t finished the writing assessment?!

35. SUB ON WEDNESDAY Mrs. Cook!

36. “SAVING SOURDI”  Make a list of the characters in your notebook: Nea Sourdi Ma Duke Mr. Chhay  Determine their character types: static, round, dynamic or flat

37. CYU: CHECK YOUR UNDERSTANDING  Explain how Nea and Sourdi serve as foils to one another.  Discuss whether you think Duke is a flat or round character.  Do you think Mr. Chhay is a good or bad husband?

38. PLOT STRUCTURE Freytag’s Pyramid

39. EXPOSITION  Background information is presented  This information is needed to make the sense of the situation in which the characters are placed  Character development happens too

41. RISING ACTION  The plot gains momentum!  A complication intensifies the situation  Everything leading up to the climax

42. CLIMAX  The turning point; the moment which nothing is the same for the characters afterward  The moment of greatest emotional tension

43. FALLING ACTION  The events that occur after the climax  Many questions are answered during this time, and some resolution of conflicts occurs

44. RESOLUTION  Conclusion of the plot’s conflicts and complications.

45. EXIT TICKET 9/8  What is the story’s point of view?  How does the information about Nea and Sourdi’s trip through the minefield affect your understanding of Nea’s relationship with her sister?