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How do we create a narrative that is convincing and can make readers feel what the characters in the story feel without making the narrative sounds cliche or "too much"? Especially when we are trying to describe the settings (the place, the background, and the mood). Because based on my own experiences, when I want to create a plot for a story, I just cannot think of anything simple. And when I do think of some simplicity, it turns out to be boring (even for me to read). I just want to know how long of a brainstorming we need to do to make an interesting story.

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This material explains "All narratives of any length ➔worldly

space and time dimensions" but sometimes, too long narratives can make readers bored. With this fact, how can we make a narrative more interesting?

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I'm convinced that setting, which encompasses both time and space, is crucial in creating the atmosphere within a narrative work. However, I'm still unclear about how psychological realism utilizes setting to depict the mental processes of characters, and what its meaning and application are?

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It is said that in narrative space, specifically in the starting points, readers often find some events or settings difficult to visualize. As a reader, I also found the same problem occurs when I read some fiction, and when I try to write some narrative works myself I also find it hard to describe settings and events that I want and immerse the readers in the events and settings that I make. When I try to add many adjectives and sentences to describe the settings and events deeply so the readers can also visualize it perspicuously it often ends up making my writing complicated and dull. How can I describe the settings and events at the starting point so that the readers can easily visualize them and enjoy them while reading my narrative work?

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It was said that suspense is an engine of narrative and that it can piqued readers curiosity by making them ask themselves what will happen next. I do agree with this statement, however sometime when I read books with a lot of suspenses, especially in mystery novel I couldn’t help but feel anxious and had to take time off from reading or I would search for spoiler elsewhere about the next plot. My question is how can the author maximize the suspense to make readers interested and invested in the story without it being “too much” for the readers to handle? what are the coreect techniques in building suspense that they should use?

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It is said that "Events in a story involves not only the time of happening, but also a sense of space ➔readers are creating a picture of a mind that follows the story it tells". How to create a description that is able to describe strongly and clearly a character and events so that readers can clearly imagine the content of the story and the intention that the author wants to convey?

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In the first slide of the material, it is said that settings are not always of central importance, but often acts as a generic feature in some kinds of writing - such as romances, science fiction and Gothic narratives. My question is, is it possible for a narrative not to have a setting? Thank you.

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From this word 'Gives an impact of a space-starved narrative' and 'The sense of being starved for space emphasise how much we expect that narrative to be spatial as well as temporal'

So, I've always been thinking about how to make the story I'm writing have a larger setting not just that (time and place) , and not just the background, but also make the characters and the narrative alive ( not boring and not complicated)?

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Gheta Mentari Kurniawan Br Depari - 2309567

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Gheta Mentari Kurniawan Br Depari - 2309567

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From the first explanation it said that settings often acts as generic features in some kinds of writings such as romance, science fiction, and Gothic narratives. I was wondering is there any significant differences between all of those writings' settings. Thankyou

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It is said that using space in a narrative text is necessary to convey the impact of 'space-starved'. Readers are left wondering as the story's emphasis on space starvation shows how much we want it to be both spatial and temporal. I would like to know if a beginner or amateur writer might accidentally ignore that section. If so, is there a way to make sure that we don't miss that essential part? And how to make readers want to read more by creating a good sense of space starvation?

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In the slide it said "Events in a story involves not only the time of happening, but also a sense of space ➔readers creating a picture of a mind that follows the story it tells." Do you have any tips how to write an events that can create a picture in your reader's head or to help them visualize the story without making it confusing?

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In the material that you have been given, it is said that suspense is a critical element of narrative, as it can spark the reader's curiosity by making them wonder what will happen next. Based on my reading experience, I completely agree with this statement. For me, an interesting narrative is the one that does not follow a predictable plot. On the other hand, if the story's events are too foreseeable, it does not appeal to my curiosity, and I usually lose interest in reading further.

However, I would like to know if using too much suspense in a narrative could hinder readers from giving other important elements the attention they deserve. What are the possible risks?

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Sometimes there are some moments where the plot in a story is not sequential as if it gives the impression of theory to the reader to make the reader immersed in the story. with the depiction of high narrative words and with such allusions. so that it can create the reader intrigued, but there are times when it actually makes the situation in the story messy (for example, the imagination that exists in the reader's mind cannot be imagined) so sometimes it makes the reader confused, so how can steps be taken to keep the reader interested without making the imagination disappear?

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What does it mean when they say most of the action in a story is 'mental action'? Does this refer to the action happening inside the characters' minds, such as their thoughts and emotions, rather than through their physical actions?

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What is the role of suspense in a story and why is it important for the reader's interest? Because I want to know why suspense is considered the "engine" of a narrative and how the curiosity it generates can keep the reader interested in the story.

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It is mentioned in the slide that some versions of psychological realism use settings to depict inner mental processes of the characters. Are there any specific techniques for building stories about the characters using setting so that their feelings are conveyed to the readers?

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As a person who has explored the world of fiction for years, how important is it for you to describe the setting when we are writing a story?

Then, do you have any book that you love because you really like the way the way the author described the setting of the story he/she wrote? What book and why is it?

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After read the materials that you send. I was excited to try write a narative again. But then my question is how do we develop the plot and stories without going too far from the main plot? Is there some tips to make us stay at the right path of the plot?

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In writing narrative text, sometimes I get confuse to express some expressions to make the reader get the emotion. For example, when we want to write a dialog while the character thinking something, can we just write like ("YESSS! I think we should take that point ..." he said excitedly) besides ("I think we should take that point..." he said excitedly.) ?

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I was wondering when I write something especially fiction, is there any techniques can help the readers to visualize physical settings or events in my work? And is there any strategies that effective in building and maintaining suspense in my story that I work?

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It is written in the slides that suspense builds a curiosity, the readers want to know more about what will happen next. Is it a good idea to make a lot of mysterious sequence of events in order to make the story unpredictable? Or it will just makes the story flat and tedious?

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After reading the material that has been given, narrative has an important role in fiction to give readers a sense of curiosity. However, I am often confused about how to build the atmosphere of the story and provide a proper narrative? Moreover, how to make the narrative we make always connect and match with the next narrative? Thank you

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How about the suspense of the narrative fiction is on the opening of the story? is it also attract the attention of the readers or no?

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How the author use the setting time and place in the narrative create suspense and curiosity for the reader? How does the setting of time and place affect how the reader absorbs the story?

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after reading the material, in the "starting point" it says suspense as the engine of narrative, and Suspense is time intensive ➔ curiosity, wanting to know what has happened happen or what will happen next. So i was wondering what if in a narrative story there is less suspense in the story, is suspense still an engine to make the readers curious?

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How can a narrative setting affect the character's actions and behavior? Moreover, how can the character's action affect setting, atmosphere, and the storyline of a narrative?

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Settings in a story is often considered as a common element in many types of writing. The settings written can vary in the readers' imaginations. How to write a story setting that can influence readers' perceptions of the characters so that our expectations (as the writer) when writing those characters can be well captured by readers?

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Regarding the statement 'Settings are not always of central importance, but often act as generic features in some kinds of writings – such as romance, science fiction, and Gothic narratives', are there any differences in how settings contribute as generic features across types of literature, like romance, science fiction, Gothic narratives, and psychological realism?

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In the section "more narrative-reading effect....." There is a point that says thickening of time. What does thickening of time mean in narrative-reading?

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Sometimes, I'm confused to write a story that can give the reader feel the emotion that the narrative intended, so how can we create a story's setting that can affect the overall mood and atmosphere/theme of the narrative, and is there any tips to make it?

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What are the differences between discourse and story? Would it be possible to write something in which the order and time of the story as well as the discourse align with each other?

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I have a question, how to make a good space that makes the reader feels more enganging to to the story?. So the reader want to know the continuity of the story

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I would like to ask, what is the meaning of Alan Palmer's statement that the fictional action in the narrative is a mental act? What does it have to do with the narrative itself?

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What is the significance of having strong "mental action" in a fictional narrative? How does it enrich our reading experience?

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In section

The function and the importance of space in Narrative It is explained that its function is as a strategy to hide visual information → to scare the audience in the gothic/thriller/mystery genre

The question is how to do it correctly and is it important to do it in every genre?

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"The reader has also begun making space". I'm sorry mom, but I'm not get what is the meaning of space in this context?

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It states that fiction readers often find it difficult to visualize settings or physical events. So how do we make the visualization easier?

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How psychological realism use settings to depict the inner mental processes of characters? Also, in what ways can settings reveal the motives of characters for acting in narratives that utilize psychological realism?

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Is there anything in particular we must watch out for when we are writing a story with psychological realism? Such as what to avoid or what we must include?

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At the starting points written "Suspense as the engine of narrative" I don't understand, how suspense functions as the engine of narrative, mam?

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What would happen if you use As a strategy to hold the visual information ➔ to frighten the audience in gothic/thriller/mystery genre is used in stories that have a back and forth plot and have a second world? Can it still be understood in one reading or does it have to be repeated several times to ensure differences or shifts in the plot and find the exact visual information?

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Sometimes I'm confused about which branch of the narrative can show the reader what I'm aiming for, so why do narratives have worlds?

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In the 8th and 9th page, a brief concept of suspense is written with its explanation. As I read it, I was perplexed by how suspense works. From what I get, it is technically a response of readers to certain circumstances in narratives. The question is, how do we acknowledge the suspense of readers that is most likely to occur when a scene happens? Since there are various characters of readers that I believe will bring different reactions to the particular circumstance.

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How can a writer manipulate narrative elements like setting, character backstory, and point of view to foreshadow future events, create suspense, and ultimately deliver a surprising or thought-provoking twist in a story?

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How do authors effectively utilize the interplay between physical settings and inner mental landscapes to immerse readers within the dimensions of time and space in narrative storytelling?

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After reading the material provided, on slide 10, I saw a text that said

"Bakhtin expanded the notion of time and space in narrative by using the term chronotope."

I'm curious... What is a 'chronotope' in the narrative world? And how does this 'chronotope' affect narrative worlds?

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How to create a narrative world and narrative space that readers can internalize into their souls rather than just imagining in their minds?

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How can the concept of "discourse-time" and "discourse-order" different from "story-time" and "story-order"?

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The material explains that setting is not always important, but it is often a common feature in some types of writing - such as romance, science fiction and Gothic narrative. How does the use of setting in Gothic narrative affect the overall atmosphere and mood of the story?

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Do the explanation that said if "Settings are not always of central

importance, but often act as generic features in some kinds of writings – such as romance, science fiction, and Gothic narratives" means that settings ain't that important for other kinds of writings narratives?

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In my multimodal class, there was a discussion on why do we stop on red lights, why the form of instruction is just a set of colored lights. The answer is simplicity, to be instructed without the need to spend extra time to read, because colors, colored lights, they are immediately understood. My question is, how do we make a narrative immediately understood? How can a story be told and be understood as quickly as we do traffic lights? I wish to be able to tell a story in a simple way, so that it may be immediately understood, how do I achieve that?

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Not sure if this one already been asked... but eh, who knows, I'll ask anyway.

Sooooo... in the PDF, it is said that most actions a character take in a narrative fict is a mental action, as in mentally preparing to take action, decision.

Y'know I don't really get it, because to me, those mental processes of thoughts and decision are only happen in the character's own head, thus, only visible to them. I can get it if the story is told in a 1st person POV, meaning all of the things told are from the main character's POV, making their thought accurate 100% to what they actually think. But 3rd person POV... aren't they told by someone else? The narrator. Is the narrator an all-knowing god? What if the narrator isn't even a reliable narrator, biased on what they told to us?

TLDR, If Mental Action only visible through the character's head, how can it be accurate if its told by someone else (narrator)?

Really sorry if the question doesn't make any sense, hehe :]

Hafis' out.