||It has been suggested that Literary fiction be merged into this article. (Discuss) Proposed since May 2017.|
Fiction is the classification for any story or similar work derived from imagination—in other words, not based strictly on history or fact. Fiction can be expressed in a variety of formats, including writings, live performances, films, television programs, animations, video games, and role-playing games, though the term originally and most commonly refers to the narrative forms of literature (see literary fiction), including the novel, novella, short story, and play. Fiction does not refer to a specific mode or genre, unless used in its narrowest sense to mean a "literary narrative". Fiction is traditionally regarded as the opposite of non-fiction, whose creators assume responsibility for presenting only the historical and factual truth; however, the distinction between fiction and non-fiction can be blurred, for example, in postmodern literature.
A work of fiction is an act of creative invention; its total faithfulness to reality is not typically assumed by its audience, and so it is not expected to present only characters who are actual people or descriptions that are factually accurate. Instead, the context of fiction is generally open to interpretation, due to fiction's freedom from adhering exactly to the real world.</ref>[note 1] Characters and events within a fictional work may even be openly set in their own context entirely separate from the known universe: a fictional universe.
Traditionally, fiction includes novels, short stories, fables, legends, myths, fairy tales, epic and narrative poetry, plays, (including opera,) and various kinds of theatrical dancing). However, fiction may also encompass comic books, and many animated cartoons, stop motions, anime, manga, films, video games, radio programs, television programs (comedies and dramas), etc.
The Internet has had a major impact on the creation and distribution of fiction, calling into question the feasibility of copyright as a means to ensure royalties are paid to copyright holders. Also, digital libraries such as Project Gutenberg make public domain texts more readily available. The combination of inexpensive home computers, the Internet and the creativity of its users has also led to new forms of fiction, such as interactive computer games or computer-generated comics. Countless forums for fan fiction can be found online, where loyal followers of specific fictional realms create and distribute derivative stories. The Internet is also used for the development of blog fiction, where a story is delivered through a blog either as flash fiction or serial blog, and collaborative fiction, where a story is written sequentially by different authors, or the entire text can be revised by anyone using a wiki.
- Short story: A work of at least 2,000 words but under 7,500 words (5–25 pages). The boundary between a long short story and a novella is vague.
- Novella: A work of at least 17,500 words but under 50,000 words (60–170 pages). Joseph Conrad's Heart of Darkness (1899) is an example of a novella.
- Novel: A work of 50,000 words or more (about 170+ pages).
Fiction is commonly broken down into a variety of genres: subsets of fiction, each differentiated by a particular unifying tone or style, narrative technique, media content, or popularly defined criterion. Science fiction, for example, predicts or supposes technologies that are not realities at the time of the work's creation. For example, Jules Verne's novel From the Earth to the Moon was published in 1865 and only in 1969 did astronaut Neil Armstrong first land on the moon.
Historical fiction places imaginary characters into real historical events. In the early historical novel Waverley, Sir Walter Scott's fictional character Edward Waverley meets a figure from history, Bonnie Prince Charlie, and takes part in the Battle of Prestonpans. Some works of fiction are slightly or greatly re-imagined based on some originally true story, or a reconstructed biography. Often, even when the author claims the fictional story is basically true, there may be artificial additions and subtractions from the true story to make it more interesting. One such example would be Tim O'Brien's The Things They Carried, a series of historical fiction short stories about the Vietnam War.
Fictional works that explicitly involve supernatural, magical, or scientifically impossible elements are often classified under the genre of fantasy, including Lewis Carroll's Alice In Wonderland, J. K. Rowling's Harry Potter series, and J. R. R. Tolkien's The Lord of the Rings. Creators of fantasy sometimes introduce entire imaginary creatures or beings such as dragons and fairies.
Literary fiction is defined as fictional works that are deemed to be of literary merit, as distinguished from most commercial, or "genre" fiction. The distinction can be controversial among critics and scholars.
Neal Stephenson has suggested that while any definition will be simplistic there is today a general cultural difference between literary and genre fiction. On the one hand literary authors nowadays are frequently supported by patronage, with employment at a university or a similar institution, and with the continuation of such positions determined not by book sales but by critical acclaim by other established literary authors and critics. On the other hand, he suggests, genre fiction writers tend to support themselves by book sales. However, in an interview, John Updike lamented that "the category of 'literary fiction' has sprung up recently to torment people like me who just set out to write books, and if anybody wanted to read them, terrific, the more the merrier. ... I'm a genre writer of a sort. I write literary fiction, which is like spy fiction or chick lit". Likewise, on The Charlie Rose Show, he argued that this term, when applied to his work, greatly limited him and his expectations of what might come of his writing, so he does not really like it. He suggested that all his works are literary, simply because "they are written in words".
Literary fiction often involves social commentary, political criticism, or reflection on the human condition. In general it focuses on "introspective, in-depth character studies" of "interesting, complex and developed" characters. This contrasts with genre fiction where plot is the central concern. Usually in literary fiction the focus is on the "inner story" of the characters who drive the plot, with detailed motivations to elicit "emotional involvement" in the reader. The style of literary fiction is often described as "elegantly written, lyrical, and ... layered". The tone of literary fiction can be darker than genre fiction, while the pacing of literary fiction may be slower than popular fiction. As Terrence Rafferty notes, "literary fiction, by its nature, allows itself to dawdle, to linger on stray beauties even at the risk of losing its way".
See also Literary realism
Realistic fiction typically involves a story whose basic setting (time and location in the world) is real and whose events could feasibly happen in a real-world setting; non-realistic fiction involves a story where the opposite is the case, often being set in an entirely imaginary universe, an alternative history of the world other than that currently understood as true, or some other non-existent location or time-period, sometimes even presenting impossible technology or a defiance of the currently understood laws of nature. However, all types of fiction arguably invite their audience to explore real ideas, issues, or possibilities in an otherwise imaginary setting, or using what is understood about reality to mentally construct something similar to reality, though still distinct from it.</ref>[note 2] </ref>[note 3]
In terms of the traditional separation between fiction and non-fiction, the lines are now commonly understood as blurred, showing more overlap than mutual exclusion. Even fiction usually has elements of, or grounding in, truth. The distinction between the two may be best defined from the perspective of the audience, according to whom a work is regarded as non-fiction if its people, places, and events are all historically or factually real, while a work is regarded as fiction if it deviates from reality in any of those areas. The distinction between fiction and non-fiction is further obscured by an understanding, on the one hand, that the truth can be presented through imaginary channels and constructions, while, on the other hand, imagination can just as well bring about significant conclusions about truth and reality.
Literary critic James Wood, argues that "fiction is both artifice and verisimilitude", meaning that it requires both creative invention as well as some acceptable degree of believability, a notion often encapsulated in poet Samuel Taylor Coleridge's term: willing suspension of disbelief. Also, infinite fictional possibilities themselves signal the impossibility of fully knowing reality, provocatively demonstrating that there is no criterion to measure constructs of reality.
- Culler, Jonathan (2000). Literary Theory: A Very Short Introduction. Oxford University Press. p. 31.
Non-fictional discourse is usually embedded in a context that tells you how to take it: an instruction manual, a newspaper report, a letter from a charity. The context of fiction, though, explicitly leaves open the question of what the fiction is really about. Reference to the world is not so much a property of literary [i.e. fictional] works as a function they are given by interpretation.
- As philosopher Stacie Friend explains, "in reading we take works of fiction, like works of non-fiction, to be about the real world—even if they invite us to imagine the world to be different from how it actually is. [Thus], imagining a storyworld does not mean directing one's imagining toward something other than the real world; it is instead a mental activity that involves constructing a complex representation of what a story portrays" (Friend, S., "The Real Foundation of Fictional Worlds", Australasian Journal of Philosophy, forthcoming: ).
- The research of Weisberg and Goodstein (2009) — Weisberg, D.S. & Goodstein, J., What Belongs in a Fictional World?, Journal of Cognition and Culture, Vol.9, No.1, (March 2009), pp.69-78 — revealed that, despite not being specifically informed that, say, the fictional character Sherlock Holmes, had two legs, their subjects "consistently assumed that some real-world facts obtained in fiction, although they were sensitive to the kind of fact and the realism of the story" (Friend, forthcoming).
- "fiction." Merriam-Webster.com. Merriam-Webster, Incorporated. 2015.
- Sageng, Fossheim, & Larsen (eds.) (2012). The Philosophy of Computer Games. Springer Science & Business Media. pp. 186-187.
- William Harmon and C. Hugh Holman A Handbook to Literature (7th edition). New York: Prentice Hall, 1990, p. 212.
- "Definition of 'fiction'." Oxford English Dictionaries (online). Oxford University Press. 2015.
- M. H. Abrams, A Glossary of Literary Terms (7th edition). Fort Worth, TX: Harcourt Brace, 1999, p. 94.
- Iftekharuddin, Frahat (ed.). (2003). The Postmodern Short Story: Forms and Issues. Greenwood Publishing Group. p. 23.
- Farner, Geir (2014). "Chapter 2: What is Literary Fiction?". Literary Fiction: The Ways We Read Narrative Literature. Bloomsbury Publishing USA.
- Jones, Oliver. (2015). "Why Fan Fiction is the Future of Publishing." The Daily Beast. The Daily Beast Company LLC.
- Milhorn, H. Thomas. (2006). Writing Genre Fiction: A Guide to the Craft. Universal Publishers: Boca Raton. p. 3-4.
- J. A. Cuddon, The Penguin Dictionary of Literary Terms (1992). London: Penguin Books, 1999, p.600.
- Heart of Darkness Novella by Conrad - Encyclopædia Britannica,
- Whiteman, G.; Phillips, N. (13 December 2006). "The Role of Narrative Fiction and Semi-Fiction in Organizational Studies". ERIM Report Series Research in Management. ISSN 1566-5283. SSRN .
- Slashdot Interview from October 20, 2004 with Neal Stephenson
- Grossman 2006.
- The Charlie Rose Show from June 14, 2006 with John Updike
- Saricks 2009, p. 180.
- Coles 2009, p. 7.
- Saricks 2009, p. 181-182.
- Coles 2007, p. 26.
- Coles 2009, p. 8.
- Saricks 2009, p. 179.
- Saricks 2009, p. 182.
- Rafferty 2011.
- Wood, James. 2008. How Fiction Works. New York. Farrar, Straus & Giroux. p. xiii.
- George W. Young: Subversive Symmetry. Exploring the Fantastic in Mark 6:45-56. Brill, Leiden 1999, p. 98, 106-109. ISBN 90-04-11428-9
- Eco, Umberto 2009. On the ontology of fictional characters: A semiotic approach. Sign Systems Studies 37(1/2): 82–98.
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