Assignment:
Exposition of "The Schartz-Metterklume Method" by Saki
Lady Carlotta stepped out on to the platform of the small wayside station and took a turn or two up and down its uninteresting length, to kill time till the train should be pleased to proceed on its way. Then, in the roadway beyond, she saw a horse struggling with a more than ample load, and a carter of the sort that seems to bear a sullen hatred against the animal that helps him to earn a living. Lady Carlotta promptly betook her to the roadway, and put rather a different complexion on the struggle. Certain of her acquaintances were wont to give her plentiful admonition as to the undesirability of interfering on behalf of a distressed animal, such interference being "none of her business." Only once had she put the doctrine of non-interference into practice, when one of its most eloquent exponents had been besieged for nearly three hours in a small and extremely uncomfortable may-tree by an angry boar-pig, while Lady Carlotta, on the other side of the fence, had proceeded with the water-color sketch she was engaged on, and refused to interfere between the boar and his prisoner. It is to be feared that she lost the friendship of the ultimately rescued lady. On this occasion she merely lost the train, which gave way to the first sign of impatience it had shown throughout the journey, and steamed off without her. She bore the desertion with philosophical indifference; her friends and relations were thoroughly well used to the fact of her luggage arriving without her. She wired a vague non-committal message to her destination to say that she was coming on "by another train." Before she had time to think what her next move might be she was confronted by an imposingly attired lady, who seemed to be taking a prolonged mental inventory of her clothes and looks.
"You must be Miss Hope, the governess I've come to meet," said the apparition, in a tone that admitted of very little argument.
"Very well, if I must I must," said Lady Carlotta to herself with dangerous meekness.
"I am Mrs. Quabarl," continued the lady; "and where, pray, is your luggage?"
"It's gone astray," said the alleged governess, falling in with the excellent rule of life that the absent are always to blame; the luggage had, in point of fact, behaved with perfect correctitude. "I've just telegraphed about it," she added, with a nearer approach to truth.
"How provoking," said Mrs. Quabarl; "these railway companies are so careless. However, my maid can lend you things for the night," and she led the way to her car.
Resolutions and Themes Assessment
Narrative Writing Prompt: Historical fiction takes a reader to another time and place and, as accurately as possible, reflects the language, traditions, beliefs, and practices of the setting. Select a period from history and write a narrative based on actual people or events. Your narrative may represent imagined characters and their conflicts in a historical period from the past. It should include a well-developed plot structure, an established setting, a clear conflict, a theme, and two narrative techniques that develop multiple perspectives.
Step 1: The Final Draft
Include the final draft of your historical fiction narrative below. Use this checklist to be sure you have included all required elements:
- a well-organized plot that provides artistic unity
- an exposition that introduces a protagonist and a setting
- rising action that introduces the conflict and two events that develop the conflict
- a climax in which the protagonist decides how to resolve their conflict
- falling action that reveals what happens after the protagonist's decision
- a resolution that reveals a universal theme
- a development of multiple perspectives through the use of at least two narrative techniques (description, dialogue, flashback, foreshadowing, juxtaposition, pacing, or stream of consciousness)
Step 2: Reflection
Answer the following questions in complete sentences.
Reflection Question:
1. Explain why your narrative qualifies as historical fiction. Reference the characters, conflict, and setting. Need Assignment Help?
2. Which two narrative techniques (dialogue, flashback, foreshadowing, juxtaposition, pacing, or stream of consciousness) did you use? How did they develop multiple perspectives?
3. What is the universal theme of your narrative? How was it developed from the exposition to the resolution?