4.1: What is Fiction?
- Page ID
- 40393
Overview
Image from Pixabay
Fiction refers to literature created from the imagination. Mysteries, science fiction, romance, fantasy, chick lit, and crime thrillers are all fiction genres. Whether or not all of these genres should be considered “literature” is a matter of opinion. Some of these fiction genres are taught in literature classrooms and some are not usually taught, considered more to be reading for entertainment. Works often taught in literature classrooms are referred to as “literary fiction” including classics by Dickens, Austen, Twain, and Poe, for example. We will be studying primarily literary fiction in our readings, unless your instructor decides otherwise.
Difference Between Fiction and Nonfiction
While nonfiction and creative nonfiction are true, fiction is not true. Fiction may chronicle real events that happened in a convincing way using verisimilitude, but for categorization purposes the literature is still fiction. For example, historical fiction adapts real events and historical figures into a compelling narrative. But even if 95% of the story is true, the 5% of imagination renders the narrative into fiction. Meanwhile, nonfiction and creative nonfiction must tell the truth. The flexibility in creative nonfiction comes in how the story is told. Fiction writers are not constrained by the truth in this way.
If an author presents untrue events as nonfiction, they are at risk of losing their reputation as writers or falling prey to lawsuits. For example, James Frey's "memoir" A Million Little Pieces is an example of what can happen when an author presents fictional events as nonfiction. His career was tanked. He was even kicked out of Oprah Winfrey's book club (Wyatt)! As creative nonfiction expert Lee Gutkind writes, "by virtue of the fact that some of the stuff in Frey’s book never happened, it should be catalogued as fiction—not creative nonfiction" (Gutkind).
Fiction writers are not constrained by reality in the same way that creative nonfiction authors might be. They are only bound by the limits of their imaginations.
Why Should We Read Fiction?
Prose fiction, whether in the form of the novel or the short story, is one of the most popular and widely consumed literary genres. One only has to see the proliferation of bookstalls at railway stations and airports, for example, and the predominance of novels over other forms of writing made available in such locations, to realize the appeal of fiction.
Take a few moments to think about Why we read fiction. What do we hope to gain from reading stories about imagined events that happen to imaginary people?
Robert DiYanni begins his impressively wide-ranging study Literature: Reading Fiction, Poetry, Drama, and the Essay (1997) with the following assertion about why we read:
We read stories for pleasure; they entertain us. And we read them for profit; they enlighten us. Stories draw us into their imaginative worlds and engage us with the power of their invention. They provide us with more than the immediate interest of narrative – of something happening – and more than the pleasures of imagination: they enlarge our understanding of ourselves and deepen our appreciation of life. (p. 27)
Did your own answers to the question of why we read touch on any of the reasons DiYanni gives? I wouldn't be at all surprised if they did. It is, I think, true for all of us that there is an element of sheer escapism in our desire to read stories, to imaginatively engage with the incidents and events that befall the characters we read about. We often come to identify with these fictional characters, and think perhaps about how we would react and respond to the situations they find themselves in.
We can immerse ourselves in a fictional world in this way without necessarily applying a great deal of critical or intellectual effort, of course. But if fictional narratives are, as DiYanni puts it, to "enlarge our understanding of ourselves and deepen our appreciation of life," we need, perhaps, to read them in a more objective way, to subject them to a more critical scrutiny to see if they reinforce or challenge our existing ideas about the world around us. Close attention to the texts we read can only enhance our understanding, and this in turn can increase our pleasure in reading. In this section we will concentrate largely on the various elements that make up a fictional narrative; the events that make up a story and how they are arranged (the plot); the perspectives from which stories can be narrated; the act of characterisation; the importance of setting, both in terms of time and place; and the actual language and style which writers adopt to tell their narratives. Above all, in what follows, and in your own readings of fictional narratives, you need to always keep in mind the question of why you think writers use particular narrative strategies. There are an infinite number of ways in which stories can be told; the choices made by individual writers of individual texts are not randomly made. We need to think about why those choices might have been made. There is no single authoritative answer to such questions. How we read is dictated largely by the experiences and contexts we each of us bring to a particular text, and for that reason no two readings are likely to be the same, even though we may be applying the same critical processes to our reading.
Works Cited
Gutkind, Lee. "A Million Little Choices: The ABCs of CNF." Creative Nonfiction Issue 29, 2006.
Wyatt, Edward. "Author Is Kicked Out of Oprah Winfrey's Book Club." The New York Times, 27 January 2006.
Contributors and Attributions
- Adapted from the course Approaching Prose Fiction by Dr. Steve Padley, provided on the OpenLearn Website, licensed under CC-BY-NC-SA