UNIT 32.

NARRATIVE TEXTS: CHARACTERISTICS AND STRUCTURE

The topic selected for this official competitive exam is topic number 32. In order to provide a
coherent development of its content, we have adhered faithfully to the name of the topic and
have divided it into four sections. The first one deals with some key definitions for the analysis of
narrative texts. Secondly, we will be looking at narrative texts. And finally, we will go knee-deep into
the characteristics and structure of narrative texts, divided into two parts. We will put an end to this
topic with a conclusion, the didactic implications that this topic has in the secondary classroom,
and the bibliography consulted for its elaboration.
Before starting to analyse the most relevant concepts in this topic, we would like to justify why it is
worth writing and reading. In this paper we will see the importance of this area in the teaching of a
foreign language, highlighting the significance of language as communication. If we follow the
current legislation, we are told through the objectives for the stage that the ability to learn a foreign
language is paramount in today’s society. As teachers it is our duty to ensure that our methodology
achieves this objective. This topic is connected with functions, since narrating also connects with
storytelling, speaking about past events, summaries, reports, etc. Apart from this, the scientific
content of this topic is also connected with the analysis of texts, text structure, closely linked to
reading and writing. There are four main reasons for using Narrative texts in language learning:
valuable authentic material, cultural enrichment, language enrichment and personal involvement.
In addition, literature provides L2 learners with a combination of pleasurable and comprehensible
texts. Literature is a powerful tool to teach children about their own culture, themselves, the world,
and others. This will help learners to develop a positive attitude towards reading in a second
language.
Bearing in mind that this topic deals with text and discourse and the different features that can be
found in a text, the content of this topic is closely related to topics 31, 33, 34, 35 and 36, and it also
turns out useful for us, candidates, as it covers concepts that are eligible for the practical exam.

1. INTRODUCTION

Firstly, let’s take a look of what in linguistics is referred to as a ‘text’. The term ‘text’ is used to refer to
any passage, spoken or written, of whatever length, which forms a unified whole. There are certain
features which distinguish a text from a disconnected sequence of sentences, that is, it has to
function as a unity with respect to its environment. There are features which are characteristic of
narrative texts and not found otherwise that we shall attempt to identify in order to establish what
the properties of narrative texts are.
A narrative text is that text that tells a story that takes place in a certain period of time and place.
The narration refers to the way of telling the story, in the form of a sequence or as a series of actions
carried out by the characters, and that allows the reader to imagine the situation.
Stories, characters, and places can be real, imaginary, or fact-based. The narrator of the story may
or may not be the author himself and is the one who tells the story to the reader using any of the
three grammatical persons (the first person, the second or the third). Narration is used both in
everyday communication to convey information, and in literature for the creation of fictional stories.
Each author has their own style to narrate, in addition to maintaining a general structure that
identifies narrative texts with an introduction, a development and an outcome. Narratives show
people/characters in time and place but differ from recounts in that through the sequencing, the
stories set up one or more problems which must eventually find a way to be resolved.
Narrative texts are very diverse and each one has particular characteristics, but they are identified
as narrative text because they have the structure of the narrative in common.

2. NARRATIVE TEXTS

A narrative, story, or tale is any account of a series of related events or experiences, whether
nonfictional or fictional. Narratives can be presented through a sequence of written or spoken
words, through still or moving images, or through any combination of these. Narration is a rhetorical
mode of discourse, and it is the writing mode in which a narrator communicates directly to an
audience.
Oral storytelling is the earliest method for sharing narratives. During most people's childhoods,
narratives are used to guide them on proper behaviour, cultural history, formation of a communal
identity, etc.
Events are focused on the actions, interactions, and development of characters, with these events
organized on temporal sequences and causal relations. Story events can thus be considered to
follow a set structure known as ‘a story grammar’ (Kintsch, 1982), which includes the setting, theme,
plot, and resolution. Setting refers to the story’s time and place, with the plot centred around the
goals of the central character, these goals drive character actions and emotional reactions. In a
story, the goals of different characters inevitably conflict, creating a tension that builds to a climax,
followed by a resolution in which goals are either achieved or remain out of reach (De Beaugrande
& Colby, 1979). In this way, stories possess a clear and familiar structure, most commonly progressing
through a chronological order of goal-centred events.

3. Characteristics of Narrative Texts

The main characteristics of narrative writing are the narrator, plot, the characters, the setting, and
the theme.
3.1 Narrator

is defined as the voice that tells the story from a specific point of view. What the narrator can
and cannot see determines the perspective of the story and how much the reader knows.
 Writers have several options when deciding from which perspective to tell a story: first,
second, third, or omniscient. These choices influence not only how the story unfolds but also
how readers identify with characters and anticipate events.
• In first-person narration, the narrator is a person in the story, telling the story from their own
point of view. The narration usually utilizes the pronouns I or we. The character who tells the
story might be the protagonist or a character who observes the action from the outer limits,
but in either case you are getting that character’s recounting of what happens. It also means
that impressions and descriptions are coloured by that character’s opinions, mood, past
experiences, or even their warped perceptions of what they see and hear. In Jane Eyre, the
narration is provided by the story’s title character, a governess. The information shared
comes from her memories and impressions. We are likewise shielded from information that
Jane doesn’t know.
• Second-person narration is a little-used technique of narrative in which the action is driven
by a character ascribed to the reader, one known as you. The reader is immersed into the
narrative as a character involved in the story. The narrator describes what "you" do and lets
you into your own thoughts and background. The most well-known piece of fiction that
employs second-person narration might be Bright Lights, Big City. You will also find second-
person narration in the "Choose Your Own Adventure" style of books, popular with younger
readers, in which readers determine where the story goes by which page, they turn to next.
Allowing the reader to be the central character in the story provides an immersive reading
experience, enhancing what is at stake for the character and reader.
• The third-person objective narrative point of view abides by the same rules as first-person
narrative. The narrator operates like a camera and reports only things that the camera can
see and hear. The difference is that they report events using the third-person pronouns he,
she, it, rather than first-person pronouns. The narrator cannot interpret events; he can only
report them. Narrative perspective example is James Joyce's “Dubliners”.
• A third-person omniscient narrator provides an all-knowing point of view while still using third-
person pronouns. There is an external narrator who assumes this all-knowing perspective. The
narrator comments on multiple characters and their thoughts and perspectives. The
omniscient narrator can inform the reader about plot details, inner thoughts, or hidden
events that are happening outside of the characters' awareness or in places far away. Jane
Austen's “Pride and Prejudice” is a famous example of the omniscient point of view.
3.2 Plot

is defined by the events that take place within a story. When writing a narrative piece, the
writer is primarily concerned with the main events that are central to the story, how these
events lead from, influence, and affect one another. The conflict that makes up the plot
sparks interest when it is able to produce an artistic effect and provoke emotion in the reader.
Chiefly, the plot involves a problem, or a conflict presented in a specific order and sets the
 action in motion. However, there is not always a natural order since the author may decide
to change it so as to prolong the suspense, as well as to keep interest from the reader or
even build an interpretation. Aristotle’s “Poetics” and Gustav Freytag’s “Pyramid” remain the
most widely taught frameworks for describing plot structure. Aristotle called for plots to have
a beginning that initiates the story’s action, a middle that develops the action but doesn’t
conclude it, and an end that satisfies the audience by resolving the action. Centuries later,
Freytag characterized plots as arcs with rising action, a climax, and falling action, with further
nuances for each section.
3.3 Characters

are central to any piece of narrative writing. The writer presents these characters through the
narrative by means of describing them, and through their actions, speech, and thoughts.
Three types can be distinguished: the main characters, who participate most in the plot;
secondary characters, who are a support for the main ones; and juncture characters, who
are not even introduced as individuals. According to the way participants are characterized,
we find round and flat characters. Regarding round characters, the plot is organized around
them, they are presented as individuals who have real existence, and they attract all the
narrator’s attention. On the other hand, flat characters are presented as stereotypes,
representing conventional attitudes or ideas about human behaviour but they are not
relevant in the plot. With every description of a character or an action, authors can either
“tell” or “show” readers what that character is like or what’s happening. “Telling” speeds up
narrative pace because it glosses over nuanced descriptions of thought or action. “Showing”
slows down narratives by lingering over sensory details and dialogue. Identifying the
dominant narrative mode, can help you articulate areas of narrative emphases and
narrative pace.
3.4 The setting

is the place and the time that the events that make up narrative story occur. Setting is
considered essential to any narrative writing because it allows the readers to establish familiar
ground with the characters in the story and everything that surrounds them. Authors may tell
the reader the exact time or place of the story, but often these must be inferred. The time is
important to the plot when the details have some metaphorical significance. With respect
to space, stories can be set in faraway lands, imaginary places, familiar places, or a specific
place. Another important element is the atmosphere, which is the general effect or feeling
produced by the theme, the characters, or the place of the story.
3.5 The theme

allows any narrative writing to do more than purely entertain. Sometimes, it involves a lesson
to be learned or the author may want the reader to get the theme because of the way
characters’ actions affect the story by means of particular sentences or a main topic. A
 theme in a story can really move the reader and can make a piece of writing much more
memorable. The theme is the central idea of the story which can be directly stated or
indirectly inferred through the use of story elements, whose aim is to make readers infer the
ending of the story.
3.6 Descriptive language

evokes feelings rather than directly stating facts. Descriptive language techniques
include metaphors, similes, personifications, and onomatopoeias. It consists of a variety
of techniques and choices we make in an effort to give our reader an accurate, three-
dimensional impression of the subject you’re writing about. It’s part word choice, part
figurative language, comparison, and knowing what to include and what to leave out of
your writing to set just the right mood. It evokes the reader’s senses, and it’s the perfect
tool for accurately communicating something that isn’t tangible, and that’s precisely why
it’s not appropriate for the more formal, objective kinds of writing such as technical,
academical or professional writing.

4. STRUCTURE OF NARRATIVE TEXTS

A structure implies that there is a meaningful order to the events within a text, that there is nothing
arbitrary about what is written or said. Story structure, also known as narrative structure, is the order
in which events are organized into a beginning, middle, and ending in a novel. A story’s structure
directly affects the way the plot unfolds and how its driving forces (characters, obstacles, setting,
etc.) are introduced to the reader. A controlled narrative structure results in all the reader’s
questions being answered, provides a climax followed by resolution and information at the end of
the story, furthers the characters’ development, and unravels any central conflicts. In other words,
structuring the plot well creates a satisfying narrative experience that accomplishes the author’s
aims, and helps writers draw connections between ‘things that happen’ and ‘things that matter.’
The general structure of the narrative text, according to Brooks and Warren are the following:
• Beginning or Introduction: the author has to attract the attention of the reader from the very
beginning as failure to do so will result in the reader not wishing to continue. Usually, the
opening chapters will introduce us to the characters as well as providing us with a description
of the scene in which the action is to take place. More importantly is the fact that the
beginning of a narrative text will give us some clues about how the plot is going to develop
and what the story is actually going to be about. If we are unable to understand the
beginning of a book, then it is highly unlikely that we will be able to understand what follows.
In order to catch the imagination of the reader, for instance, a curious situation will require
further reading if we are to resolve the mystery. This curiosity is frequently maintained
throughout the narrative, but the main body of action will normally occur in the middle
section.
 • Middle or Development: by the time we have reached the middle section of a narrative text,
we usually feel comfortable with the actions being narrated, and the characters have
become familiar to us, and we are able to know the way that they act, think, and feel.
However, there is a danger that at this point our attention begins to drop unless a new
element is introduced. Traditionally, this has involved a twist in the plot or the introduction of
new characters. The overriding aim of the author is to create tension at this point: the more
tense the reader feels, the more likely he is to follow the story to its final resolution. Whatever
happens through this section, the author has to be sure that he is carefully leading the reader
towards the climax, where each of the incidents and utterances must begin to take on
greater importance. This way, there can be a series of increasing complications that lead to
the final resolution, presented in such a way as to ensure that the reader is carried along
towards the end of the story.

• Conclusion: the concluding part of a narrative is also called the coda. Normally, this is the
part where all of the conflicts and twists within the plot are worked out, so that the reader
can finally understand all that has happened. Sometimes though, the author may prefer to
leave some things unresolved for whatever reasons, or it is also possible that the coda will
contain some kind of a moral that summarises or evaluates the relevance of the story. This is
particularly true to some of the novels from the Victorian Period, whose authors saw the
narrative as a perfect opportunity to extol the virtues of God.

5. CONCLUSION

Stories, tales, and fables have existed since mankind developed the ability to communicate. In
order to create a successful story that engages the audience, a lot of thought and efforts must go
in. Through the effective use of narrative writing, an author can create captivating storylines to bring
together the different components of a story.
Teaching narrative writing to our students can enhance their creativity while still establishing
guidelines for structure and other key elements. Reading narratives to young students helps them
to get a feel for plot, character development, conflict, and resolution. Storytelling and narrative
writing are skills which takes a lot of time, and efforts to master. Having the ability to tell a captivating
story enables people to convey their thought, ideas, and experiences that much more effectively.
One of the most important points of teaching the written language is to provide good models of
almost any kind of writing so that the learners can perform the writing tasks. Moreover, present
approaches deal with a communicative competence model in which first, there is an emphasis on
significance over form, and secondly, motivation and involvement are enhanced by means of new
technologies. Some of this motivational force is brought about by intervening in authentic
communicative events. Therefore, we have to recreate the whole cultural environment in the
classroom as far as possible. Thus, foreign language activities are provided within the framework of
social interaction, personal, professional, and educational fields.
 6. DIDACTIC IMPLICATIONS

According to LOMLOE 3/2020 and (autonomous community decree), the content of this topic
highlights textual aspects and would be of great support in order to help students with the processes
of understanding and producing texts. In that sense. It is also connected with the content blocks of
‘communication’ and ‘multilingualism’ mentioned in Royal Decree 217/2022. Moreover, the
content of this topic promotes the Linguistic Communication Competence, and it is connected
with its descriptors CCL1, CCL2 and CCL3, following the aforementioned RD, and the competence
of Learning to Learn, an essential element in the modern classroom, and one that will hopefully
encourage our students to continue with their program of lifelong learning.
The personal proposal to work on this topic in the classroom would be by as follows:
The SCI-FI PROJECT aims to help students develop critical thinking and autonomy; to become
competent and resolute citizens and to be able to reflect on their future. The project works on all
the key competences and most of the specific competences, as well as stage objectives. By means
of different activities that get the students' attention and motivation, another of the objectives is to
improve their level of the foreign language through the practice of the 4 skills in an active,
participative, and interactive way. Through different activities and final products, students will work
in groups to produce joint answers to the challenge posed to them, reflecting, in the meantime, on
aspects ranging from technology to ethics that are key to their becoming competent and moral
adults.
- Start of the project:
o Presentation of the project.
o Introduction of the grammar they will need (future tenses)
o "Warm-up" activities included in the digital presentation: 10 synopses of contemporary
science fiction and Young Adult works - 10 classic novels that predicted the future. -
Are these pictures reality or science fiction? - How would you feel if...? - 5 short science
fiction films for reflection.
- Development: Preparation of the dossiers and final products in autonomous groups.
- Final product: Written dossier with the creation of their science fiction world, synopsis of the
novel and characters. Physical novel by means of a cereal box. Booktrailer of their novel.
As a complementary activity, we will hold a viewing of all the booktrailers of the classmates, where
they will also have to use an evaluation rubric to give them feedback. The final physical product
will be exhibited in the school library. The project groups will be heterogeneous, and the different
paces of the students will be respected. The activities are framed within the methodological
principles of the DUA (Diseño Universal para el Aprendizaje) through different supports and media
(e.g., subtitled videos, physical and digital material, activities related to the 4 skills, motivation,
scaffolding through anchor charts and templates, multiple creation tools...). The evaluation of the
teaching practice and the teaching-learning process will be carried out by means of two
instruments. Firstly, a self-assessment rubric, to be filled in after the final reflections. Secondly, the
students will fill in a Google Forms questionnaire evaluating the project and its usefulness.
The personal proposal to work on this topic in the classroom would be by as follows:
Organize the students into small groups and challenge them to make a list of clichés and tropes
from horror books and movies. If they need some inspiration, the IMDb movie database will serve
well. Even if they don’t know the movies, they can read the synopses and identify some of the
clichés and tropes used. Once students have their list, they should then attempt to make something
fresh from them. The simplest way to do this is often to change the setting or characters. This will
lead to some unusual ideas, such as vampires in space or piranhas in the city sewage system. The
ideas generated need not be plausible or even ‘good’. This activity aims to flex the students’
creativity muscles in pursuit of something original. After this activity, they will be given a worksheet
to fill in the gaps: title, setting, characters, climax, and end, which they will have to hand in. For the
oral presentation, the group must prepare a poster of the movie, and explain it to the class.
Originality and creativity will boost their motivation.

7. BIBLIOGRAPHY

Brooks, Peter ([1984] 1992). Reading for the Plot: Design and Intention in Narrative. Cambridge, MA/London: Harvard UP.

Brooks, Cleanth & Robert Penn Warren (1943). Understanding Fiction. New York: Crofts.

J. Hodder Arnold. 1985. Narrative: From Malory to Motion Pictures. Hawthorn.

Barthes, R. 1977. Introduction to the Structural Analysis of Narratives. Image-Music-Text, Fontana.

Rimmon-Kenan, S. 2003. Narrative Fiction: Contemporary Poetics. Routledge.

Gerard Genette. 1983. The Narrative Discourse: An Essay in Method. Cornell University Press.

Michael Toolan. 2016. Making Sense of Narrative Text. Routledge.

Barthes, R. 1977. Introduction to the Structural Analysis of Narratives. Image-Music-Text, Fontana.