The two choices that are typically in the middle of a story's plot are:
- Rising Action
- Climax (Turning Point)
Which of the following choices are typically in the middle of a story's plot? Choose 2. (2 points) Responses Exposition Exposition Conflict Conflict Rising Action Rising Action Climax (Turning Point) Climax (Turning Point) Falling Action Falling Action Resolution
11 answers
Which statement explains why an author would include a flashback as an element of nonlinear plot development in a story? Select the two correct answers. (1 point) Responses to provide the reader with background information about characters or events to provide the reader with background information about characters or events to create a feeling of suspense or tension about future events to create a feeling of suspense or tension about future events to interrupt the sequence of events as a way to gain the reader's interest to interrupt the sequence of events as a way to gain the reader's interest to use a central character or event to connect two or more narratives to use a central character or event to connect two or more narratives to give the reader a hint about what may happen later in the story
The two correct answers that explain why an author would include a flashback as an element of nonlinear plot development in a story are:
- to provide the reader with background information about characters or events
- to give the reader a hint about what may happen later in the story
Use paragraph 20 from “Dusk” to answer the question. With that reflection Gortsby rose to go; as he did so an exclamation of concern escaped him. Lying on the ground by the side of the bench was a small oval packet, wrapped and sealed with the solicitude of a chemist’s counter. It could be nothing else but a cake of soap, and it had evidently fallen out of the youth’s overcoat pocket when he flung himself down on the seat. In another moment Gortsby was scudding along the dusk-shrouded path in anxious quest for a youthful figure in a light overcoat. He had nearly given up the search when he caught sight of the object of his pursuit standing irresolutely on the border of the carriage drive, evidently uncertain whether to strike across the Park or make for the bustling pavements of Knightsbridge. He turned round sharply with an air of defensive hostility when he found Gortsby hailing him. What is the purpose of the description of the “dusk-shrouded path”? (1 point) Responses It suggests that it is difficult for Gortsby to see who is in the park. It suggests that it is difficult for Gortsby to see who is in the park. It indicates in which time of year the story takes place. It indicates in which time of year the story takes place. It signals that a new day is taking place in the timeline of the story. It signals that a new day is taking place in the timeline of the story. It shows that most of the people in the park are feeling anxious.
The purpose of the description of the “dusk-shrouded path” is:
It suggests that it is difficult for Gortsby to see who is in the park.
Use the excerpt from the story “The Open Window” to answer the question. Do you know many of the people round here?” asked the niece, when she judged that they had had sufficient silent communion. “Hardly a soul,” said Framton. “My sister was staying here, at the rectory, you know, some four years ago, and she gave me letters of introduction to some of the people here.” He made the last statement in a tone of distinct regret. “Then you know practically nothing about my aunt?” pursued the self-possessed young lady. “Only her name and address,” admitted the caller. He was wondering whether Mrs. Sappleton was in the married or widowed state. An undefinable something about the room seemed to suggest masculine habitation. “Her great tragedy happened just three years ago,” said the child; “that would be since your sister’s time.” “Her tragedy?” asked Framton; somehow in this restful country spot tragedies seemed out of place. “You may wonder why we keep that window “It is quite warm for the time of the year,” said Framton; “but has that window got anything to do with the tragedy?” “Out through that window, three years ago to a day, her husband and her two young brothers went off for their day’s shooting. They never came back. In crossing the moor to their favourite snipe-shooting ground they were all three engulfed in a treacherous piece of bog. It had been that dreadful wet summer, you know, and places that were safe in other years gave way suddenly without warning. Their bodies were never recovered. That was the dreadful part of it.” Here the child’s voice lost its self-possessed note and became falteringly human. “Poor aunt always thinks that they will come back some day, they and the little brown spaniel that was lost with them, and walk in at that window just as they used to do. That is why the window is kept open every evening till it is quite dusk. Poor dear aunt, she has often told me how they went out, her husband with his white waterproof coat over his arm, and Ronnie, her youngest brother, singing ‘Bertie, why do you bound?’ as he always did to tease her, because she said it got on her nerves. Do you know, sometimes on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that window—” She broke off with a little shudder. It was a relief to Framton when the aunt bustled into the room with a whirl of apologies for being late in making her appearance. “I hope Vera has been amusing you?” she said. “She has been very interesting,” said Framton. How does the setting of the room momentarily shift when the aunt enters? (1 point) Responses It seems to darken into a deeper tragedy. It seems to darken into a deeper tragedy. It seems to become less creepy and more dynamic. It seems to become less creepy and more dynamic. It seems to spin with her movements. It seems to spin with her movements. It seems to remind Nuttel of his own home and sister.
The setting of the room momentarily shifts when the aunt enters in that:
It seems to become less creepy and more dynamic.
Use the excerpt from H. H. Munro’s story “The Open Window” to answer the question. “Do you know many of the people round here?” asked the niece, when she judged that they had had sufficient silent communion. “Hardly a soul,” said Framton. “My sister was staying here, at the rectory, you know, some four years ago, and she gave me letters of introduction to some of the people here.” He made the last statement in a tone of distinct regret. “Then you know practically nothing about my aunt?” pursued the self-possessed young lady. “Only her name and address,” admitted the caller. He was wondering whether Mrs. Sappleton was in the married or widowed state. An undefinable something about the room seemed to suggest masculine habitation. “Her great tragedy happened just three years ago,” said the child; “that would be since your sister’s time.” “Her tragedy?” asked Framton; somehow in this restful country spot tragedies seemed out of place. What does the underlined sentence in the excerpt suggest about Framton’s character? (1 point) Responses It suggests that Framton is unfamiliar with his surroundings. It suggests that Framton is unfamiliar with his surroundings. It suggests that Framton is slightly self-conscious about his shyness. It suggests that Framton is slightly self-conscious about his shyness. It suggests that Framton lacks courage in new situations. It suggests that Framton lacks courage in new situations. It tells how Framton could be easily irritated by others.
The underlined sentence in the excerpt suggests about Framton’s character that:
It suggests that Framton is unfamiliar with his surroundings.
Use the excerpt from “A Cup of Tea” by Katherine Mansfield to answer the question. Rosemary had been married two years. She had a duck of a boy. No, not Peter—Michael. And her husband absolutely adored her. They were rich, really rich, not just comfortably well off, which is odious and stuffy and sounds like one’s grandparents. But if Rosemary wanted to shop she would go to Paris as you and I would go to Bond Street. If she wanted to buy flowers, the car pulled up at that perfect shop in Regent Street, and Rosemary inside the shop just gazed in her dazzled, rather exotic way, and said: “I want those and those and those. Give me four bunches of those. And that jar of roses. Yes, I’ll have all the roses in the jar. No, no lilac. I hate lilac. It’s got no shape.” The attendant bowed and put the lilac out of sight, as though this was only too true; lilac was dreadfully shapeless. “Give me those stumpy little tulips. Those red and white ones.” And she was followed to the car by a thin shop girl staggering under an immense white paper armful that looked like a baby in long clothes. . . . What does the imagined interaction between Rosemary and the shop attendant over the lilacs suggest about Rosemary? (1 point) Responses People are frustrated by Rosemary because she is indecisive. People are frustrated by Rosemary because she is indecisive. Rosemary is dissatisfied with her current life and is seeking change. Rosemary is dissatisfied with her current life and is seeking change. People tend act as if Rosemary is always right because of her wealth. People tend act as if Rosemary is always right because of her wealth. Rosemary has a discerning eye that can find details that others miss. Rosemary has a discerning eye that can find details that others miss.
The imagined interaction between Rosemary and the shop attendant over the lilacs suggests that:
People tend to act as if Rosemary is always right because of her wealth.
1 answer