Nama : Fajar Maulana Hidayat

Reg Num : 171102010001

 What is a particular genre?

A genre is a broad term that translates from the French to mean kind or type. Literary,
or written, works are classified as being part of a particular genre based on a number of
things:

 The tone of the writing

 The writing style
 Narrative technique
 Length
 Content – what the written work is about – for example: war, history or romance

Fictional novel
A novel is a long story told in prose. Fiction is a type of literature that is ‘made-up’, not real,
written using the imagination. There are lots of different types of fictional novel, spanning a
range of styles and themes, including crime, history, horror, romance and more.
Fictional novels usually describe fictional characters and events.
There is no particular writing style – authors can be as imaginative as they want when writing a
novel; they can experiment and even make up words and break traditional grammar rules.
Most novels are divided into shorter chapters that are either numbered or titled.

Non-fiction
If fiction is fake, then non-fiction is the opposite – it comes from real life. Works of non-fiction
are all based on real world experiences. These include:
 Newspapers
 Journals
 Diaries
 Academic textbooks
Most of the time the purpose of non-fiction is to pass on information and educate the reader
about certain facts, ideas, or issues.
While fictional works can use a lot of figurative and creative language, non-fiction tends to be
more straightforward. Non-fiction pieces are also written in prose and can be divided into
chapters too.
Biography/autobiography
Biographical books tell the story of a real person’s life. The word biography comes from the
Greek word bios meaning life.
A biography is a book written by an author about another person
An autobiography is written by the author about him or herself
Lots of notable people and celebrities have written books about their own lives or have had
biographies written about them.
However, some ‘everyday’ people have written important autobiographical works too. These
books give us an insight into what life was like for everyday people during a particular point in
time – for example: The Diary of Anne Frank. You can find a list of other notable
autobiographies, from as early as 175 AD to the present day.

Drama
A drama is a work of fiction designed to be performed in some way. Dramatic works include
plays for the theatre, radio, television and film. Shakespeare’s plays are some of the most well
known English language dramas in the world.
Drama also refers to a story or play that is more serious than a comedy.
Because dramas usually include a cast of characters who talk and interact with each other, this
literary genre uses a lot of direct speech.
Pick up a play and you’ll instantly see that it’s very different from a novel. Dramas involve the
use of:
 Acts – the name given to each ‘chapter’ of the drama
 A lot of direct speech (dialogue spoken by each character in inverted commas “like this”)
 Stage directions for the actors – this can include instructions on how to pronounce the
dialogue, such as spoken quietly or shouted loudly. It can also let the actor know where to
stand on the stage, or actions to carry out
Poetry
Poetry is a type of literature that uses the aesthetic qualities and the sound of words to evoke
meaning and emotions. Poets use imaginative language to express feelings and ideas. Poetry is
more expressive and less ‘plain’ than ordinary English prose. It commonly includes the use of:
  Similes – describes something by comparing it to something else using like or as, for
example: the snake moved like a ripple on a pond. Or, it was as light as a feather.
 Metaphors – a word or a phrase used to describe something as if it were something else,
for example: a wave of terror washed over him. The terror isn’t actually a wave, but a
wave is a good way of describing the feeling of terror.
 Alliteration – this is when words start with the same sound, for example:
the slippery snake came sliding
 Rhyme – this is where words with the same sounds are used, for example: hickory,
dickory dock, the mouse ran up the clock. Many poems rhyme, but not all do.

What is periode on literally writing :

EARLY PERIODS OF LITERATURE These periods are spans of time in which literature
shared intellectual, linguistic, religious, and artistic influences. In the
Western tradition, the early periods of literary history are roughly as follows below:
A. THE CLASSICAL PERIOD (1200 BCE - 455 CE)
I. HOMERIC or HEROIC PERIOD (1200-800 BCE) Greek legends are passed along orally,
including Homer's
The Iliad and The Odyssey. This is a chaotic period of warrior-princes, wandering sea-traders,
and fierce pirates.
II. CLASSICAL GREEK PERIOD (800-200 BCE) Greek writers, playwrights, and philosophers
such as Gorgias,
Aesop, Plato, Socrates, Aristotle, Euripides, and Sophocles. The fifth century (499-400 BCE) in
particular is
renowned as The Golden Age of Greece. This is the sophisticated period of the polis, or
individual City-State, and
early democracy. Some of the world's finest art, poetry, drama, architecture, and philosophy
originate in Athens.
III. CLASSICAL ROMAN PERIOD (200 BCE-455 CE) Greece's culture gives way to Roman
power when Rome
conquers Greece in 146 CE. The Roman Republic was traditionally founded in 509 BCE, but it is
limited in size
until later. Playwrights of this time include Plautus and Terence. After nearly 500 years as a
Republic, Rome slides
into dictatorship under Julius Caesar and finally into a monarchial empire under Caesar Augustus
in 27 CE. This
later period is known as the Roman Imperial period. Roman writers include Ovid, Horace, and
Virgil. Roman
philosophers include Marcus Aurelius and Lucretius. Roman rhetoricians include Cicero and
Quintilian.
IV. PATRISTIC PERIOD (c. 70 CE-455 CE) Early Christian writings appear such as Saint
Augustine, Tertullian,
Saint Cyprian, Saint Ambrose and Saint Jerome. This is the period in which Saint Jerome first
compiles the Bible,
when Christianity spreads across Europe, and the Roman Empire suffers its dying convulsions.
In this period,
barbarians attack Rome in 410 CE and the city finally falls to them completely in 455 CE.
B. THE MEDIEVAL PERIOD (455 CE-1485 CE)
I. THE OLD ENGLISH (ANGLO-SAXON) PERIOD (428-1066)
The so-called "Dark Ages" (455 CE -799 CE) occur when Rome falls and barbarian tribes move
into Europe. Franks,
Ostrogoths, Lombards, and Goths settle in the ruins of Europe and the Angles, Saxons, and Jutes
migrate to
Britain, displacing native Celts into Scotland, Ireland, and Wales. Early Old English poems such
as Beowulf, The
Wanderer, and The Seafarer originate sometime late in the Anglo-Saxon period.
The Carolingian Renaissance (800- 850 CE) emerges in Europe. In central Europe, texts include
early medieval
grammars, encyclopedias, etc. In northern Europe, this time period marks the setting of Viking
sagas.
II. THE MIDDLE ENGLISH PERIOD (c. 1066-1450 CE)
In 1066, Norman French armies invade and conquer England under William I. This marks the
end of the AngloSaxon hierarchy and the emergence of the Twelfth Century Renaissance (c.
1100-1200 CE). French chivalric
romances--such as works by Chretien de Troyes--and French fables--such as the works of Marie
de France and
Jeun de Meun--spread in popularity. Abelard and other humanists produce great scholastic and
theological
works.
Late or "High" Medieval Period (c. 1200-1485 CE): This often tumultuous period is marked by
the Middle English
writings of Geoffrey Chaucer, the "Gawain" or "Pearl" Poet, the Wakefield Master, and William
Langland. Other
writers include Italian and French authors like Boccaccio, Petrarch, Dante, and Christine de
Pisan.
C. THE RENAISSANCE AND REFORMATION (c. 1485-1660 CE)
(The Renaissance takes place in the late 15th, 16th, and early 17th century in Britain, but
somewhat earlier in Italy
and southern Europe, somewhat later in northern Europe.)
I. Early Tudor Period (1485-1558): The War of the Roses ends in England with Henry Tudor
(Henry VII) claiming
the throne. Martin Luther's split with Rome marks the emergence of Protestantism, followed by
Henry VIII's
Anglican schism, which creates the first Protestant church in England. Edmund Spenser is a
sample poet.
II. Elizabethan Period (1558-1603): Queen Elizabeth saves England from both Spanish invasion
and internal
squabbles at home. The early works of Shakespeare, Marlowe, Kydd, and Sidney mark
Elizabeth's reign.
III. Jacobean Period (1603-1625): Shakespeare's later work, Aemilia Lanyer, Ben Jonson, and
John Donne.
IV. Caroline Age (1625-1649): John Milton, George Herbert, Robert Herrick, the "Sons of Ben"
and others write
during the reign of Charles I and his Cavaliers.
V. Commonwealth Period or Puritan Interregnum (1649-1660): Under Cromwell's Puritan
dictatorship, John
Milton continues to write, but we also find writers like Andrew Marvell and Sir Thomas Browne.
LATER PERIODS OF LITERATURE These periods are spans of time in which literature shared
intellectual, linguistic, religious, and artistic influences. In the
Western tradition, the later periods of literary history are roughly as follows below:
D. The Enlightenment (Neoclassical) Period (c. 1660-1790) "Neoclassical" refers to the
increased influence of Classical literature upon these centuries. The Neoclassical Period
is also called the "Enlightenment" due to the increased reverence for logic and disdain for
superstition. The period
is marked by the rise of Deism, intellectual backlash against earlier Puritanism, and America's
revolution against
England.
I. Restoration Period (c. 1660-1700): This period marks the British king's restoration to the
throne after a
long period of Puritan domination in England. Its symptoms include the dominance of French
and Classical
influences on poetry and drama. Sample writers include John Dryden, John Lock, Sir William
Temple,
Samuel Pepys, and Aphra Behn in England. Abroad, representative authors include Jean Racine
and
Molière.
II. The Augustan Age (c. 1700-1750): This period is marked by the imitation of Virgil and
Horace's literature
in English letters. The principal English writers include Addison, Steele, Swift, and Alexander
Pope.
Abroad, Voltaire is the dominant French writer.
III. The Age of Johnson (c. 1750-1790): This period marks the transition toward the upcoming
Romanticism
though the period is still largely Neoclassical. Major writers include Dr. Samuel Johnson,
Boswell, and
Edward Gibbon who represent the Neoclassical tendencies, while writers like Robert Burns,
Thomas Gray,
Cowper, and Crabbe show movement away from the Neoclassical ideal. In America, this period
is called
the Colonial Period. It includes colonial and revolutionary writers like Ben Franklin, Thomas
Jefferson,
and Thomas Paine.
E. ROMANTIC PERIOD (c. 1790-1830)
Romantic poets write about nature, imagination, and individuality in England. Some Romantics
include Coleridge,
Blake, Keats, and Shelley in Britain and Johann von Goethe in Germany. Jane Austen also writes
at this time,
though she is typically not categorized with the male Romantic poets. In America, this period is
mirrored in the
Transcendental Period from about 1830-1850. Transcendentalists include Emerson and Thoreau.
Gothic
writings, (c. 1790-1890) overlap with the Romantic and Victorian periods. Writers of Gothic
novels (the precursor
to horror novels) include Radcliffe, Monk Lewis, and Victorians like Bram Stoker in Britain. In
America, Gothic
writers include Poe and Hawthorne.
F. VICTORIAN PERIOD And The 19th Century (c. 1832-1901)
Writing during the period of Queen Victoria's reign includes sentimental novels. British writers
include Elizabeth
Browning, Alfred Lord Tennyson, Matthew Arnold, Robert Browning, Charles Dickens, and the
Brontë sisters. PreRaphaelites, like the Rossettis and William Morris, idealize and long for the
morality of the medieval world. The
end of the Victorian Period is marked by intellectual movements of Aestheticism and "the
Decadence" in the
writings of Walter Pater and Oscar Wilde. In America, Naturalist writers like Stephen Crane
flourish, as do early
free verse poets like Walt Whitman and common measure poets like Emily Dickinson.
G. MODERN PERIOD (c. 1914-1945?)
In Britain, modernist writers include W. B. Yeats, Seamus Heaney, Dylan Thomas, W. H.
Auden, Virginia Woolf,
and Wilfred Owen. In America, the modernist period includes Robert Frost and Flannery
O'Connor as well as the
famous writers of The Lost Generation (also called the writers of The Jazz Age, 1914-1929) such
as Hemingway,
Stein, Fitzgerald, and Faulkner. "The Harlem Renaissance" marks the rise of black writers such
as Baldwin and
Ellison. Realism is the dominant fashion, but the disillusionment with the World Wars lead to
new experimentation.
H. POSTMODERN PERIOD (c. 1945? onward)
T. S. Eliot, Morrison, Shaw, Beckett, Stoppard, Fowles, Calvino, Ginsberg, Pynchon, and other
modern writers,
poets, and playwrights experiment with metafiction and fragmented poetry. Multiculturalism
leads to increasing
canonization of non-Caucasian writers such as Langston Hughes, Sandra Cisneros, and Zora
Neal Hurston. Magic
Realists such as Gabriel García Márquez, Luis Borges, Alejo Carpentier, Günter Grass, and
Salman Rushdie
flourish with surrealistic writings embroidered in the conventions of realism.

 What is epistolary style

Epistolary writing is frequently thought of as narration in the form of letters. A great

example is the novel Sorcery and Cecilia, in which the two protagonists – Cecy and Kate – write
letters back and forth to each other. However, these days narration through any document is
considered epistolary, even if it’s electronic. That includes:

● Journal entries
● Emails
● Newspaper articles
● Transcripts
● Police reports
● Chats

Each type of document has its own tone and style, allowing for creativity and variety. If
you love dialogue, then yes, you can write a story that’s nothing but dialogue – choose a chat.
Journal entries lean toward private contemplation, and newspaper articles are great for fleshing
out a setting.

Even better, you can mix all of these in the same work. For instance, Bram Stoker’s Dracula
includes letters, diary entries, newspaper clippings, and ships’ log entries. It’s helpful if you can
find a reason why the documents are in one place. Maybe they’re all pieces of evidence in an
investigation, or perhaps a character assembled them into a scrapbook. However, an explanation
isn’t necessary. Readers will generally accept an interesting set of documents without further ado.

Epistolary Writing Is Similar to Dialogue

While chats are obviously the closest to dialogue, other forms of epistolary writing are also
dialogue-like. You can think of each document as a one-way conversation. And like any dialogue,
it needs to feel natural.

To write convincing epistolary stories, you must know whom the document’s author is
writing to and why. Is a widower writing what he wishes he could say to his dead husband? Is a
police officer writing a report to her superior – trying to sound objective while making herself look
good? Once you choose, you have to stick to what the document writer would say, or your narration
will feel contrived.

This makes it tricky to convey information for the benefit of your real readers. In dialogue,
sneaking in exposition that characters have no reason to state is called “as you and I both know”
dialogue. It’s obvious and tacky. The same can happen to your epistolary narration if you aren’t
careful.

One way around this issue is for your document writer to address someone that they believe
to be ignorant about the basic facts of their life. For instance, in The Martian, Mark Watney writes
at the beginning of his journal, “I don’t even know who’ll read this. I guess someone will find it
eventually. Maybe a hundred years from now.” This “hundred years” bit is important. A person
living a century in the future will probably be unfamiliar with his mission, giving him an excuse
to describe it in detail.
 However, there are downsides to a “whoever reads this” document. Choosing a more
specific audience can add valuable flavor to the narration. For instance, when people write to their
loved ones, their tone becomes more warm and inviting.

Though information can be difficult to convey in epistolary stories, it’s easy to conceal. If
the information would be an obvious part of the document – like a stabbing in a police report –
you’ll need a solid character motivation for the omission. However, in general people just don’t
tell each other everything.

Epistolary Writing Can Use Multiple Tenses

If you’ve ever had trouble choosing between writing in past, present, or even future tense,
now you can have all of them! In most cases, a document author will use whatever tense would
work in conversation.

Of course, you need to be thoughtful about how you mix tenses. While a real letter writer
might put down whatever comes to mind, your readers will want narration that’s in a sensible
order. In epistolary narration, it’s usually most natural to start with present, go into the past to
recount a story, and then return to present at the end. After returning to present, your character
might also detail their plans going forward.

If your epistolary story is a series of documents like letters, journal entries, or emails, you
can choose what points in your story’s timeline will be “present” for a document. That’s when
your character will write an entry. For instance, let’s say your story covers the beginning and
ending of a war. Your narrator is a character sent off to war who is writing home to her loved ones.
She might write the first letter soon after she is drafted and the last letter when she learns she can
finally return home. Each of these moments in your timeline will be “present” for one of the letters.
Immediately after these moments, a letter will end, creating a break in the story.

By choosing the right moment for each entry, you can create emphasis and raise tension.
Most often, you’ll want characters to write documents just before something bad or mysterious
might happen. The narrator might be about to face trial, or perhaps while writing they notice the
window is open, and they stop to investigate. Since present tense feels more immediate* than past
tense, switching to present allows you to create more anticipation. And that anticipation will
provide a great hook for the next document in the series.

Similarly, the time jump at the beginning of the next document can be used for fun reveals
and teasers. The narrator went to investigate the window, and now they’ve pledged themself to the
fairy king. How did that happen? They’ll have to recount everything that happened since they
investigated the window. Just keep your teasers genuine; it shouldn’t feel like your document
writer is deliberately misleading their reader(s).

Epistolary Writing Leans Toward Summary

While most stories include both fleshed-out scenes and summarized events, writers often
need to show more and tell less. Unfortunately, that becomes more challenging in epistolary
stories. When people recount events in conversation, they rarely go into the level of detail a writer
would when narrating a scene. Similar to oral folklore, they skip right to the big plot points and
rarely describe scenes moment by moment. For instance, it would be unusual in a dialogue to have
one character fully recount another dialogue they had word for word.

You can have this kind of detail in epistolary writing, but you have to be more careful in
how it’s set up. It goes back to having realistic context for the document. One way to make it feel
natural for the document writer to go into detail is to make them excited or passionate about
something. So if you need blow-by-blow fight scenes in your epistolary work, consider making
your viewpoint character a combat enthusiast. They don’t need to be an expert – if they’ve only
watched fighting on television previously, that will make them even more excited to relate every
detail of their first combat. Your viewpoint character might also write in painstaking detail if the
person they’re writing to would want to know everything. For a realistic and detailed account, it’s
also essential that the writer isn’t in a hurry.

Even when your character doesn’t have a reason to relate everything they went through
word by word or move by move, they can still include description that’s specific and visceral. For
instance, they might say a mysterious stranger wore a dusty velvet coat that looked like rats had
gnawed on it. They’re just unlikely to also describe the stranger’s hat, hair, eyes, shirt, pants, socks,
and shoes in a similar level of detail. That would leave the impression that your narrator stared at
each of the stranger’s accessories for a full minute during the encounter. How else could they
remember all that?

A focus on summary also has its upsides. It makes epistolary writing ideal for some works
– particularly some short stories. To keep the length down, short stories either narrate only a short
period in time – such as a single afternoon – or summarize events. In most cases, I still recommend
going the short time route; that way the narration feels more immersive and immediate. However,
if you do write a short story as a summary, epistolary writing works splendidly. It can add a lot of
flavor that makes up for being more removed from events.

Epistolary Stories Feel Real

The distance epistolary writing has from events can be a significant downside of the form,
but it has a big upside: credibility. We encounter nonfiction documents that we trust every day. A
fiction story that makes itself look like a nonfiction work, or multiple works, feels real in a way
that is difficult to replicate through other means.

The realness of epistolary stories can make content more relatable. When we see our stories
as emails, it reminds us of all the emails we’ve read or written. It can also create more mystery and
wonder. When we read old newspaper clippings that mention strange events, it taps into our
curiosity about our own history and what might have been forgotten.

With more credibility, stories have greater emotional impact. Just be careful to maintain
your document’s credibility by rigorously following the conventions of whatever form of
epistolary writing you’re using. At times, this may feel restrictive, but it will also give your readers
another reason to continue.
  What is Writing Style in Victorian Era ?
The literature of the Victorian age entered in a new period post the romantic revival. The
literature of this era expressed the fusion of pure romance to gross realism. Though the Victorian
age produced two great poetsTennyson and Browning, the age is also remarkable for the excellence
of its prose.

Victorian writers include Charles Dickens, the Bronte sisters, Thomas Hardy, and many
others. In more simple terminology, the writing style is very thick, full of big words and extended
descriptive sentences.

Writing style of famous Victorian authors

The Victorian era was the great age of the English novel: realistic, thickly plotted, crowded
with characters and long. It was the ideal form to describe the contemporary life and to entertain
the middle class.

The novels of Charles Dickens, full to overflowing with drama, humor, and an endless
variety of vivid characters and plot complications, nonetheless spare nothing in their portrayal of
what urban life was like for all classes. William Makepeace Thackeray is best known for Vanity
Fair (1848), which wickedly satirizes hypocrisy and greed.

Victorian novels tend to be idealized portraits of difficult lives in which hard work,
perseverance, love and luck win out in the end; virtue would be rewarded and wrongdoers are
suitably punished.

They tended to be of an improving nature with a central moral lesson at heart. While this
formula was the basis for much of earlier Victorian fiction, the situation became more complex as
the century progressed.

Key characteristics of writing style

The discoveries of science have particular effects upon the literature of the age. If you study
all the great writers of this period, you will mark four general characteristics:
1. Literature of this age tends to come closer to daily life which reflects its practical
problems and interests. It becomes a powerful instrument for human progress.
2. Moral Purpose: The Victorian literature seems to deviate from “art for art’s sake” and
asserts its moral purpose. Tennyson, Browning, Carlyle, Ruskin – all were the teachers
of England with the faith in their moral message to instruct the world.
3. Idealism: It is often considered as an age of doubt and pessimism. The influence of
science is felt here. The whole age seems to be caught in the conception of man in
relation to the universe with the idea of evolution. Tennyson’s some immature works
seem to hold doubtful and despairing stains but his In Memoriam comes out as a hope
after despair.
4. Though the age is characterized as practical and materialistic, most of the writers exalt
a purely ideal life. It is an idealistic age where the great ideals like truth, justice, love,
brotherhood are emphasized by poets, the essayists, and novelists of the age.