To write a good story, attention needs to be paid to textual structure and context, so that there is a cohesive narrative rhythm that holds the reader's attention.
The stories can be fictional or not, but they must always develop around a main plot, that is, the exposition of the facts that justify the main theme of the text.
There are many different types of narrative, such as: newspaper news, comic books, novels, etc.
Some tips can help you write a good story, such as:
- Read more books and conduct in-depth research on stories with themes similar to what you want to write.
- Build and develop the story's central characters.
- Use sensory and descriptive elements to make the story more emotional for the reader.
- Use imagination and creativity to develop the climax of the story.
- Organize ideas clearly and objectively and write a draft if necessary.
This is all about creativity, so it needs to be written by you, but I hope these tips help!
Learn more here:
brainly.com/question/13800696
A) The individuals in the story ------------------------------------------- Characters
B) The meaning of a story ------------------------------------------------- Theme
C) When and where a story takes place ----------------------------- Setting
D) The struggles within a story ------------------------------------------ Conflict
E) The events of a story ---------------------------------------------------- Plot
Juliet came to her decision through love. Juliet loved Romeo, and was willing to do whatever it took to be with him. The potion worked perfectly, but Romeo did not receive Friar Lawrence's message in Mantua, so therefore the plan does not work as intended. Romeo drinks poison ans dies at the foot of Juliet's "grave". When Juliet wakes up, she stabs herself with Romeo's dagger, and dies next to him in the Capults' burial vault.
HOPE THIS HELPS! GOOD LUCK!
Answer: A.) It connects the author’s imagined scenario to his claim about the Athenians.
Explanation: To understand the rhetorical function of this sentence, it is important to consider how the author’s imaginary scenario fits into his broader line of reasoning. In the fourth paragraph, the author brings up “the Greeks,” anticipating that his audience will mention them to refute his claim that “there never has been an artistic age, or an artistic people.” This implies that his audience believes that ancient Athens was more hospitable to artists than their own nineteenth-century society is. Then, in the eighth and ninth paragraphs, the author responds to this anticipated objection by describing the hypothetical persecution of a contemporary English artist. By revealing that the imagined events really happened to Phidias in supposedly “artistic” Athens, the final sentence shows that the imaginary scenario supports the author’s earlier claim that the Athenians were not an artistic people (“Were they . . . do neither”). The author’s conclusion thus brings his argument to a unified end, simultaneously wrapping up his discussion of the Athenians and refuting the main objection to his overarching claim about how artists fit into their societies.
