Analysis Of Orson Scott Card 's ' The Great Pattern '

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What is relevant to a writer is subjective: something which kindles inspiration to develop a story, and provides assistance in aspects of novelistic discourse. Orson Scott Card posits that there are four basic factors which create a story: milieu, idea, character and event , a balance of which creates the arc of the story. The reader takes the content of the sum of these factors and finds parallels, or contraries, in their own lives and interests. The writer takes this a step further by conceptualising new worlds and constructing new narratives, taking inspiration from what is read in order to build their own plots. An exploration into what resonates with the contemporary writer is essential in determining whether the focus of aspiring writers should be imitating Fielding’s ‘writers of antiquity’, embracing the ‘great pattern’, or on more recent works. For the purpose of this analysis I will be considering works written within the last twenty years ‘recent’, whilst analysing what writers gain, or lose, from fiction written longer ago. Some themes in literature are forever relevant to the human condition. George Orwell’s Nineteen Eighty-Four projects an ‘image of totalitarian societies which conceptualizes his experiences of fascism and Stalinism’ . Whilst Stalinism is confined to a precise point in history, the concept of fascism alongside oppression is timeless. The description of pre-apartheid discrimination in Alan Paton’s 1948 novel Cry, the Beloved Country acted

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