Novels are defined as narratives of some length. The length is a factor because they are not short stories which deal with a small slice of life, but with characters who develop in the course of a plot that may be quite complicated. A famous author argued once that all works of any merit are psychological novels because they are told from the points of view of credible characters.
However, from the perspective of critics, and in the light of the millions of works published, it is necessary to identify different genres. When a novel exhibits a number of well recognized features it can be classified as a particular type that follows one identifiable type. Classifying books in genres helps individual readers recognize genres and organize the complex field of literature.
When the primary intention of an author is to write fiction that demonstrate how people do behave and what the things are that motivate their words and actions then it can be said that he is attempting to write a psychological novel. The degree to which he succeeds depends upon how truthful the characters are in the context of the novel. Even liars can be truthful if they are credible liars.
Fiction writers employ the imagination rather than science to depict how human beings behave but that does not mean that they are off the mark. Trained psychologists will often be able to verify that the way characters in fiction behave is either psychologically authentic, or otherwise.
A romance tells of the behavior of characters of opposite genders in relation to each other. Jane Austen writes with deep insight into her characters and they are psychologically true to life. However, her focus is on the development of a plot in which two young people dislike each other and then overcome their difficulties and come together. The plot is designed to be romantic.
An adventure novel might focus on action to such an extent that the behavior of characters in the narrative becomes a mere prop for what is to happen next. They cannot be termed psychological novels because the author's intention is not to human explore behavior but to spin an entertaining tale. As a result the characters do not need to be rounded and complex. In fact, if the characterization is too complex this can detract from the pace that an adventure novel needs.
The stream of consciousness technique of writing is eminently suitable for depicting the workings of an individual's mind. The story takes the form of an interior monologue that depicts exactly what is going on in the mind of a central character. The author tries to inject himself into the person that he is both depicting and developing a narrative through.
Both action and insight are sometimes combined in suspense thrillers. Characters who may be dangerously deranged or obsessive may engage in behavior that is credible but dangerous, leading inevitably to a dramatic conclusion. Such narratives may reflect on issues at the heart of psychology, such as the difference between sanity and insanity.
Psychological novels, like all similar works, attempt to entertain and instruct through the medium of fiction. They succeed on the first count if readers are able to suspend their disbelief and imagine that they are in the world of a novels as they read it. They succeed on the count of instruction if critics and ordinary readers know, after reading the work, that it is a slice of true life.
However, from the perspective of critics, and in the light of the millions of works published, it is necessary to identify different genres. When a novel exhibits a number of well recognized features it can be classified as a particular type that follows one identifiable type. Classifying books in genres helps individual readers recognize genres and organize the complex field of literature.
When the primary intention of an author is to write fiction that demonstrate how people do behave and what the things are that motivate their words and actions then it can be said that he is attempting to write a psychological novel. The degree to which he succeeds depends upon how truthful the characters are in the context of the novel. Even liars can be truthful if they are credible liars.
Fiction writers employ the imagination rather than science to depict how human beings behave but that does not mean that they are off the mark. Trained psychologists will often be able to verify that the way characters in fiction behave is either psychologically authentic, or otherwise.
A romance tells of the behavior of characters of opposite genders in relation to each other. Jane Austen writes with deep insight into her characters and they are psychologically true to life. However, her focus is on the development of a plot in which two young people dislike each other and then overcome their difficulties and come together. The plot is designed to be romantic.
An adventure novel might focus on action to such an extent that the behavior of characters in the narrative becomes a mere prop for what is to happen next. They cannot be termed psychological novels because the author's intention is not to human explore behavior but to spin an entertaining tale. As a result the characters do not need to be rounded and complex. In fact, if the characterization is too complex this can detract from the pace that an adventure novel needs.
The stream of consciousness technique of writing is eminently suitable for depicting the workings of an individual's mind. The story takes the form of an interior monologue that depicts exactly what is going on in the mind of a central character. The author tries to inject himself into the person that he is both depicting and developing a narrative through.
Both action and insight are sometimes combined in suspense thrillers. Characters who may be dangerously deranged or obsessive may engage in behavior that is credible but dangerous, leading inevitably to a dramatic conclusion. Such narratives may reflect on issues at the heart of psychology, such as the difference between sanity and insanity.
Psychological novels, like all similar works, attempt to entertain and instruct through the medium of fiction. They succeed on the first count if readers are able to suspend their disbelief and imagine that they are in the world of a novels as they read it. They succeed on the count of instruction if critics and ordinary readers know, after reading the work, that it is a slice of true life.
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