ich occurred earlier explained after the beginning, through flashbacks (7). More commercial stories have a simple, straightforward plot with a beginning, a middle, and an end. Such a plot follows the traditional form of story-telling, with "crisis, climax and conclusion (8). More literary and/or experimental stories might include a re-arrangement of events, with much more subtle critical moments, or a climax and/or conclusion which defy traditional elements and attempt to free the reader, the writer and the story from such conventional expectations.
4. In Updike's short story, "A & P," the principle of revelation comes into play when the boy defies his boss and quits his job because of the way his boss has treated the girls in their bathing suits. He undergoes an experience of initiation into life and identity when he chooses to act according to his own instincts rather than according to the role he has as an employee in a business (13). Sammy, of course, is revealed to himself in the same moment, surprising himself with an act of courage and decency he did not know he was going to take until he took it. In Faulkner's "A Rose for Emily," the old woman's keeping her lover's corpse in her bed for years reveals to the town and the reader the depth of her love and/or obsession in a way that explanatory narrative could never have.
5. The choice of point of view in a story allows the writer to reveal different things to the reader in different ways. The omniscient third-person point of view allows the writer to reveal anything going on in the world of action and/or in the internal worlds of the characters. The first-person point of view allows the writer to ground the story in one character and to have that character's perspective shape the story. The third-person view is usually much more objective and detached, while the first-person view is more subjective and unique, reflecting the character, biases, honesty and/or d
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